Database

Usage & Publication License: database price dollar sign649.00

ISBN Database of 18.4 Million Library Books (Title, Author, ISBN, Cover Images)

Download Library Books Database with ISBN, Title, Author, Price, Format, Publisher, Edition, and 8.9 Million Covers

Samples

CSV

Listed below are the first 10 - 100 (or more) records of each of the 6 tables.

Download CSV

author top

id title slug biography
2Wally Lambwally-lamb<p>Wally Lamb's books are neither short nor simple; but like a James Patterson of emotions, he pulls readers in and doesn't let go. His affecting novels are marvels of imagination and empathy.</p>
3Joyce Carol Oatesjoyce-carol-oates<p>In a prolific and varied oeuvre that ranges over essays, plays, criticism, and several genres of fiction, Joyce Carol Oates has proved herself one of the most influential and important storytellers in the literary world.</p>
4Bill McKibbenbill-mckibben<p><B>Bill McKibben</B> is the author of ten books, including <I>The End of Nature</I>, <I>The Age of Missing Information</I>, and <I>Enough&#58; Staying Human in an Engineered Age</I>. A former staff writer for <I>The New Yorker</I>, he writes regularly for <I>Harper&#8217;s</I>, <I>The Atlantic Monthly</I>, and <I>The New York Review of Books</I>, among other publications. He is a scholar in residence at Middlebury College and lives in Vermont with his wife, the writer Sue Halpern, and their daughter.</p>
5Harold Bloomharold-bloom<p>One of our most popular, respected, and controversial literary critics, Yale University professor Harold Bloom s books about, variously, Shakespeare, the Bible, and the classic literature are as erudite as they are accessible.</p>
6Nikki Giovanninikki-giovanni<p><P> Poet, activist, mother, and professor, Nikki Giovanni is a three-time NAACP Image Award winner and the first recipient of the Rosa Parks Woman of Courage Award, and holds the Langston Hughes Medal for Outstanding Poetry. The author of twenty-seven books and a Grammy nominee for <i>The Nikki Giovanni Poetry Collection</i>, she is the University Distinguished Professor/English at Virginia Tech in Blacksburg, Virginia, and an Oprah Living Legend.<P></i></p>
7Paul Austerpaul-auster<p>Paul Auster's unique novels are often like Chinese boxes, continually opening further to reveal new layers. He approaches his writing as he has approached his life, to an extent: as something of a nomad in a perpetually changing, mysterious landscape.</p>
8Peter Straubpeter-straub<p><P>PETER STRAUB is the <i>New York Times</i> bestselling author of more than a dozen novels. Two of his most recent, <i>Lost Boy Lost Girl</i> and <i>In the Night Room,</i> are winners of the Bram Stoker Award. He lives in New York City.</p>
9Phillip Lopatephillip-lopate<p>Philip Lopate is the author of <i>Against Joie de Vivre</i>, <i>Bachelorhood</i>, <i>The Rug Merchant</i>, <i>Being with Children</i>, and <i>Confessions of Summer</i>. A recipient of Guggenheim and National Endowment for the Arts fellowships, his works have appeared in <i>Best American Essays</i>, <i>The Paris Review</i>, Pushcart Prize annuals, and many other publications. He lives in Brooklyn, New York, and is Adams Professor of English at Hofstra University.</p>
10Ann Chartersann-charters<p>Scholar, editor, and biographer of Beat generation writer Jack Kerouac -- she even penned the preface to his groundbreaking <I>On the Road</I> -- Ann Charters captures the passion and promise of one of the most culturally influential decades of the century.</p>
11Walter Mosleywalter-mosley<p>A genre-bending author who can move from science-fiction to mysteries, Walter Mosley is perhaps best-known -- and loved -- for his 1940s and 50s noir crime novels starring the cool, complex detective Easy Rawlins.</p>
12David Remnickdavid-remnick<p><P>David Remnick has been the editor of <i>The New Yorker</i> since 1998. A staff writer for the magazine from 1992 to 1998, he was previously <i>The Washington Post's</i> correspondent in the Soviet Union. The author of several books, he was awarded the Pulitzer Prize and the George Polk Award for his 1994 book <i>Lenin's Tomb</i>. He lives in New York with his wife and children.</p>
13Sapphiresapphire<p><P>Sapphire is the author of <b>American Dreams</b>, a collection of poetry which was cited by <i>Publishers Weekly</i> as, "One of the strongest debut collections of the nineties." <b>Push</b>, her novel, won the Book-of-the-Month Club Stephen Crane award for First Fiction, the Black Caucus of the American Library Association's First Novelist Award, and, in Great Britain, the Mind Book of the Year Award. <b>Push</b> was named by the <i>Village Voice</i> and <i>Time Out New York</i> as one of the top ten books of 1996. <b>Push</b> was nominated for an NAACP Image Award in the category of Outstanding Literary Work of Fiction. About her most recent book of poetry <i>Poet's and Writer's Magazine</i> wrote, "With her soul on the line in each verse, her latest collection, <b>Black Wings & Blind Angels</b>, retains Sapphire's incendiary power to win hearts and singe minds."<br>&#160;<br>Sapphire's work has appeared in <i>The New Yorker</i>, <i>The New York Times Magazine</i>, <i>The New York Times Book Review</i>, <i>The Black Scholar</i>, <i>Spin</i>, and <i>Bomb</i>. In February of 2007 Arizona State University presented <i>PUSHing Boundaries, PUSHing Art&#58; A Symposium on the Works of Sapphire</i>. Sapphire's work has been translated into eleven languages and has been adapted for stage in the United States and Europe. <i>Precious</i>, the film adaption of her novel, recently won the Grand Jury Prize and the Audience Awards in the U.S. dramatic competition at Sundance (2009).</p>
14Lorrie Moorelorrie-moore<p><br>Lorrie Moore is the author of the story collections Like Life and Self-Help, and the novels Who Will Run the Frog Hospital? and Anagrams. Her work has appeared in The New Yorker, The Best American Short Stories, and Prize Stories&#58; The O. Henry Awards. She is a professor of English at the University of Wisconsin in Madison. <br></p>
15Cristina Garciacristina-garcia<p><P>Cristina Garc&#237;a was born in Havana and grew up in New York City. Her first novel, <b>Dreaming in Cuban,</b> was nominated for a National Book Award and has been widely translated. Ms. Garc&#237;a has been a Guggenheim Fellow, a Hodder Fellow at Princeton University, and the recipient of a Whiting Writers' Award. She lives in Los Angeles with her daughter, Pilar.</p>
16Ilan Stavansilan-stavans<p>Ilan Stavans, editor, is the Lewis-Sebring Professor in Latin American and Latino Culture at Amherst College. His books include <I>The Hispanic Condition</I> and <I>On Borrowed Words&#58; A Memoir of Language.</I> He edited <I>Isaac Bashevis Singer&#58; Collected Stories</I>, volumes #149, #150, and #151 of The Library of America.</p>
17Michael Chabonmichael-chabon<p>Although his novels and short stories have varied in setting -- from the 1940s New York of the Pulitzer Prize-winning <I>The Amazing Adventures of Kavalier & Clay</I> to the contemporary Pittsburgh of <I>The Mysteries of Pittsburgh</I> -- all of Michael Chabon s witty and understated books feature memorable, deftly-drawn characters trying to find their place in the world.</p>
18Edwidge Danticatedwidge-danticatEdwidge Danticat was nominated for the National Book Award in 1995 for her story collection, <i>Krik? Krak!</i> Her first novel, <i>Breath, Eyes, Memory</i>, was published to acclaim when she was twenty-five.
19Adam Gopnikadam-gopnik<p><P>ROBERT ATWAN has been the series editor of <i>The Best American Essays</i> since its inception in 1986. He has edited numerous literary anthologies and written essays and reviews for periodicals nationwide.</p>
20Honor Moorehonor-moore<p>Honor Moore is a poet and the author of The Bishop's Daughter. She lives in New York City and teaches at the New School and Columbia University.<br /></p>
21Madeleine L'Englemadeleine-l-engle<p>Best known as the writer of YA classics like <i>A Wrinkle in Time</i>, the prolific and eclectic Madeleine L'Engle penned adult fiction, poems, plays, memoirs, and religious meditations -- all infused with her trademark eloquence, imagination, and intellectual curiosity.</p>
22Larry McMurtrylarry-mcmurtry<p>Larry McMurtry worked as a cowhand on his father's Texas cattle ranch until he was 22, but never aspired to be a rancher. Instead, he published his first novel, <i>Horseman, Pass By</i>, when he was just 25. More than two dozen novels later, there's still more to McMurtry than a typical western.</p>
23Stewart O'Nanstewart-o-nan<p>In 1996, the literary magazine <i>Granta</I> named Stewart O'Nan one of America's best young novelists -- an honor he has continued to justify in an impressive body of complex and stylistically diverse fiction.</p>
24Barbara Kingsolverbarbara-kingsolver<p>Equally at home with poetry, novels, and nonfiction narratives, Barbara Kingsolver credits her careers in scientific writing and journalism with instilling in her a love of nature, a writer's discipline, and a strong sense of social justice.</p>
25Caroline Kennedycaroline-kennedy<strong>Caroline Kennedy</strong> is the editor of the <i class="null1">New York Times</i> bestselling <em>A Patriot's Handbook, Profiles in Courage for Our Time, The Best-Loved Poems of Jacqueline Kennedy Onassis, A Family of Poems,</em> <em>A Family Christmas</em>, and the coauthor of <em>The Right to Privacy</em> and <em>In Our Defense: The Bill of Rights in Action</em>. She serves as the Vice Chair of the Fund for Public Schools in New York City and President of the John F. Kennedy Library Foundation. She lives in New York City.
26Richard Wrightrichard-wright<p>A trailblazing African-American novelist, playwright, and memoirist, Richard A. Wright brought the experiences of the twentieth-century ghetto into the realm of high art with his blockbuster 1940 novel <i>Native Son</i>. He went on to mix autobiography and fiction, and to become one of the most celebrated writers -- black or white -- of his era.</p>
27Carmela Ciurarucarmela-ciuraru<p><P>Carmela Ciuraru is the editor of the anthology <i>First Loves&#58; Poets Introduce the Essential Poems That Captivated and Inspired Them,</i> and the former editor of the<i> Journal of the Poetry Society of America</i>. A graduate of Columbia University's School of Journalism, she lives in New York City.</p>
28Tony Hillermantony-hillerman<p>Tony Hillerman's experience as a journalist and a lover of Native American culture lent an unmistakable authenticity to his mysteries. In addition to his popular series starring Navajo Tribal Police detectives Chee and Leaphorn, he wrote standalone novels, essays about the Southwest, and a warmly reviewed autobiography (<i>Seldom Disappointed</i>) that revealed not only his talent, but his bravery as a soldier in World War II. He died in 2008 at the age of 83.</p>
29Sue Millersue-miller<p>Sue Miller is an expert in limning the pain of endings, but if this were the extent of her talents, she probably would not be as successful as she is. In Miller's books, one broken relationship often leads to the development of another. Her stories may not offer pat answers and perfect love stories, but readers find something more rewarding in the end.</p>
30Jay Atkinsonjay-atkinson<p><P>Jay Atkinson is the author of two novels, three narrative nonfiction books, and a collection of stories. His work has appeared in the <i>New York Times, Men's Health,</i> the Boston Globe, and elsewhere. He teaches journalism at Boston University.</p>
31E. Lynn Harrise-lynn-harris<p>How to categorize E. Lynn Harris? An African-American novelist? A gay novelist? A literary romance writer? Nothing quite fits, but to Harris s fans, his bestselling novels belong in a genre of their own: one in which the characters are as difficult and complex as their problems, and the solutions as bittersweet and resonant as they often are in life.</p>
32Laura Furmanlaura-furman<p>Laura Furman's work has appeared in <i>The New Yorker</i>, <i>Vanity Fair</i>, <i>Ploughshares</i>, <i>The Yale Review</i>, and other magazines. She is the founding editor of the highly regarded <i>American Short Fiction</i> (three-time finalist for the American Magazine Award). A professor of English at the University of Texas at Austin, she teaches in the graduate James A. Michener Center for writers. She lives in Austin.</p>
33Barbara Smithbarbara-smith<p><P>Barbara Smith is the host of a syndicated television series and appears regularly on NBC's <I>Today</I> show. She owns three B. Smith's restaurants in New York City, Washington, D.C., and Sag Harbor, New York, and is the editor in chief of the newly launched magazine <I>B. Smith Style</I>. She lives in New York City and Sag Harbor.</p>
34Mark Twainmark-twain<p>Riverboat pilot, journalist, failed businessman (several times over): Samuel Clemens -- the man behind the figure of Mark Twain -- led many lives. But it was in his novels and short stories that he created a voice and an outlook on life that will be forever identified with the American character.</p>
35Susan Wittig Albertsusan-wittig-albert<p>One of the book world's most respected authorities on herbs and their uses, Susan Wittig Albert is beloved by fans the world over for her mystery series starring herb-growing sleuth China Bayles -- as well as the Victorian Mysteries series she coauthors with husband Bill, under the pen name Robin Paige.</p>
36Billy Collinsbilly-collins<p>Enjoying a popularity unheard of for most poets, Billy Collins has had a remarkable late-life surge, aided by NPR exposure and his 2001 and 2002 appointments as the U.S. poet laureate. His style is engaging, conversational, funny, and surprising.</p>
37Thomas Wolfethomas-wolfe<p>A larger than life figure -- like his contemporary, Ernest Hemingway -- Thomas Wolfe embodied a particularly American vision of the restless and eager writer, taking in the totality of his life experience and turning it into a gigantic, unwieldy vision in prose. With the publication of his semiautobiographical <i>Look Homeward, Angel</i> in 1929, Wolfe announced his dramatic entrance on the stage of modern fiction; but an early death made his exit sadly premature.</p>
38Diane Fanningdiane-fanning<p><B>DIANE FANNING</B> is the author of <I>Written in Blood&#58;</I> <I>A True Story of Murder and a Deadly 16 Year-Old Secret that Tore a Family Apart</I>, <I>Through the Window&#58; The Terrifying True Story of Cross Country Killer Tommy Lynn Sells,</I> <I>Into the Water</I>&#58; <I>An Astonishing True Story of Abduction, Murder, and the Nice Guy Next Door,</I> and the co-editor of <I>Red Boots &amp; Attitude</I>. Fanning lives in New Braunfels, Texas.<BR><BR>Vist her Web site at&#58; www.dianefanning.com</p>
39Salman Rushdiesalman-rushdie<p>One of the most celebrated writers of our time, SALMAN RUSHDIE is the author of ten previous novels&#151; <i>Grimus, Midnight's Children</i> (for which he won the Booker Prize in 1981, the Booker of Bookers in 1993, and, in 2008, the Best of the Booker), <i>Shame, The Satanic Verses, Haroun and the Sea of Stories, The Moor's Last Sigh, The Ground Beneath Her Feet, Fury, Shalimar the Clown</i>, and <i>The Enchantress of Florence</i>. He has also published four works of non-fiction, a collection of short stories, and edited two fiction anthologies. In June 2007, Rushdie was appointed a Knight Bachelor by Queen Elizabeth II for services to literature. He holds the rank Commandeur in the Ordre des Arts et des Lettres of France and began a five-year term as Distinguished Writer in Residence at Emory University in 2007. In May 2008, he was elected to the American Academy of Arts and Letters, and also in 2008, the London Times ranked Rushdie thirteenth on their list of "The 50 greatest British writers since 1945". For two years he served as president of The PEN American Center, the world's oldest human rights organization, and is the chair of PEN's World Voices Festival of International Literature, an annual literary festival he began in New York in 2001. Rushdie is currently working on the film version of <i>Midnight's Children</i>.</p>
40Oscar Wildeoscar-wilde<p>The ever-quotable Oscar Wilde once said, "Anybody can make history. Only a great man can write it." From his outsize celebrity in Victorian London to his authorship of fiction, drama, and poetry that uniquely captured his era, it's fair to say that Wilde succeeded on both counts.</p>
41J. R. R. Tolkienj-r-r-tolkien<p>It seems an unlikely formula for success: an Oxford professor of Anglo-Saxon, and a book that begins with a little man who lives in a hole in the ground. But <I>The Hobbit</I>, followed by <I>The Lord of the Rings</I>, created the modern genre of heroic fantasy and made J.R.R. Tolkien one of the most widely-read authors in the world.</p>
42Maeve Binchymaeve-binchy<p>As an author, Binchy's goal is simple: to let the story shine through. She told Oprah Winfrey, "I do not have a particular literary style, I am not experimental ... I tell a story and I want to share it with my readers." As a result, with her Ireland-set stories featuring strong heroines, friendship and romance, Binchy has gained quite a following since she became a bestselling author at age 43.</p>
43Virginia Woolfvirginia-woolf<p>The early decades of the 20th century saw the rise of the experimental novel, and few writers had more success with their experiments than Virginia Woolf. Her innovative approach as a novelist, critic, and biographer made her an author who is even more widely read today than she was in her own time.</p>
44John Careyjohn-carey<p><P><b>John Carey</b> is Merton Professor of English at Oxford University, a distinguished critic, reviewer and broadcaster, and the author of several books, including <i>The Intellectuals and the Masses</i>.</p>
45John Updikejohn-updike<p>Best known for a series of novels featuring Harry "Rabbit" Angstrom, John Updike was one of the 20th century's most distinguished American authors. Over the course of his long, prolific career, he garnered numerous literary awards, including two coveted Pulitzer Prizes!</p>
46Christopher Hitchenschristopher-hitchens<p>Chistopher Hitchens is a widely published polemicist and frequent radio and TV commentator. He is a contributing editor to <EM>Vanity Fair</EM> and a visiting professor of liberal studies at the New School in New York.</p>
47Jack Canfieldjack-canfield<p>Motivational speaker Jack Canfield is the co-creator of the <I>Chicken Soup for the Soul</I> series. With over 65 books to his credit, Canfield has taken the inspirational advice he delivered in his speeches and forged one of the most popular book series in print.</p>
48Otto Penzlerotto-penzler<p><P>Otto Penzler is the proprietor of The Mysterious Bookshop in New York City. He was publisher of <i>The Armchair Detective</i>, the founder of the Mysterious Press and the Armchair Detective Library, and created the publishing firm Otto Penzler Books. He is a recipient of an Edgar Award for <i>The Encyclopedia of Mystery</i> <i>and Detection</i> and the Ellery Queen Award by the Mystery Writers of America for his many contributions to the field. He is the editor of <i>The Vampire Archives</i> and <i>The Black Lizard Big Book of Pulps</i>, which was a <i>New York Times</i> bestseller.</p>
49Marlo Thomasmarlo-thomas<p><P>Marlo Thomas graduated from the University of Southern California with a teaching degree. She is the author of five bestselling books, "Free to Be ...You and Me, Free to Be...a Family, The Right Words at the Right Time, Thanks and Giving&#58; All Year Long, " and "The Right Words at the Right Time Volume 2&#58; Your Turn!" Ms. Thomas has won four Emmy Awards, a Golden Globe, a Grammy, the Peabody Award, and has been inducted into the Broadcasting Hall of Fame for her work in television, including her starring role in the landmark series "That Girl, " which she also conceived and produced.</p>
50Cathi Hanauercathi-hanauer<p><P>Cathi Hanauer, the author of the novel My Sister's Bones, has written articles, essays, reviews, and fiction for <i>Elle, Mirabella, Self, Glamour, Mademoiselle,</i> and many other magazines. She has been the monthly books columnist for both <i>Glamour</i> and <i>Mademoiselle,</i> and was the relationship-advice columnist for <i>Seventeen</i> for seven years. She lives in western Massachusetts with her husband, writer Daniel Jones, and their daughter and son.</p>
51Victor Hugovictor-hugo<p>"If a writer wrote merely for his time, I would have to break my pen and throw it away," the larger-than-life Victor Hugo once confessed. Indeed, this 19th-century French master's works -- from the epic drama <I>Les Misérables</I> to the classic unrequited love story <I>The Hunchback of Notre Dame</i> -- have spanned the ages, their themes of morality and redemption ever applicable to our times.</p>
Download CSV

book top

id title author author_id author_bio authors title_slug author_slug isbn13 isbn10 price format publisher pubdate edition subjects lexile pages dimensions overview excerpt synopsis toc editorial_reviews
1Opening Spaces: An Anthology of Contemporary African Women's WritingYvonne Vera0<p><P>EDITOR<p>Yvonne Vera was born and raised in Bulawayo, Zimbabwe, gained her Ph.D. from York University in Canada, and was the Director of the National Gallery of Zimbabwe in Bulawayo. Yvonne Vera died at age 40 in 2005<p>Yvonne Vera&rsquo;s Without a Name and Under the Tongue both won first prize in the Zimbabwe Publishers Literary Awards of 1995 and 1997 respectively. Under the Tongue won the 1997 Commonwealth Writers Prize (Africa Region). Yvonne Vera won the Swedish literary award The Voice of Africa 1999.</p>Yvonne Vera (Editor), Yvonne Veraopening-spacesyvonne-vera97804359101050435910108$14.52PaperbackHeinemannSeptember 19991st EditionGeneral & Miscellaneous Literature Anthologies, Anthologies1865.07 (w) x 7.78 (h) x 0.42 (d)In this anthology the award-winning author Yvonne Vera brings together the stories of many talented writers from different parts of Africa.<p><p>African women are seldom given the space to express their concerns, their ideas and their reflections about the societies in which they live. In situations where a good woman is expected to remain silent, literature can provide an important medium for the expression of deeply-felt and sometimes shocking views. In this anthology the award-winning author Yvonne Vera brings together the stories of many talented writers from different parts of Africa. The act as witnesses to the dramas of private and public life. Their stories challenge contemporary attitudes and behaviour, leaving no room for complacency.<p></p><P>Preface<p>The Girl Who Can - Ama Ata Aidoo (Ghana)<p>Deciduous Gazettes - Melissa Tandiwe Myambo (Zimbabwe)<p>The Enigma - Lindsey Collen (Mauritius)<p>The Red Velvet Dress - Farida Karodia (South Africa)<p>Uncle Bunty - Norma Kitson (South Africa)<p>The Betrayal - Veronique Tadjo (Cote D&#39;Ivoire)<p>The Museum - Leila Aboulela (Sudan)<p>The Power of a Plate of Rice - Ifeoma Okoye (Nigeria)<p>Stress - Lilia Momple (Mozambique)<p>A State of Outrage - Sindiwe Magona (South Africa)<p>Crocodile Tails - Chiedze Musengezi (Zimbabwe)<p>Night Thoughts - Monde Sifuniso (Zambia)<p>The Barrel of a Pen - Gugu Ndlovu (Zimbabwe)<p>A Perfect Wife - Anna Doa (Mali)<p>The Home-Coming - Milly Jafta (Namibia)<p>Notes on Contributors Acknowledgements
2The Caine Prize for African Writing 2010: 11th Annual CollectionThe Caine Prize for African Writing0The Caine Prize for African Writingthe-caine-prize-for-african-writing-2010the-caine-prize-for-african-writing97819065233741906523371$13.46PaperbackNew InternationalistAugust 2010Short Story Anthologies, African Fiction, African Literature Anthologies2085.00 (w) x 7.70 (h) x 0.70 (d)<p>The Caine Prize for African Writing is Africa's leading literary prize. For the past ten years it has supported and promoted contemporary African writing. Previous winners and entrants include Chimamanda Ngozi Adichie, Segun Afolabi, EC Osondu, Leila Aboulela, Brian Chikwava, Henrietta Rose-Innes, Mary Watson, and Binyavanga Wainaina.</p> <p>The 2010 collection will include the shortlisted stories and the stories written at the Caine Prize Writers' Workshop. It will be published in time for the announcement of the award in July 2010.</p><p><p>The best in new short story fiction from Africa's leading literary award.<p></p><P>Introduction 6<P>Caine Prize 2010 Shortlisted Stories<P>The Life of Worm Ken Barris (South Africa) 9<P>How Shall We Kill the Bishop? Lily Mabura (Kenya) 20<P>Muzungu Namwali Serpell (Zambia) 31<P>Soulmates Alex Smith (South Africa) 48<P>Stickfighting Days Olufemi Terry (Sierra Leone) 59<P>The CDC Caine Prize African Writers' Workshop Stories 2010<P>The Plantation Ovo Adagha (Nigeria) 76<P>Soul Safari Alnoor Amlani (Kenya) 86<P>A Life in Full Jude Dibia (Nigeria) 96<P>Mr Oliver Mamle Kabu (Ghana) 108<P>Happy Ending Stanley Onjezani Kenani (Malawi) 122<P>The David Thuo Show Samuel Munene (Kenya) 137<P>Set Me Free Clifford Chianga Oluoch (Kenya) 147<P>Invocations to the Dead Gill Schierhout (South Africa) 163<P>Almost Cured of Sadness Vuyo Seripe (South Africa) 176<P>The Journey Valerie Tagwira (Zimbabwe) 187<P>The King and I Novuyo Rosa Tshuma (Zimbabwe) 200<P>Indigo Molara Wood (Nigeria) 212<P>Rules 224
3African FolktalesRoger D. Abrahams0Roger D. Abrahams, Dan Frankafrican-folktalesroger-d-abrahams97803947211700394721179$18.95PaperbackKnopf Doubleday Publishing GroupAugust 1983Travel, Africa<p><P>Nearly 100 stories from over 40 tribe-related myths of creation, tales of epic deeds, ghost stories and tales set in both the animal and human realms.</p><h3>Library Journal</h3><p>This volume sports a hefty 95 stories gleaned from the notes of the earliest missionaries on up to recent anthropological studies. Abrahams admits that reading the stories lacks the full impact of hearing them told aloud but contends that they can nonetheless still be enjoyed. The stories feature numerous illustrations. Copyright 2001 Cahners Business Information.</p>
4Unchained Voices: An Anthology of Black Authors in the English-Speaking World of the Eighteenth CenturyVincent Carretta0Vincent Carrettaunchained-voicesvincent-carretta97808131907610813190762$30.00PaperbackUniversity Press of KentuckyDecember 2003ExpandedUnited States History - African American History, African American History, African Diaspora History, American Literature Anthologies, Anthologies, Ethnic & Minority Studies, United States History - 18th Century - General & Miscellaneous, Africana - Afric4166.10 (w) x 9.40 (h) x 1.10 (d)Vincent Carretta has assembled the most comprehensive anthology ever published of writings by eighteenth-century people of African descent, capturing the surprisingly diverse experiences of blacks on both sides of the Atlantic--America, Britain, the West Indies, and Africa--between 1760 and 1798.<p><P>Vincent Carretta has assembled the most comprehensive anthology ever published of writings by eighteenth-century people of African descent, capturing the surprisingly diverse experiences of blacks on both sides of the Atlantic&#151;America, Britain, the West Indies, and Africa&#151;between 1760 and 1798.</p><h3>African American Review</h3><p>This excellent anthology meets a longstanding need for a scholarly collection of early Anglo African and African American writers.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Note on the Texts and Editorial Policy</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Note on Money</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes on the Illustrations</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Narrative of the Uncommon Sufferings, and Surprizing Deliverance of Briton Hammon, A Negro Man</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poems: An Evening Thought</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Address to Miss Phillis Wheatly, Ethiopian Poetess</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Narrative of the Most Remarkable Particulars in the Life of James Albert Ukawsaw Gronniosaw, An African Prince, As related by Himself</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poems: An Elegiac Poem, on the Death of ... George Whitefield</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poems on Various Subjects, Religious and Moral</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"To His Excellency General Washington"</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"An Ode"</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters of the Late Ignatius Sancho, an African, in Two Volumes. To Which are Prefixed, Memoirs of his Life</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Narrative of the Lord's wonderful Dealings with John Marrant, a Black</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Life and Confession of Johnson Green, Who Is to Be Executed this day, August 17th, 1786, for the Atrocious Crime of Burglary; Together with his Last and Dying Words</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Petition of an African Slave, to the Legislature of Massachusetts" (1782), from The American Museum, or Repository of Ancient and Modern Fugitive Pieces, Prose and Poetical. For June 1787</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thoughts and Sentiments on the Evil and Wicked Traffic of The Slavery and Commerce of the Human Species, Humbly Submitted to the Inhabitants of Great-Britain, By Ottobah Cugoano, a Native of Africa</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African. Written by Himself</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Copy of a Letter from Benjamin Banneker to the Secretary of State with his Answer</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"An Account of several Baptist Churches, consisting chiefly of Negro Slaves: particularly of one of Kingston, in Jamaica; and another at Savannah in Georgia"</TD><TD WIDTH="10%" ALIGN="RIGHT">325</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"An Account of the Life of Mr. David George, from Sierra Leone in Africa; given by himself in a Conversation with Brother Rippon of London, and Brother Pearce of Birmingham"</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Memoirs of the Life of Boston King, a Black Preacher. Written by Himself, during his Residence at Kingswood-School"</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Narrative of the Life and Adventures of Venture, a Native of Africa: But resident above sixty years in the United States of America. Related By Himself</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">App: Biographical Sketches</TD><TD WIDTH="10%" ALIGN="RIGHT">389</TD></TABLE><article> <h4>African American Review</h4>This excellent anthology meets a longstanding need for a scholarly collection of early Anglo African and African American writers. </article> <article> <h4>From the Publisher</h4><p>"An important work for gaining an understanding of a heretofore little examined aspect of the eighteenth century." -- Bloomsbury Review</p> <p>"The selection of texts is diverse and wide-ranging.... The most comprehensive anthology on the subject and deserves to become the standard text for students in eighteenth-century studies and American studies." -- British Journal for Eighteenth-Century Studies</p> <p>"Establishes the canon of Black diasporic authors writing in English in the 18th century and makes the texts accessible to scholars and students." -- East-Central Intelligencer</p> <p>"Carretta has done eighteenth-century studies an immeasurable service.... The definitive anthology of black writing of the eighteenth-century African diaspora, serving the purpose of both introduction to and contestation of the overlapping fields of American, British, religious, and African studies." -- Eighteenth-Century Fiction</p> <p>"Most challenging and exhaustive, both in quality and quantity of research, presentation, scope, and premise. Carretta seeks to validate what for him is an unbroken link of unshackled black literary voices." -- Eighteenth-Century Studies</p> <p>"This is the most comprehensive collection of writings by people of African descent on both sides of the Atlantic more than 200 years ago." -- Lexington Herald-Leader</p> <p>"An excellent anthology." -- Times Literary Supplement</p> <p>"Cause for celebration.... Will no doubt contribute to the ongoing rethinking of the eighteenth-century canon." -- Year's Work in English Studies</p> </article>
5Women Writing Africa: West Africa and the SahelEsi Sutherland-Addy0<p><P>Esi Sutherland-Addy (Ph.D. Hon, Hon FCP) is senior research fellow, head of the Language, Literature, and Drama Section, Institute of African Studies, and associate director of the African Humanties Institue Program at the University of Ghana. Aminata Diaw teaches in the Faculty of Arts and Humanities at the Cheikh Anta Diop University in Dakar, S&#233;n&#233;gal, where she is currently the public affairs director of the Centre for Cultural and Scientific Programs. She is also Secretary General of the S&#233;n&#233;galese Council of Women and Chair for the subcommittee on Humanities and Social Sciences of the National Commission of UNESCO.</p>Esi Sutherland-Addy (Editor), Abena P. A. Busia (Editor), Aminata Diawwomen-writing-africaesi-sutherland-addy97815586150071558615008$29.95PaperbackFeminist Press at CUNY, TheAugust 2005Literary Criticism - General & Miscellaneous, Oral Tradition & Storytelling, African Literature Anthologies5606.00 (w) x 9.00 (h) x 1.30 (d)<p>The acclaimed Women Writing Africa project “opens up worlds too often excluded from the history books” (<i>Booklist</i>) and is an “essential resource for scholars and general readers alike” (<i>Library Journal</i>). It reveals the cultural legacy of African women in their own words, in never-before- published texts that include communal songs and lullabies, letters and speeches, poetry and fiction.</p> <p>Representing 20 languages and 12 countries, volume 2 covers western Africa, where most African Americans find their roots. The collection presents an epic history of the region through the eyes of its women, from the age of African kings through colonialism and independence.</p> <p>Volume 1 of the series, <i>Women Writing Africa: The Southern Region</i>, is also available; volumes 3 and 4 will be published in 2006.</p><p><P>A major literary and scholarly work that transforms perceptions of West African women's history and culture.</p><h3>Library Journal</h3><p>This second of four volumes representing the literary expression of African women focuses on 12 West African nations, documenting the history of this expression since upward of six centuries before colonialism and 20th-century independence. Editors Sutherland-Addy (language, literature, & drama, Inst. for African Studies, Univ. of Ghana) and Diaw (philosophy, Univ. Cheikh Anta Kiop in Dakar, Senegal) have compiled 132 texts accompanied by head notes by eminent authors (e.g., Buchi Emecheta, Ama Ata Aidoo, and Bernadette Dao Sanou) to explain their cultural and historical contexts. These texts showcase not just the written word-in the form of letters, diaries, historical documents-but the spoken word as well, in lullabies, songs, and other oral traditions. Some of these texts are full of celebration and some of powerful emotions; all evoke powerful imagery. Both the texts and the head notes are fascinating to read, and the reader is truly gripped by the passion and emotion of the writers. This anthology provides an epic tale of African history while highlighting African women's valuable contributions to their culture and bringing their voices to life for readers everywhere. Highly recommended.-Susan McClellan, Avalon P.L., Pittsburgh Copyright 2005 Reed Business Information.</p><article> <h4>Library Journal</h4>This second of four volumes representing the literary expression of African women focuses on 12 West African nations, documenting the history of this expression since upward of six centuries before colonialism and 20th-century independence. Editors Sutherland-Addy (language, literature, &amp; drama, Inst. for African Studies, Univ. of Ghana) and Diaw (philosophy, Univ. Cheikh Anta Kiop in Dakar, Senegal) have compiled 132 texts accompanied by head notes by eminent authors (e.g., Buchi Emecheta, Ama Ata Aidoo, and Bernadette Dao Sanou) to explain their cultural and historical contexts. These texts showcase not just the written word-in the form of letters, diaries, historical documents-but the spoken word as well, in lullabies, songs, and other oral traditions. Some of these texts are full of celebration and some of powerful emotions; all evoke powerful imagery. Both the texts and the head notes are fascinating to read, and the reader is truly gripped by the passion and emotion of the writers. This anthology provides an epic tale of African history while highlighting African women's valuable contributions to their culture and bringing their voices to life for readers everywhere. Highly recommended.-Susan McClellan, Avalon P.L., Pittsburgh Copyright 2005 Reed Business Information. </article>
610 Years of the Caine Prize for African Writing: Plus Coetzee, Gordimer, Achebe, OkriThe Caine The Caine Prize for African Writing0The Caine The Caine Prize for African Writing10-years-of-the-caine-prize-for-african-writingthe-caine-the-caine-prize-for-african-writing9781906523244190652324X$18.95HardcoverNew InternationalistSeptember 2009Literary Collections<p><p>The 10 winning stories accompanied by stories from the former African Booker prizewinners.<p></p><h3>Publishers Weekly</h3><p>Starred Review. <P>As exhibited in this collection, the Caine Prize, founded in 1999 in honor of the late Sir Michael Caine's work to popularize African writing in English, has spotlighted some exceptional writing; each prize-winning short story included here (the Caine is also known as the African Booker; as such, African winners of the Booker prize also appear) examines and explodes stereotypes about Africa and its literature. Characters reveal dignity and doubt in extraordinary situations, including a grandmother who abandons her frail husband in order to carry her grandchildren to safety in Nadine Gordimer's powerful "The Ultimate Safari." J. M. Coetzee's "Nietverloren" examines the changing face of Africa through the demise of a small family farm. Binyavanga Wainaina's "Discovering Home," meanwhile, contrasts a young man's year at home in Kenya after several years of cosmopolitan Cape Town life. Despite a rich diversity of style and subject matter, each story, as described in Ben Okri's introduction, "reveals what hides in people," offering intimate glimpses into an array of African lives. Anyone who enjoys realistic literary fiction will treasure this collection. <BR>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p>
7Introduction to African Oral Literature and PerformanceBayo Ogunjimi0<p>Abdul-Rasheed Na'Allah, Ph.D., has taught African performance, African and African Diaspora literature, folklore and comparative poetics in Nigeria, Canada and the United States. Among his books are Ogoni's Agonies, Almajiri, and The People's Poet: Emerging Perspectives on Niyi Osundare. <p></p> Bayo Ogunjimi, Ph.D., deceased in 1996, was a professor of African oral literature and English at the University of Ilorin, Nigeria. His critical essays have appeared in journals around the world.</p>Bayo Ogunjimi, Abdul Rasheed Na'allahintroduction-to-african-oral-literature-and-performancebayo-ogunjimi97815922115171592211518$23.95HardcoverAfrica World PressFebruary 2006New EditionAfrica - Anthropology & Sociology, African Folklore & Mythology, Oral Tradition & Storytelling, General & Miscellaneous African Literature - Literary Criticism, African Literature Anthologies, Fables, Fairy Tales, & Folk Tales - Literary Criticism1468.30 (w) x 5.30 (h) x 0.80 (d)This new book puts together in a single cover, two earlier volumes by the authors, now revised to meet the challenges of a twenty-first century scholarship in African performance and cultural studies. Topics covered range from sources of African oral traditions, relevance of cosmology to African oral performance, fieldwork practice and research methodology, archetypes, folktales, myths and legends, performance and stylistic features, to various areas of poetic performances like praise poetry, religious poetry, topical, occupational and heroic poetry, their performances and more. The central theme of the book is performance, and students, scholars and readers are provided with projects and exercises intended to keep them involved in research and performance experience of the oral forms. Teaching and curriculum development suggestions are given to teachers of African oral performances. Important information is provided to guide researchers into a continued exciting experience in the study of and research into African oral traditions. Materials are included from a good number of languages and cultures of Africa including Yoruba, Hausa, Nupe, among others, so that students would be able to explore these important examples as testimony of the richness of the scholarly and cultural resources in African oral traditions.<p>This new book puts together in a single cover, two earlier volumes by the authors, now revised to meet the challenges of a twenty-first century scholarship in African performance and cultural studies. Topics covered range from sources of African oral traditions, relevance of cosmology to African oral performance, fieldwork practice and research methodology, archetypes, folktales, myths and legends, performance and stylistic features, to various areas of poetic performances like praise poetry, religious poetry, topical, occupational and heroic poetry, their performances and more. <p></p> The central theme of the book is performance, and students, scholars and readers are provided with projects and exercises intended to keep them involved in research and performance experience of the oral forms. Teaching and curriculum development suggestions are given to teachers of African oral performances. Important information is provided to guide researchers into a continued exciting experience in the study of and research into African oral traditions. <p></p>Materials are included from a good number of languages and cultures of Africa including Yoruba, Hausa, Nupe, among others, so that students would be able to explore these important examples as testimony of the richness of the scholarly and cultural resources in African oral traditions.</p>
8Violence in Francophone African and Caribbean Women's LiteratureMarie-Chantal Kalisa0<p><p>Chantal Kalisa is an associate professor of francophone studies in the Department of Modern Languages and Literatures and in the Women&#8217;s and Gender Studies Program at the University of Nebraska&#150;Lincoln. She is a coeditor of a book in French on the Rwandan genocide.<p></p>Marie-Chantal Kalisaviolence-in-francophone-african-and-caribbean-womens-literaturemarie-chantal-kalisa97808032110250803211023$45.00HardcoverUNP - NebraskaDecember 2009Literary Criticism - General & Miscellaneous, Caribbean Fiction & Prose Literature - Literary Criticism, African Literature Anthologies2365.80 (w) x 8.60 (h) x 1.00 (d)African and Caribbean peoples share a history dominated by the violent disruptions of slavery and colonialism. While much has been said about these “geographies of pain,” violence in the private sphere, particularly gendered violence, receives little attention. This book fills that void. It is a critical addition to the study of African and Caribbean women’s literatures at a time when women from these regions are actively engaged in articulating the ways in which colonial and postcolonial violence impact women.&nbsp;Chantal Kalisa examines the ways in which women writers lift taboos imposed on them by their society and culture and challenge readers with their unique perspectives on violence. Comparing women from different places and times, Kalisa treats types of violence such as colonial, familial, linguistic, and war-related, specifically linked to dictatorship and genocide. She examines Caribbean writers Michele Lacrosil, Simone Schwartz-Bart, Gisèle Pineau, and Edwidge Danticat, and Africans Ken Begul, Calixthe Beyala, Nadine Bar, and Monique Ilboudo. She also includes Sembène Ousmane and Frantz Fanon for their unique contributions to the questions of violence and gender. This study advances our understanding of the attempts of African and Caribbean women writers to resolve the tension between external forms of violence and internal forms resulting from skewed cultural, social, and political rules based on gender.<p><p>African and Caribbean peoples share a history dominated by the violent disruptions of slavery and colonialism. While much has been said about these &#147;geographies of pain,&#8221; violence in the private sphere, particularly gendered violence, receives little attention. This book fills that void. It is a critical addition to the study of African and Caribbean women&#8217;s literatures at a time when women from these regions are actively engaged in articulating the ways in which colonial and postcolonial violence impact women.<p>&#160;<p>Chantal Kalisa examines the ways in which women writers lift taboos imposed on them by their society and culture and challenge readers with their unique perspectives on violence. Comparing women from different places and times, Kalisa treats types of violence such as colonial, familial, linguistic, and war-related, specifically linked to dictatorship and genocide. She examines Caribbean writers Michele Lacrosil, Simone Schwartz-Bart, Gis&#232;le Pineau, and Edwidge Danticat, and Africans Ken Begul, Calixthe Beyala, Nadine Bar, and Monique Ilboudo. She also includes Semb&#232;ne Ousmane and Frantz Fanon for their unique contributions to the questions of violence and gender. This study advances our understanding of the attempts of African and Caribbean women writers to resolve the tension between external forms of violence and internal forms resulting from skewed cultural, social, and political rules based on gender.<p></p><h3>African Affairs</h3><p><p>"This study advances our understanding of the attempts of African and Caribbean women writers to resolve the tension between external forms of violence and internal forms resulting from skewed cultural, social, and political rules based on gender."&#8212;<i>African Affairs</i><p></p><article> <h4>African Affairs</h4>"This study advances our understanding of the attempts of African and Caribbean women writers to resolve the tension between external forms of violence and internal forms resulting from skewed cultural, social, and political rules based on gender."—<i>African Affairs</i> </article> <article> <h4>Choice</h4><p>"Including an excellent bibliography, this is an important work in literary and gender studies."—A. J. Guillaume&nbsp;Jr., <i>Choice</i></p> <p>— A. J. Guillaume</p> </article><article> <h4>Research in African Literatures</h4><p>"Kalisa’s analysis of gendered violence is a persuasive and timely study of violence in francophone African and Caribbean literature. It is a significant contribution to the field of women studies and is of interest to any gender theorist, postcolonial specialist, and Africana scholar."—Cheikh Thiam, <i>Research in African Literatures</i></p> <p>— Cheikh Thiam</p> </article> <article> <h4>Choice</h4>"Including an excellent bibliography, this is an important work in literary and gender studies."—A. J. Guillaume&nbsp;Jr., <i>Choice</i> </article> <article> <h4>Research in African Literatures</h4>"Kalisa's analysis of gendered violence is a persuasive and timely study of violence in francophone African and Caribbean literature. It is a significant contribution to the field of women studies and is of interest to any gender theorist, postcolonial specialist, and Africana scholar."—Cheikh Thiam, <i>Research in African Literatures</i> </article>
9Oral Epics from AfricaJohn William Johnson0John William Johnson, Thomas A. Hale, Stephen (Eds.) Belcher, Thomas A. Hale (Editor), Stephen Belcheroral-epics-from-africajohn-william-johnson97802532111010253211107$24.95PaperbackIndiana University PressMarch 20081st EditionLiterary Criticism, African<p><P>"The editors... must be congratulated... Long live the African storytellers!" &#151; Africa Today<P>"It is difficult to imagine a more practical introduction to contemporary African epic than this anthology... no other single volume comprehends the full scope of African epic (as opposed to praise poetry) the way this one does.... The stories are engaging, and the free-verse translations are surprisingly readable.... Recommended for all academic collections." &#151; Choice<P>Western culture traces its literary heritage to such well-known epics as the Iliad and the Odyssey and Gilgamesh. But it is only recently that scholars have turned their attention toward capturing the rich oral tradition that is still alive in Africa today. These 25 selections introduce English-speaking readers to the extensive epic traditions in Africa.</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: The Oral Epic in Africa</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Soninke Epics</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">The Epic of Wagadu</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mande Epics</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">The Epic of Son-Jara (Maninka)</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">The Epic of Fa-Jigi (Wasulunka)</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">The Epic of Bamana Segu (Bamana)</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">The Epic of Sonsan of Kaarta (Bamana)</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">The Epic of Almami Samori Toure (Bamana)</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">The Epic of Musadu (Maninka)</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">The Epic of Kelefa Saane (Mandinka)</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">The Epic of Kambili (Wasulunka)</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">The Epic of Sara (Maninka)</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Songhay and Zarma Epics</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">The Epic of Askia Mohammed</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">The Epic of Mali Bero</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">The Epic of Issa Korombe</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fulbe Epics</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">The Epic of Hambodedio and Saigalare</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%">15</TD><TD WIDTH="70%">The Epic of Silamaka and Poullori</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%">16</TD><TD WIDTH="70%">The Epic of Silamaka and Hambodedio</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%">17</TD><TD WIDTH="70%">The Epic of Samba Gueladio Diegui</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wolof Epics</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%">18</TD><TD WIDTH="70%">The Epic of Njaajaan Njaay</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%">19</TD><TD WIDTH="70%">The Epic of Lat Dior</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Egyptian Epics</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%">20</TD><TD WIDTH="70%">The Epic of the Bani Hilal: The Birth of the Horo Abu Zayd. I. (Northern Egypt)</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%">21</TD><TD WIDTH="70%">The Epic of Bani Hilal: The Birth of Abu Zayd. II (Southern Egypt)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Central African Epics</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%">22</TD><TD WIDTH="70%">The Epic of Mvet Moneblum, or The Blue Man</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%">23</TD><TD WIDTH="70%">The Epic of Jeki la Njambe Inono</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">baNyanga Epics of Zaire</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%">24</TD><TD WIDTH="70%">The Mwindo Epic</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%">25</TD><TD WIDTH="70%">The Epic of Kahindo</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD></table>
10African Fundamentalism: A Literary and Cultural Anthology of Garvey's Harlem RenaissanceTony Martin0Tony Martinafrican-fundamentalismtony-martin97809124690960912469099$14.95HardcoverMajority Press, Incorporated, TheOctober 1991Literary Criticism, General3635.31 (w) x 8.20 (h) x 0.85 (d)
11Land Apart: A South African ReaderVarious0Various, Andre Brink, J. M. Coetzeeland-apartvarious97801401000440140100040$12.71PaperbackPenguin Group (USA)June 1987African Literature Anthologies2565.08 (w) x 7.74 (h) x 0.56 (d)
12Women Writing Africa: The Eastern RegionAmandina Lihamba0<p><P>Amandina Lihamba is Dean of the Faculty of Arts and Sciences at Dar Es Salaam University, in Dar Es Salaam, Tanzania. She holds a degree in film studies from UCLA. Fulata L. Moyo has been Coordinator of the Department of Theology and Religious Studies at the University of Malawi, in Zomba, Malawi. She is now working on a doctorate in religious studies at Lutheran Theological Institute in Pietermaritzburg, South Africa. Mugyabuso M. Mulokozi is Director of the Institute of Kiswahili Research at Dar Es Salaam University in Tanzania. He is a scholar, a well-known poet, and translator. Naomi L. Shitemi, was a coordinator of the Department of Kiswahili and other African Languages at Moi University, in Eldoret, Kenya. She is now Dean of a division in that university.</p>Amandina Lihamba (Editor), Fulata L. Moyo (Editor), Mugaybuso M. Mulokoziwomen-writing-africaamandina-lihamba97815586153421558615342$29.95PaperbackFeminist Press at CUNY, TheFebruary 2007Social Sciences, Women's Studies<p><P>Third installment of major literary and scholarly project exposes East African women's history and culture.</p><h3>Publishers Weekly</h3><p><P>The third volume from the Women Writing Africa Project makes a significant contribution to the study of African literature and offers a textured portrait of women's lives in Kenya, Malawi, Tanzania, Uganda and Zambia. These pieces span the centuries from 1711 to 2003, address topics ranging from religion to HIV and represent prose and poetry, fiction and nonfiction, lullabies and protest songs. Marriage is a theme that runs throughout: "A Mother's Advice and Prayer" from 1858 is a nuptial manual in verse, and "I Want a Divorce," taken from a 1922 court record, gives a valuable glimpse of the power struggles between husband and wife. On a lighter note, a collection of recent song lyrics complains about useless husbands and lovers. Many 20th-century writers address colonialism and independence: Penina Muhando Mlama's "Creating in the Mother-Tongue" looks at the linguistic, literary and socioeconomic obstacles to writing in indigenous languages. The editors' lucid introduction usefully contextualizes these wonderful writings, and this volume will be especially welcome in college classrooms. General readers who want to be entertained, educated and chastened about women's struggles and triumphs in east Africa will delight in this literary feast. <I>(July)</I></P>Copyright 2007 Reed Business Information</p>
13Nobody Ever Said AIDS: Poems and Stories from Southern AfricaNobantu Rasebotsa0<p>Nobantu Rasebotsa is the dean of the faculty of humanities and lectures in the department of English at the University of Botswana. <p>Meg Samuelson is completing her doctoral dissertation at the University of Cape Town and has been involved with HIV/AIDS projects. She is the coordinator of the "Share Your Story about HIV/AIDS" creative writing competition.</p>Nobantu Rasebotsa (Editor), Kylie Thomas (Editor), Meg Samuelson (Editor), Njabulo S. Ndebelenobody-ever-said-aidsnobantu-rasebotsa97807957018490795701845$22.13PaperbackNB PublishersMarch 2010New EditionPlaces - Literary Anthologies, African Literature Anthologies1925.40 (w) x 8.30 (h) x 0.60 (d)While numerous texts have dealt with the AIDS pandemic in Africa from the clinical, economic, and sociological to the academic and technical this anthology of poems and short stories connects on a human level and reflects an entire society dealing with the challenges of overcoming AIDS and HIV. Well-known writers such as Achmat Dangor, Dambudzo Marechera, and Sindiwe Magona join 16 new writers selected from the "Share Your Story about HIV/AIDS" creative writing competition funded by the Swedish donor foundation, SIDA, and conducted in collaboration with the University of Cape Town. Their intimate stories and poems explore love, sexuality, stigma, and loss, bearing witness to the disease and responding to its silent taboo.<p>While numerous texts have dealt with the AIDS pandemic in Africa from the clinical, economic, and sociological to the academic and technical this anthology of poems and short stories connects on a human level and reflects an entire society dealing with the challenges of overcoming AIDS and HIV. Well-known writers such as Achmat Dangor, Dambudzo Marechera, and Sindiwe Magona join 16 new writers selected from the "Share Your Story about HIV/AIDS" creative writing competition funded by the Swedish donor foundation, SIDA, and conducted in collaboration with the University of Cape Town. Their intimate stories and poems explore love, sexuality, stigma, and loss, bearing witness to the disease and responding to its silent taboo.</p>
14Step into a World: A Global Anthology of the New Black LiteratureKevin Powell0<p><P>KEVIN POWELL is a critically acclaimed poet, journalist, essayist, and public speaker. A former senior writer for Vibe, he has been published in dozens of periodicals, including the Washington Post, Essence, Code, Rolling Stone, the New York Times, George, Ms., and voter.com.</p>Kevin Powell (Editor), Powellstep-into-a-worldkevin-powell97804713806030471380601$26.31HardcoverWiley, John & Sons, IncorporatedOctober 20001Peoples & Cultures - American Anthologies, Literature Anthologies - General & Miscellaneous, African Literature Anthologies, African Diaspora (outside U.S.) - General & Miscellaneous, English & Irish Literature Anthologies4966.48 (w) x 9.55 (h) x 1.48 (d)<p>Step Into A World</p> <p>"Kevin Powell is pushing to bring, as he has so brilliantly done before, the voices of his generation: the concerns, the cares, the fears, and the fearlessness. Step into a World is a kaleidoscope into the world not bound by artificial constructs like nation. John Coltrane recorded ‘Giant Steps,’ which is a riff on the sight and sounds in his muse. Powell plays the computer with equal astuteness." –Nikki Giovanni</p> <p>"Those of us who pay attention were aware that the younger generation of black writers was being smothered by the anointment of talented tenth Divas and Divuses, and their commercial accommodationist ‘Fourth Renaissance. ’This anthology is indeed a breakthrough! It combines the boldness and daring of hip-hop with the intellectual keenness of a Michele Wallace or a Clyde Taylor." –Ishmael Reed</p> <p>"In a culture where videos, the Internet, and other high-tech communication is being consumed like the latest mind-altering drug, how does great literature grow and survive? These writers will answer that all-important question. This anthology provides a clue, a hint, as to where we might be going. They are resisting all this vacant, empty-minded nothingness. Read them. Listen to them. If you don’t, you do so at your peril." –Quincy Troupe</p><p><P>Step Into A World<br> <br> "Kevin Powell is pushing to bring, as he has so brilliantly done before, the voices of his generation&#58; the concerns, the cares, the fears, and the fearlessness. Step into a World is a kaleidoscope into the world not bound by artificial constructs like nation. John Coltrane recorded 'Giant Steps,' which is a riff on the sight and sounds in his muse. Powell plays the computer with equal astuteness." -Nikki Giovanni<br> <br> "Those of us who pay attention were aware that the younger generation of black writers was being smothered by the anointment of talented tenth Divas and Divuses, and their commercial accommodationist 'Fourth Renaissance. 'This anthology is indeed a breakthrough! It combines the boldness and daring of hip-hop with the intellectual keenness of a Michele Wallace or a Clyde Taylor." -Ishmael Reed<br> <br> "In a culture where videos, the Internet, and other high-tech communication is being consumed like the latest mind-altering drug, how does great literature grow and survive? These writers will answer that all-important question. This anthology provides a clue, a hint, as to where we might be going. They are resisting all this vacant, empty-minded nothingness. Read them. Listen to them. If you don't, you do so at your peril." -Quincy Troupe</p><h3>Essence - Patrick Henry Bass</h3><p>Cultural critic Kevin Powell's <i>Step into a World</i> is a watershed moment in hip-hop writing, a thought-provoking book with a broad range of voices, from Ben Okri to Junot Didaz. </p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Word Movement</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Are Black People Cooler than White People?</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">GWTW</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Race Natters - The Chattering Classes Convene on Martha's Vineyard</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Search of Alice Walker</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mama's Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Visible Man</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Return to the Planet of the Apes</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sports Taboo: Why blacks are like boys and whites are like girls</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Are We Tiger Woods Yet?</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Disappearance of Joe Wood Jr.</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">She and I</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Girl?</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Happens When Your 'Hood Is the Last Stop on the White Flight Express?</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Texaco</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Speaking in Tongues</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Your Friendly Neighborhood Jungle</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hip-Hop Hi-Tech</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homophobia: Hip-Hop's Black Eye</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Death of Rock n' Roll</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Confessions of a Hip-Hop Critic</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">hip-hop feminist</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This Is Not a Puff Piece</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Live from Death Row</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hit 'Em Up: On the Life and Death of Tupac Shakur</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Angles of Vision</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Soul of Black Talk</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Do Books Matter?</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Other Side of Paradise - Feminist Pedagogy, Toni Morrison Iconography, and Oprah's Book Club Phenomenon</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">She's Gotta Have It</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Entry</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What About Black Romance?</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"It be's that way sometimes 'cause I can't control the rhyme." - Notes from the Post-Soul Intelligentsia</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Facing Unknown Possibilities: Lance Jeffers and the Black Aesthetic</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The White Boy Shuffle</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Interpolation: Peace to My Nine</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epilogue: Women Like Us</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sun, the Moon, the Stars</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prologue, 1963</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Emperor's Babe</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">the missionary position</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Son, My Heart, My Life</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Integrationist</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">slave</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Famished Road</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stigmata</TD><TD WIDTH="10%" ALIGN="RIGHT">265</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pagoda</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">face</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Peculiar Second Marriage of Archie Jones</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baker</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rika</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Butterfly Burning</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Intuitionist</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Safari</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rumor</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fugue</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Clearing</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Dream of Jesus</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">personal</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tat Tvam Asi (You Are the One)</TD><TD WIDTH="10%" ALIGN="RIGHT">316</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Irony of the Caribbean</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Legba, Landed</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excursion to Port Royal</TD><TD WIDTH="10%" ALIGN="RIGHT">322</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dear Mr. Ellison</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Assam</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Church Y'all</TD><TD WIDTH="10%" ALIGN="RIGHT">324</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Yellow Forms of Paradise</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">swampy river</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Awakening"</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sleep</TD><TD WIDTH="10%" ALIGN="RIGHT">334</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When the Neighbors Fight</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You Are Chic Now, Che</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Visitation: Grenada, 1978</TD><TD WIDTH="10%" ALIGN="RIGHT">337</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">100 Times</TD><TD WIDTH="10%" ALIGN="RIGHT">339</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Discubriendo una Fotografia de mi Madre</TD><TD WIDTH="10%" ALIGN="RIGHT">340</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">sometime in the summer there's october</TD><TD WIDTH="10%" ALIGN="RIGHT">340</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Outcome</TD><TD WIDTH="10%" ALIGN="RIGHT">344</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Toi Derricotte at Quail Ridge Books</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nairobi Streetlights</TD><TD WIDTH="10%" ALIGN="RIGHT">346</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">3 movements</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Night when Mukoma Told the Devil to Go to Hell</TD><TD WIDTH="10%" ALIGN="RIGHT">348</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autobiography of a Black Man</TD><TD WIDTH="10%" ALIGN="RIGHT">350</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spotlight at the Nuyorican Poets Cafe</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blue</TD><TD WIDTH="10%" ALIGN="RIGHT">353</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Patrimony</TD><TD WIDTH="10%" ALIGN="RIGHT">354</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Intermission in three acts in service of PLOT</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Calypso the outside woman</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sunday</TD><TD WIDTH="10%" ALIGN="RIGHT">361</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Purple Impala</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Windows of Exile</TD><TD WIDTH="10%" ALIGN="RIGHT">363</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">gin and juice</TD><TD WIDTH="10%" ALIGN="RIGHT">364</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Collection Day</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Insomnia</TD><TD WIDTH="10%" ALIGN="RIGHT">366</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shrine outside Basquiat's Studio, September 1988</TD><TD WIDTH="10%" ALIGN="RIGHT">367</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Youth Black Art Black Face - An Address</TD><TD WIDTH="10%" ALIGN="RIGHT">371</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">leaving a feminist organization: a personal/poetics</TD><TD WIDTH="10%" ALIGN="RIGHT">374</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">we are trying to (have me) conceive</TD><TD WIDTH="10%" ALIGN="RIGHT">376</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">if we've gotta live underground and everybody's got cancer/will poetry be enuf? - A Letter to Ntozake Shange</TD><TD WIDTH="10%" ALIGN="RIGHT">380</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Binga - Diary Entry</TD><TD WIDTH="10%" ALIGN="RIGHT">385</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Six-Hour Difference: A Dutch Perspective on the New World</TD><TD WIDTH="10%" ALIGN="RIGHT">388</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Just Beneath the Surface - An Email</TD><TD WIDTH="10%" ALIGN="RIGHT">395</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">By Invitation - An Open Letter to the President of South Africa</TD><TD WIDTH="10%" ALIGN="RIGHT">398</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Happened to Your Generation's Promise of "Love and Revolution"? - A Letter to Angela Davis</TD><TD WIDTH="10%" ALIGN="RIGHT">401</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Atlantic Away: A Letter from Africa</TD><TD WIDTH="10%" ALIGN="RIGHT">404</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">419</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Self-Portraith Radcliffe Bailey, the Cover Artist</TD><TD WIDTH="10%" ALIGN="RIGHT">452</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Selected Bibliography of Black Literature</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Books Essential to Understanding Hip-Hop Culture</TD><TD WIDTH="10%" ALIGN="RIGHT">457</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">459</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">467</TD></TABLE><article> <h4>Patrick Henry Bass</h4>Cultural critic Kevin Powell's <i>Step into a World</i> is a watershed moment in hip-hop writing, a thought-provoking book with a broad range of voices, from Ben Okri to Junot Didaz. <br> — <i>Essence</i> </article> <article> <h4>Library Journal</h4>This anthology of young, contemporary black writers generally maintains a precarious balance between authentic discovery and promotional marketing, although the writing varies widely in quality and relevance (some selections are quite riveting, others just self-absorbed). Divided into six sections--"Essays," "Hip-Hop Journalism," "Criticism," "Fiction," "Poetry," and "Dialogue"--the collection presents a broad range of voices and perspectives, although a majority of them are, not surprisingly, from the United States. While some of the texts, particularly those on hip-hop, seem overly dramatic and hyperbolic, some very fine writing emerges in the "Essays" section. Mostly autobiographical, these selections address the very real contemporary problems of black identity in a post-Civil Rights era in which the political battle lines have become much more blurred and the issues of self, nation, class, gender, sexuality, and history are immensely complicated. The items in the "Dialogue" section are the most strident and the most inventive and compelling. Even though this book will mainly be used as a classroom textbook, it could be a valuable addition to larger collections and other libraries interested in offering brief introductions to young black writers.--Roger A. Berger, Everett Community Coll., WA Copyright 2000 Cahners Business Information. </article>
15An Anthology of Interracial Literature: Black-White Contacts in the Old World and the NewWerner Sollors0<p><p><B>Werner Sollors</B> is Henry B. and Anne M. Cabot Professor of English Literature and Professor of Afro-American Studies and Chair of the History of American Civilization Program at Harvard University. He is the author and editor of numerous books, including <I>The Multilingual Anthology of American Literature</I>, <I>Theories of Ethnicity&#58; A Classical Reader</I>, and <I>Multilingual America&#58; Transnationalism, Ethnicity, and the Languages of American Literature</I>, all available from NYU Press.<p></p>Werner Sollors, Werner Sollorsan-anthology-of-interracial-literaturewerner-sollors97808147814320814781438HardcoverNew York University PressFebruary 2004Language Arts &amp; Disciplines<p><p>A white knight meets his half-black half-brother in battle. A black hero marries a white woman. A slave mother kills her child by a rapist-master. A white-looking person of partly African ancestry passes for white. A master and a slave change places for a single night. An interracial marriage turns sour. The birth of a child brings a crisis. Such are some of the story lines to be found within the pages of <B>An Anthology of Interracial Literature</B>.<p> <p>This is the first anthology to explore the literary theme of black-white encounters, of love and family stories that cross&#151;or are crossed by&#151;what came to be considered racial boundaries. The anthology extends from Cleobolus' ancient Greek riddle to tormented encounters in the modern United States, visiting along the way a German medieval chivalric romance, excerpts from <I>Arabian Nights</I> and Italian Renaissance novellas, scenes and plays from Spain, Denmark, England, and the United States, as well as essays, autobiographical sketches, and numerous poems. The authors of the selections include some of the great names of world literature interspersed with lesser-known writers. Themes of interracial love and family relations, passing, and the figure of the Mulatto are threaded through the volume.<p> <p><B>An Anthology of Interracial Literature</B> allows scholars, students, and general readers to grapple with the extraordinary diversity in world literature. As multi-racial identification becomes more widespread the ethnic and cultural roots of world literature takes on new meaning.<p> <p>Contributors include&#58; Hans Christian Andersen, Gwendolyn Brooks, Elizabeth Barrett Browning, Charles W. Chesnutt, Lydia MariaChild, Kate Chopin, Countee Cullen, Caroline Bond Day, Rita Dove, Alexandre Dumas, Olaudah Equiano, Langston Hughes, Victor Hugo, Charles Johnson, Adrienne Kennedy, Henry Wadsworth Longfellow, Guy de Maupassant, Claude McKay, Eugene O'Neill, Alexander Pushkin, and Jean Toomer.<p></p><h3>Library Journal</h3><p>Sollors (English literature & Afro-American studies, Harvard) has compiled the first scholarly anthology that centers on the theme in literature of love and family across, or crossed by, racial boundaries. As Sollors explains in the introduction, "It is a theme that makes for unusual intersections of the plots of love and family relations with issues of society and politics." The anthology contains a broad range of texts, including epics, poems, and novellas, and spans numerous cultures from the ancient to the contemporary. The authors included range from Hans Christian Andersen and Alexander Pushkin to Eugene O'Neill and Gwendolyn Brooks. One is reminded that color was an accidental quality in antiquity and the Christian Middle Ages; that during later times, censure existed; and that, in the United States in particular, interracial marriage bans were not deemed unconstitutional until 1967. As stated in a Rita Dove play: "A sniff of freedom's all it takes to feel history's sting." Recommended for academic libraries and for any reader working around the race rubric.-Scott Hightower, Fordham Univ., New York Copyright 2003 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">"Riddle" (5th century B.C.)</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">From Parzival (1197-1210)</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">From The Book of the Thousand Nights and One Night</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">From Il Novellino (1475)</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">From Hecatommithi (1565)</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">"The Beautiful Slave-Girl" (1614)</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">"A Negress Courts Cestus, a Man of a Different Colour" (1633)</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">"A Faire Nimph Scorning a Black Boy Courting Her" (1658)</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">"The Inversion" (1657), "One Enamour'd on a Black-moor" (1657), "A Black Nymph Scorning a Fair Boy Courting Her" (1657)</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">"To Mrs. Diana Cecyll" (1665), "The Brown Beauty" (1665), "Sonnet of Black Beauty (1665), "Another Sonnet to Black It Self" (1665)</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">"In Laudem Aethiopissae" (1778)</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">The Isle of Pines (1668)</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">From Oroonoko: A Tragedy in Five Acts (1696)</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">"On a Young Lady's Weeping at Oroonooko" (1732), "To a Gentleman in Love with a Negro Woman" (1732)</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%">15</TD><TD WIDTH="70%">Two Versions of the Story of Inkle and Yarico</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%">16</TD><TD WIDTH="70%">The Dying Negro (1773)</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%">17</TD><TD WIDTH="70%">Letter to James Tobin (1788)</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%">18</TD><TD WIDTH="70%">The Engagement in Santo Domingo (1811)</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%">19</TD><TD WIDTH="70%">Ourika (1823)</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%">20</TD><TD WIDTH="70%">The Blackamoor of Peter the Great (1827-1828)</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%">21</TD><TD WIDTH="70%">"The Quadroons" (1842)</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%">22</TD><TD WIDTH="70%">From Georges (1843)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%">23</TD><TD WIDTH="70%">From Beyond the Seas (1863-1864)</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%">24</TD><TD WIDTH="70%">"The Quadroom Girl" (1842)</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%">25</TD><TD WIDTH="70%">"The Runaway Slave at Pilgrim's Point" (1848)</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD><TR><TD WIDTH="20%">26</TD><TD WIDTH="70%">"The Pilot's Story" (1860)</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%">27</TD><TD WIDTH="70%">From Mulatto: An Original Romantic Drama in Five Acts (1840)</TD><TD WIDTH="10%" ALIGN="RIGHT">292</TD><TR><TD WIDTH="20%">28</TD><TD WIDTH="70%">The Octoroon; or, Life in Louisiana: A Play in Five Acts (1859)</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%">29</TD><TD WIDTH="70%">From Black and White: A Drama in Three Acts (1869)</TD><TD WIDTH="10%" ALIGN="RIGHT">337</TD><TR><TD WIDTH="20%">30</TD><TD WIDTH="70%">From Miscegenation: The Theory of the Blending of the Races, Applied to the American White Man and Negro (1863)</TD><TD WIDTH="10%" ALIGN="RIGHT">350</TD><TR><TD WIDTH="20%">31</TD><TD WIDTH="70%">Madame Delphine (1881)</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%">32</TD><TD WIDTH="70%">From "The Pariah" (1895)</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%">33</TD><TD WIDTH="70%">"Boitelle" (1889)</TD><TD WIDTH="10%" ALIGN="RIGHT">424</TD><TR><TD WIDTH="20%">34</TD><TD WIDTH="70%">"The Father of Desiree's Baby" (1893)</TD><TD WIDTH="10%" ALIGN="RIGHT">431</TD><TR><TD WIDTH="20%">35</TD><TD WIDTH="70%">"Uncle Wellington's Wives" (1899)</TD><TD WIDTH="10%" ALIGN="RIGHT">436</TD><TR><TD WIDTH="20%">36</TD><TD WIDTH="70%">"The Mulatto to His Critics" (1918)</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%">37</TD><TD WIDTH="70%">"The Octoroon" (1922), "Cosmopolite" (1922), "The Riddle" (1925)</TD><TD WIDTH="10%" ALIGN="RIGHT">462</TD><TR><TD WIDTH="20%">38</TD><TD WIDTH="70%">From The Vengeance of the Gods (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%">39</TD><TD WIDTH="70%">"Hope" (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">473</TD><TR><TD WIDTH="20%">40</TD><TD WIDTH="70%">"Withered Skin of Berries" (1923)</TD><TD WIDTH="10%" ALIGN="RIGHT">476</TD><TR><TD WIDTH="20%">41</TD><TD WIDTH="70%">"Confession" (1929)</TD><TD WIDTH="10%" ALIGN="RIGHT">498</TD><TR><TD WIDTH="20%">42</TD><TD WIDTH="70%">All God's Chillun Got Wings (1924)</TD><TD WIDTH="10%" ALIGN="RIGHT">504</TD><TR><TD WIDTH="20%">43</TD><TD WIDTH="70%">"Near White" (1925), "Two Who Crossed a Line" (1925)</TD><TD WIDTH="10%" ALIGN="RIGHT">530</TD><TR><TD WIDTH="20%">44</TD><TD WIDTH="70%">"Cross" (1925), "Mulatto" (1927), Mulatto: A Tragedy of the Deep South (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">532</TD><TR><TD WIDTH="20%">45</TD><TD WIDTH="70%">"The Mulatto" (1925), "Near-White" (1932)</TD><TD WIDTH="10%" ALIGN="RIGHT">559</TD><TR><TD WIDTH="20%">46</TD><TD WIDTH="70%">"The Pink Hat" (1926)</TD><TD WIDTH="10%" ALIGN="RIGHT">573</TD><TR><TD WIDTH="20%">47</TD><TD WIDTH="70%">"Ballad of Pearl May Lee" (1945)</TD><TD WIDTH="10%" ALIGN="RIGHT">577</TD><TR><TD WIDTH="20%">48</TD><TD WIDTH="70%">The Owl Answers (1963)</TD><TD WIDTH="10%" ALIGN="RIGHT">583</TD><TR><TD WIDTH="20%">49</TD><TD WIDTH="70%">From Oxherding Tale (1982)</TD><TD WIDTH="10%" ALIGN="RIGHT">594</TD><TR><TD WIDTH="20%">50</TD><TD WIDTH="70%">From The Darker Face of the Earth (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">606</TD><TR><TD WIDTH="20%">51</TD><TD WIDTH="70%">From Buck (2001)</TD><TD WIDTH="10%" ALIGN="RIGHT">634</TD><TR><TD WIDTH="20%">52</TD><TD WIDTH="70%">From The Secret Life of Fred Astaire (2001)</TD><TD WIDTH="10%" ALIGN="RIGHT">653</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sources</TD><TD WIDTH="10%" ALIGN="RIGHT">667</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">673</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Editor</TD><TD WIDTH="10%" ALIGN="RIGHT">675</TD></TABLE>
16The Caine Prize 2009: The Caine Prize for African Writing 10th Annual CollectionNew Internationalist0<p><P>The New Internationalist is an independent not-for-profit publishing co-operative. Our mission is to report on issues of world poverty and inequality&#58; to focus attention on the unjust relationship between the powerful and the powerless worldwide&#58; to debate and campaign for the radical changes necessary if the needs of all are to be met.</p>New Internationalistthe-caine-prize-2009new-internationalist97819065231451906523142$16.24PaperbackNew InternationalistJuly 200910Short Story Anthologies, African Fiction, African Literature Anthologies2145.80 (w) x 8.20 (h) x 0.60 (d)<p><b>The Caine Prize for African Writing</b> is Africa’s leading literary prize and is awarded to a short story by an African writer published in English, whether in Africa or elsewhere. This edition collects the five 2009 shortlisted stories, along with twelve stories written at the Caine Prize Writers’ Workshop, taking place in spring 2009.</p> <p>Previous winners and entrants include Segun Afolabi, Leila Aboulela, Chimamanda Ngozi Adichie, Brian Chikwava, Henrietta Rose-Innes, Mary Watson, and Binyavanga Wainaina.</p> <p>The collection will be released in time for the announcement of the award in July 2009.</p> <p><b>This year's shortlist:</b></p> <p>*&nbsp; <b>Mamle Kabu</b> (Ghana), 'The End of Skill from Dreams,' from <i>Miracles and Jazz</i>, published by Picador Africa, Johannesburg 2008</p> <p>* <b>Parselelo Kantai</b> (Kenya), 'You Wreck Her,' from the <i>St Petersburg Review</i>, NY 2008</p> <p>* <b>Alistair Morgan</b> (South Africa), 'Icebergs,' from <i>The Paris Review</i> no.<br> 183, NY 2008</p> <p>* <b>EC Osondu</b> (Nigeria), 'Waiting,' from <i>Guernicamag.com</i>, October 2008</p> <p>* <b>Mukoma wa Ngugi</b> (Kenya), 'How Kamau wa Mwangi Escaped into Exile,' from <i>Wasafiri</i> No54, Summer 2008, London</p><p><P>The best in new short story fiction from Africa's leading literary award.</p>
17Traditions in World Literature: Literature of Africa, Softcover Student EditionMcGraw-Hill0<p>McGraw-Hill authors represent the leading experts in their fields and are dedicated to improving the lives, careers, and interests of readers worldwide</p>McGraw-Hill, McGraw-Hill Stafftraditions-in-world-literaturemcgraw-hill97808442120290844212024$7.55PaperbackGlencoe/McGraw-HillJanuary 19991Anthologies3207.40 (w) x 9.10 (h) x 0.80 (d)<p>Presents writings from Ghana, Nigeria, Senegal, South Africa, and other parts of Africa, with biographical information about the authors, discussion questions, and writing ...</p><h3>Biography</h3><p>McGraw-Hill authors represent the leading experts in their fields and are dedicated to improving the lives, careers, and interests of readers worldwide</p>
18Love ChildGcina Mhlophe0Gcina Mhlophelove-childgcina-mhlophe9781869140014186914001X$8.97PaperbackUniversity Of KwaZulu-Natal PressMarch 2002African Literature Anthologies1248.50 (w) x 5.30 (h) x 0.40 (d)<p>Gcina Mhlophe is a poet, playwright, performer and South Africa's favorite storyteller. In this fascinating retrospective collection, she shares her personal journey through the social and political landscapes of the 1980s, with its recollected moments of struggle and transformation along the way. Written in a variety of styles and voices, ranging from anecdotal memory to historical moment to folklore tradition, these simply presented poems and stories are by turns funny, touching, chilling, thought-provoking and absorbing. Love Child is a collection for the new millennium generation. It is valuable not just for the deeply-felt personal and political insights it has to offer, but for the accessible ease with which it manages to capture the seminal moments of black South African history in the preserving amber of the author's personal recollection.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transforming Moments</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Company of Words</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Toilet</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nongenile</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sweet Honey Nights</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Praise to Our Mothers</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Dear Madam</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Say No</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Fell in Love</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Crocodile Spirit</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sometimes When it Rains</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nokulunga's Wedding</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Are at War</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dumisani</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sitting Alone Thinking</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It's Quiet Now</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dancer</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fly, Hat, Fly!</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leader Remember</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Child</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Brighter Dawn for African Women</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD></TABLE>
19Seventh Street Alchemy 2004: A Selection of Works from the Caine Prize for African WritingJacana Media0<p><p><b>Brian Chikwava</b> is Zimbabwean writer and the 2004 Caine Prize for African Writing winner. <b>Doreen Baingana</b>,<b> Monica Arac de Nyeko</b>, and <b>Parselelo Kantai</b> were on the shortlist for the same prize. <b>Nick Elam </b>is the administrator for the Caine Prize for African Writing.<br></p>Jacana Media (Manufactured by), Monica Arac de Nyeko, Doreen Baingana, Parselelo Kantaiseventh-street-alchemy-2004jacana-media97817700914501770091459$25.13PaperbackJacana MediaJune 2006Short Story Anthologies, African Fiction, African Literature Anthologies2285.75 (w) x 8.25 (h) x 0.50 (d)<p>The 2004 winner of the Caine Prize for African Writing, Brian Chikwava's "Seventh Street Alchemy" is featured alongside shortlisted stories from 2004, compositions from the Caine Prize's March 2005 Workshop for African Writers, and Charles Mungoshi's previously unpublished "Letter from a Friend" in this inspired collection of work from some of Africa's most promising young and new writers.<br> </p><p><p>The 2004 winner of the Caine Prize for African Writing, Brian Chikwava's "Seventh Street Alchemy" is featured alongside shortlisted stories from 2004, compositions from the Caine Prize's March 2005 Workshop for African Writers, and Charles Mungoshi's previously unpublished "Letter from a Friend" in this inspired collection of work from some of Africa's most promising young and new writers.<br></p>
20Women Writing Africa: The Southern Region: Volume 1Sheila Meintjes0Sheila Meintjes, Dorothy Driver (Editor), Sheila Meintjes (Editor), Margie Orford (Editor), Chiedza Musengeziwomen-writing-africasheila-meintjes97815586140621558614060$1.99Library BindingFeminist Press at CUNY, TheDecember 2002First EditionPlaces - Literary Anthologies, African Literature Anthologies, General & Miscellaneous African History, Women's History - Africa, Sub-Saharan5606.30 (w) x 9.30 (h) x 1.50 (d)<p>A landmark in scholarship and culture, this volume uncovers the stunning literary legacy of African women, heretofore all but invisible.</p> <p>Beginning with a Sesotho women’s lament song from 1842, this volume brings together poetry, songs, newspaper columns, political petitions, personal letters, and prison diaries, along with little-known works by writers such as Bessie Head, Doris Lessing, Yvonne Vera, Zoë Wicomb, and Nadine Gordimer. Each of the 120 texts in the volume is accompanied by a scholarly note that provides detailed background information, while an introductory essay sets the broader historical stage. Approximately one third of the texts are oral in origin, and few have previously been available in book form.</p><p><P>An essential text for libraries&#151;the definitive collection of women's literatures from southern Africa.</p><h3>Library Journal</h3><p>This rich resource for scholars and general readers alike is the product of a decade of research by the Women Writing Africa Project. The project, funded by the Ford and Rockefeller foundations, seeks to bring African women's literary voices to the public through four volumes of texts arranged by region. The first volume in this distinctive series presents 120 southern African texts that are rich, evocative, and shaped by endless complexities. The settler colonies, such as Namibia, South Africa, and Zimbabwe, offer the largest body of research materials to be mined. Botswana's lack of colonialism meant that literacy came at a later date than in other countries, so texts are available only from the mid-1920s. Lesotho has older texts, however, owing to the presence of a Christian mission. Spanning two centuries (the 19th and the 20th) and featuring such writers as Tsitsi Dangarembga, Nadine Gordimer, Lauretta Ngcobo, Doris Lessing, and Winnie Mandela, the anthology includes texts that range from songs, poems, fiction, praise poems, and folktales to letters, journals, historical documents, journalism pieces, and oral testimonies. The volume's editors, all South African scholars, have also included a journal by a Boer woman written during the Anglo-Boer War, a testimony before the Truth and Reconciliation Commission, and songs of female initiation into adulthood. These selections, most of which have never before been assembled or published, often call into question such important matters as borders, language, vocabulary, translation, and colonialism. The lengthy introduction adequately explicates the historical as well as textual meaning, and each text's headnote provides context and useful details about the date of its origin, location, and language. Essential for all academic libraries and highly recommended for larger public libraries.-Neal Wyatt, Chesterfield Cty. P.L., VA Copyright 2003 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Note on the Women Writing Africa Project</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nineteenth Century</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song of the Afflicted</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Testimony</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters and Land Submission</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">God's Peace and Blessing</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Account of Cape Town</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Mother Praises Her Baby</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Unanana-bosele</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Affidavit</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What the Maidens Do with Rooi Klip</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to Miss Mackenzie</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Story of Ngangezwe and Mnyamana</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The War in Zululand</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Lions Who Changed Themselves into People and Married Two Herero Girls</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leaving the Farm</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Portrait of Louisa</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Penelopa Lienguane</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Testimony of a School Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1900 to 1919</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Journal of the War</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moliege's Vengeance</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ominous Weather</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Court Record</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Women's Petition: Domestic Unhappiness</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter from Karibib</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Petition of the Native and Coloured Women of the Province of the Orange Free State</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Africa: My Native Land</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A "Little Woman's" Advice to the Public</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baster Affidavit</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1920s to 1950s</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Address to the Resident Commissioner</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Going to School</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Listen, Compatriots!</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to the High Commissioner</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Inheritance: Two Letters</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Speech to the Bangwaketse</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bantu Home Life</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Social Conditions Among Bantu Women and Girls</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Story of Nosente</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">UMandisa</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nation Is Going to Ruination</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Flight of the Royal Household</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter from Keetmanshoop</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meeting of Herero Women</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Case of the Foolish Minister</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Though I Am Black, I Am Comely</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song of King Iipumbu</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Women's Charter</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Presidential Address to the African National Congress Women's League, Transvaal</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">African Women Do Not Want Passes</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Widows of the Reserves</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It's Gotta Be Cash for a Cookie</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aunt, Stretch out the Blanket</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1960s and 1970s</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Girl Aga-abes</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Diary of a Detainee</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Past and Present</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bus Journey to Tsolo</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Court Statements</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Widow and the Baboons</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballad of Nomagundwane</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For "Napoleon Bonaparte," Jenny, and Kate</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What of the Future?</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Drift in the Wind</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I am a Wailing Fool</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Murmurs in the Kutum</TD><TD WIDTH="10%" ALIGN="RIGHT">309</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tobacco, Sugar Alcohol, and Coffee: These Things Have Turned Us into Slaves</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Man Hides Food from His Family</TD><TD WIDTH="10%" ALIGN="RIGHT">316</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fall Tomorrow</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Old People Give You Life</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Emergency Call from the Women of Namibia</TD><TD WIDTH="10%" ALIGN="RIGHT">337</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Women Are Wealth</TD><TD WIDTH="10%" ALIGN="RIGHT">339</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem for My Mother</TD><TD WIDTH="10%" ALIGN="RIGHT">343</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Detention Alone Is a Trial in Itself</TD><TD WIDTH="10%" ALIGN="RIGHT">344</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Basking Lizard</TD><TD WIDTH="10%" ALIGN="RIGHT">346</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Working on the Mail</TD><TD WIDTH="10%" ALIGN="RIGHT">348</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1980s</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rending of the Veil</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Haunting Melancholy of Klipvoordam</TD><TD WIDTH="10%" ALIGN="RIGHT">363</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Return Journey</TD><TD WIDTH="10%" ALIGN="RIGHT">372</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arrested for Being Women</TD><TD WIDTH="10%" ALIGN="RIGHT">375</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crossroads</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kandishiwo - I Don't Know</TD><TD WIDTH="10%" ALIGN="RIGHT">380</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">385</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Citizenship: An Open Letter to the Attorney-General</TD><TD WIDTH="10%" ALIGN="RIGHT">386</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I, the Unemployed</TD><TD WIDTH="10%" ALIGN="RIGHT">390</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">392</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Our Sharpeville</TD><TD WIDTH="10%" ALIGN="RIGHT">397</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Our Government Is a Glowing Ember</TD><TD WIDTH="10%" ALIGN="RIGHT">398</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Willy Nyathele</TD><TD WIDTH="10%" ALIGN="RIGHT">400</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jesus Is Indian</TD><TD WIDTH="10%" ALIGN="RIGHT">402</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Children of Namibia</TD><TD WIDTH="10%" ALIGN="RIGHT">411</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Praise to Our Mothers</TD><TD WIDTH="10%" ALIGN="RIGHT">413</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">T.M.T. [actual symbol not reproducible] T.B.M.G.</TD><TD WIDTH="10%" ALIGN="RIGHT">415</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1990s and 2000s</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Another Story</TD><TD WIDTH="10%" ALIGN="RIGHT">419</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">War from Within</TD><TD WIDTH="10%" ALIGN="RIGHT">430</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Krotoa's Story</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stella</TD><TD WIDTH="10%" ALIGN="RIGHT">438</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Giraffe Song</TD><TD WIDTH="10%" ALIGN="RIGHT">442</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nhamiwa's Magic Stick</TD><TD WIDTH="10%" ALIGN="RIGHT">444</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Lend Me a Dress": Testimonies on Education</TD><TD WIDTH="10%" ALIGN="RIGHT">446</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Broken Family</TD><TD WIDTH="10%" ALIGN="RIGHT">448</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Dream-Miracle Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Praise to Mbuya Nehanda</TD><TD WIDTH="10%" ALIGN="RIGHT">455</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Noble Woman of Africa</TD><TD WIDTH="10%" ALIGN="RIGHT">457</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Swazi Wedding Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Izisho Zokusebenza - Work Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">April 27: The First Time</TD><TD WIDTH="10%" ALIGN="RIGHT">467</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Before the Beginning</TD><TD WIDTH="10%" ALIGN="RIGHT">470</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Price of Freedom</TD><TD WIDTH="10%" ALIGN="RIGHT">471</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ngonya's Bride-Price</TD><TD WIDTH="10%" ALIGN="RIGHT">476</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Testimony: Truth and Reconciliation Commission</TD><TD WIDTH="10%" ALIGN="RIGHT">479</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Will Be Leasing for Ourselves</TD><TD WIDTH="10%" ALIGN="RIGHT">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Writing near the Bone</TD><TD WIDTH="10%" ALIGN="RIGHT">488</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">African Wisdom</TD><TD WIDTH="10%" ALIGN="RIGHT">491</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">War Memoir</TD><TD WIDTH="10%" ALIGN="RIGHT">494</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Birth of This Country's Language</TD><TD WIDTH="10%" ALIGN="RIGHT">500</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bojale - Setswana Initiation Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">506</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Intonjane - Xhosa Initiation Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">507</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mutondo - Nyemba Initiation Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">510</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Setswana Wedding Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">513</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good as Dead</TD><TD WIDTH="10%" ALIGN="RIGHT">515</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Caring for the Dying</TD><TD WIDTH="10%" ALIGN="RIGHT">520</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Generations</TD><TD WIDTH="10%" ALIGN="RIGHT">522</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions Acknowledgments and Sources</TD><TD WIDTH="10%" ALIGN="RIGHT">537</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Authors Listed by Country</TD><TD WIDTH="10%" ALIGN="RIGHT">549</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">551</TD></TABLE><article> <h4>Library Journal</h4>This rich resource for scholars and general readers alike is the product of a decade of research by the Women Writing Africa Project. The project, funded by the Ford and Rockefeller foundations, seeks to bring African women's literary voices to the public through four volumes of texts arranged by region. The first volume in this distinctive series presents 120 southern African texts that are rich, evocative, and shaped by endless complexities. The settler colonies, such as Namibia, South Africa, and Zimbabwe, offer the largest body of research materials to be mined. Botswana's lack of colonialism meant that literacy came at a later date than in other countries, so texts are available only from the mid-1920s. Lesotho has older texts, however, owing to the presence of a Christian mission. Spanning two centuries (the 19th and the 20th) and featuring such writers as Tsitsi Dangarembga, Nadine Gordimer, Lauretta Ngcobo, Doris Lessing, and Winnie Mandela, the anthology includes texts that range from songs, poems, fiction, praise poems, and folktales to letters, journals, historical documents, journalism pieces, and oral testimonies. The volume's editors, all South African scholars, have also included a journal by a Boer woman written during the Anglo-Boer War, a testimony before the Truth and Reconciliation Commission, and songs of female initiation into adulthood. These selections, most of which have never before been assembled or published, often call into question such important matters as borders, language, vocabulary, translation, and colonialism. The lengthy introduction adequately explicates the historical as well as textual meaning, and each text's headnote provides context and useful details about the date of its origin, location, and language. Essential for all academic libraries and highly recommended for larger public libraries.-Neal Wyatt, Chesterfield Cty. P.L., VA Copyright 2003 Reed Business Information. </article>
21Of Suffocated Hearts and Tortured Souls: Seeking Subjecthood through Madness in Francophone Women'sValZrie Orlando0<p>Valérie Orlando is Associate Professor of French, specializing in Francophone Studies, at Illinois Wesleyan University. She is the author of Nomadic Voices of Exile: Feminine Identity in Francophone Literature of the Maghreb (1999).</p>ValZrie Orlando, Valzrie Orlando, Valrie Orlandoof-suffocated-hearts-and-tortured-soulsvalzrie-orlando97807391056270739105620$82.00HardcoverThe Rowman & Littlefield Publishing Group IncDecember 2002Caribbean Fiction & Prose Literature - Literary Criticism, African Literature Anthologies, Psychology & Literature2180.63 (w) x 6.00 (h) x 9.00 (d)<p>Female characters who suffer madness and insanity are strikingly prominent in novels by women writers of Africa and the Caribbean. To find out why there are so many "suffocated hearts and tortured souls" in this literature, Valerie Orlando, who has long studied Francophone text and culture, here closely reads the work of Aminata Sow Fall, Mariama Bâ, Myrian Warner-Vieyra, and Simone Schwarz-Bart, among others. In these women's novels, Orlando finds, madness is the manifestation of a split identity, and in this study she sets herself the task of interrogating the nature of that identity. Francophone women novelists of Africa and the Caribbean—though they come from countries whose unique experiences of colonialism, revolution, and postcolonial regimes have shaped specific and discrete cultures—express a common search for a meaningful relationship between their experience as women to the history and destiny of their nations. Only when "woman"' is understood not as an ahistorical object but as a subject whose lived body is entwined with political, cultural, and economic structures, Orlando argues, will insanity finally give way to clarity of being. Interweaving literary citations with theoretical discussion, Suffocated Hearts and Tortured Souls is just as much a masterful explication of profoundly affecting literary work as it is an essential addition to feminist scholarship and theory.</p><p><P>A striking number of hysterical or insane female characters populate Francophone women's writing. To discover why, Orlando reads novels from a variety of cultures, teasing out key elements of Francophone identity struggles.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Writing New H(er)stories for Francophone Women of Africa and the Caribbean</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">The Politics of Race and Patriarchy in Suzanne Lacascade's Claire-Solange, ame africaine</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Home Is Where I Eat My Bread: Multiculturality and Becoming Multiple in Leila Hoauri's Zeida de nulle part</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Self-Loathing, Self-Sacrifice: Michele Lacrosil's Cajou and Myriam Warner-Vieyria's Juletane</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Out(in)side the Confinement of Cultures: Marie Chauvet's Amour, Colere, et Folie and Mariama Ba's Un Chant ecarlate</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Rooms and Prisons, Sex and Sin: Places of Sequestration in Nina Bouraoui's La Voyeuse Interdite and Calixthe Beyala's Tu t'appelleras Tanga</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">War, Revolution, and Family Matters: Yamina Mechakra's La Grotte eclatee and Hajer Djilani's Et Pourtant le ciel etait bleu</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Feminine Voices and H(er)stories: Simone Schwarz-Bart's Pluie et Vent sur Telumee Miracle and Aminata Sow Fall's Douceurs du bercail</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epilogue: Transgressing Boundaries, Reconstructing Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD></TABLE><article> <h4>T Denean Sharpley-Whiting</h4>Orlando has brought together a number of sublimely heartwrenching texts by Francophone women writers with thematic aplomb, if you will. The theme of madness and alienation stretch across what would appear to be dissimiliar works, particular in their own cultural milieus yet united in their "Frenchness"—a source of the women writers' psychological angst. </article>
22Less Than One and Double: A Feminist Reading of African Women's WritingKenneth W. Harrow0<p>Kenneth W. Harrow (Ph.D., New York University) is a professor of English at Michigan State University and is past president of the African Literature Association. He has co-edited Crisscrossing the Boundaries of African Literature, and has published widely on African literature and film.</p>Kenneth W. Harrowless-than-one-and-doublekenneth-w-harrow97803250702540325070253$116.43HardcoverHeinemannNovember 2001Literary Criticism - General & Miscellaneous, General & Miscellaneous African Literature - Literary Criticism, Women Authors - General & Miscellaneous - Literary Criticism, African Literature Anthologies384Harrow's provocative book introduces a psychoanalytic dimension to the study of African women's writing. In so doing, he opens up relatively uncharted terrain in African literary studies.<p><p>Harrow's provocative book introduces a psychoanalytic dimension to the study of African women's writing. In so doing, he opens up relatively uncharted terrain in African literary studies. Comprehensive, nuanced, occasionally lyrical, the book covers an impressive range of hitherto neglected francophone novels that are examined alongside canonical anglophone texts. The author places these texts in their colonial and postcolonial contexts, developing upon, and linking, structuralist theories of colonialism and patriarchy. This study offers a radical new position for those scholars who have long sought alternatives to the liberal humanist bias pervading many studies of African women's writing.<p>Students often struggle with the models employed by feminist and postcolonial theorists such as Judith Butler and Homi Bhabha. The clarity with which Harrow explains the positions of such theorists makes his book an essential companion to, and commentary upon, their publications. Kenneth Harrow's study will be of interest not only to African literature specialists, but also to non-literary scholars concerned with questions about feminism, gender construction, colonialism, psychoanalysis, and postcolonial theory.<p></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Insider Writers/Outsider Theory</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">First Wave and Second Wave African Feminism: Butler and the Question of Gender</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">The Other (Side of the) Mirror</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Jewish Abjection, African Abjection, and The Subject Presumed to Know: Kristeva and Beyala's Tu t'appelleras Tanga</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Standing Like a Tower: Plagiarism, Castration, and the Phallus in Le Petit Prince de Belleville</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Less Than One and Double: Irigaray/Bhabha, Nervous Conditions/Asseze l'Africaine</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">Division, Disunity, Disturbance, and Difference: Safi Faye's Mossane and the Challenge of Postmodern Feminism</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">City of Mud and Diamonds, City of Dis: Tanella Boni, Veronique Tadjo - A Feminism of the Cities</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conclusion: Rebuilding Dis: Words of a Second Wave</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">343</TD></TABLE>
23The Rienner Anthology of African LiteratureAnthonia C. Kalu0Anthonia C. Kaluthe-rienner-anthology-of-african-literatureanthonia-c-kalu97815882649161588264912$30.39Library BindingLynne Rienner Publishers, Inc.April 2007New EditionAfrican Literature Anthologies9006.30 (w) x 9.10 (h) x 1.90 (d)
24Oral and Written Expressions of African CulturesToyin Falola0<p><P>Toyin Falola is the Frances Higginbotham Nalle Centennial Professor in History at the University of Texas at Austin as well as a University Distinguished Teaching Professor. Fallou Ngom is the Director of the African Language Program at Boston University's African Studies Center.</p>Toyin Falola, Fallou Ngomoral-and-written-expressions-of-african-culturestoyin-falola97815946064721594606471$26.88PaperbackCarolina Academic PressMarch 2009New EditionAfrica - Anthropology & Sociology, Oral Tradition & Storytelling, African Literature Anthologies2646.00 (w) x 9.00 (h) x 0.70 (d)<p>Oral and Written Expressions of African Cultures challenges the traditional view of exotic and atavistic Africa with a balanced examination of the continent's realities and challenges. It shows how oral and written expressions capture the complexity, concerns, dynamism, challenges and ingenuity of African masses. It brings together twelve scholars from different academic backgrounds who draw from the rich repertoire of music, poetry, literature and the media in the continent to unearth the underlying socio-cultural, economic and political factors that shape African societies in the twenty first century. These scholars discuss issues ranging from political manipulations of popular music in Kenya and Argentina, the role of print media in the democratization process in Nigeria, motivations of "vulgar poetry" in South Africa, contemporary gender issues in the Islamic Republic of Sudan, the perseverance of aspects of African cultures in Puerto Rico, misrepresentations of Africa in Rene Maran's Batouala, the function of "lowbrow fiction" in Apartheid South Africa, female African authors' techniques to counter male dominance, to HIV/AID and the cultural taboos associated with the disease in southern Africa, among others.</p><p><P>Oral and Written Expressions of African Cultures challenges the traditional view of exotic and atavistic Africa with a balanced examination of the continent's realities and challenges. It shows how oral and written expressions capture the complexity, concerns, dynamism, challenges and ingenuity of African masses. It brings together twelve scholars from different academic backgrounds who draw from the rich repertoire of music, poetry, literature and the media in the continent to unearth the underlying socio-cultural, economic and political factors that shape African societies in the twenty first century. These scholars discuss issues ranging from political manipulations of popular music in Kenya and Argentina, the role of print media in the democratization process in Nigeria, motivations of &quot;vulgar poetry&quot; in South Africa, contemporary gender issues in the Islamic Republic of Sudan, the perseverance of aspects of African cultures in Puerto Rico, misrepresentations of Africa in Rene Maran's Batouala, the function of &quot;lowbrow fiction&quot; in Apartheid South Africa, female African authors' techniques to counter male dominance, to HIV/AID and the cultural taboos associated with the disease in southern Africa, among others.</p>
25Jambula Tree and other stories: The Caine Prize for African Writing 8th Annual CollectionMonica Arac de Nyeko0<p><p><B>Caine Prize Judges</B> award the Caine Prize to a work (or a short story) by an African writer published in English, whether in Africa or elsewhere. The 2008 judges included Jude Kelly, the artistic director of the Southbank Centre; Mark McMorris, a Jamaican poet and a professor of English; Hisham Matar, the Libyan author of <I>In the Country of Men</I>; Hannah Pool, an Eritrean-born journalist for the <I>Guardian</I>; and Jonty Driver, a South African poet, novelist, and lecturer.<p></p>Monica Arac de Nyekojambula-tree-and-other-storiesmonica-arac-de-nyeko97819044567351904456731$16.18PaperbackNew InternationalistJuly 20088Short Story Anthologies, African Fiction, African Literature Anthologies2145.80 (w) x 8.10 (h) x 0.70 (d)<p>The Caine Prize for African Writing is Africa’s leading literary prize and is awarded to a short story by an African writer published in English, whether in Africa or elsewhere. Each year, the full shortlist and twelve other stories are collected and published in one volume.</p> <p>This year’s winner is Monica Arac de Nyeko for <i>Jambula Tree</i>, described as “a witty and touching portrait of a community which is affected forever by a love which blossoms between two adolescents.”</p> <p>Previous winners and entrants include Segun Afolabi, Leila Aboulela, Chimamanda Ngozi Adichie, Brian Chikwava, Mary Watson, and Binyavanga Wainaina.</p><p><P>The best in new African writing&#151;winner and shortlisted stories from the continent's leading award.</p><P>Caine Prize Stories 2007&#58; Winner and Shortlist<P>Jambula Tree (Winner) Monica Arac de Nyeko de Nyeko, Monica Arac<P>My Parents' Bedroom Uwem Akpan Akpan, Uwem<P>Jimmy Carter's Eyes E. C. Osondu Osondu, E. C.<P>Bad Places Henrietta Rose-Innes Rose-Innes, Henrietta<P>Night Bus Ada Udechukwu Udechukwu, Ada<P>Celtel Caine Prize African Writers' Workshop Stories 2008, (in alphabetical order, by author)<P>Night Commuter Monica Arac de Nyeko de Nyeko, Monica Arac<P>Lost Ellen Banda-Aaku Banda-Aaku, Ellen<P>Where You Came From Karen Hurt Hurt, Karen<P>The Cost Kingwa Kamencu Kamencu, Kingwa<P>Valley of Voices Russell H. Kaschula Kaschula, Russell H.<P>Mrs Siro's Harvest Jacqueline Lebo Lebo, Jacqueline<P>First Time Kgaogelo Lekota Lekota, Kgaogelo<P>The Lost Boy Wam Kaume Marambii Marambii, Kaume<P>Love is like Botswana Rain e Molefhe Molefhe, e<P>The Boulder Henrietta Rose-Innes Rose-Innes, Henrietta<P>Digitalis Lust Olufemi Terry Terry, Olufemi<P>Harmattan Fires Ada Udechukwu Udechukwu, Ada<P>Caine Prize Stories 2008&#58; Shortlist (in alphabetical order, by author)<P>Mallam Sile Mohammed Naseehu Ali Ali, Mohammed Naseehu<P>For Honour Stanley Onjezani Kenani Kenani, Stanley Onjezani<P>Poison Henrietta Rose-Innes Rose-Innes, Henrietta<P>The Day of the Surgical Colloquium Hosted by the Far East Rand Hospital Gill Schierhout Schierhout, Gill<P>Cemetery of Life Uzor Maxim Uzoatu Uzoatu, Uzor Maxim
26Up the Down EscalatorLinda Rode0<p>LINDA RODE was born in Ladismith, Western Cape. She studied at Stellenbosch University, where she obtained an Honours degree in German and a Teacher's Diploma. She taught school in Calvinia, in Hermannsburg, at the Pionierskool in Worcester (school for the blind) and at Herzlia in Cape Town and works as a free-lance translator for publishers. Linda is married to Erwin Rode. They live in Bellville and have two children.</p>Linda Rode, Hans Bodensteinup-the-down-escalatorlinda-rode97807957010610795701063$10.95PaperbackNB PublishersMarch 2010Literary Collections, African<p>The third and final book in Kwela's Young African Writing seriers. It offers an open-eyed view of reality as currently experienced by young people. Without sparing the reader, they raise their views on the rapidly changing social, moral and political fabric of this country.<p>It is an 'open book' for every young person and interested adult; a journey through the fantasies and perspectives of young South Africans at the beginning of the twenty-first century.</p>
27Basali!: Stories by and about Women in LesothoK. Limakatso Kendall0K. Limakatso Kendallbasalik-limakatso-kendall97808698091810869809180$24.44PaperbackUniversity of Natal PressFebruary 1995Anthologies, Southern African History1365.70 (w) x 7.96 (h) x 0.40 (d)Basali! means 'women' and is one of the most common exclamations in the Sesotho language. Usually uttered by a woman and delivered with a laugh, a shaking of the head, or a clapping of hands, Basali! evokes Basotho women's admiration and wonderment for themselves and each other. These stories in 'Sesotho-ised' English reveal a way of life and a way of perceiving experience that is unique in African literature. The stories offer glimpses of traditional healers, circumcision schools, witches, bride-prices, and extended rural family life. There are families disrupted by migrant labour, women and men brutalised by apartheid, teenagers who violate tradition, and middle-class office-workers whose rural families live by a different click than the one that ticks for them. The focus of each story is the decisions women make, the actions they take to protect and to provide for themselves and their children, and to care for the people they love.<p>Basali! means 'women' and is one of the most common exclamations in the Sesotho language. Usually uttered by a woman and delivered with a laugh, a shaking of the head, or a clapping of hands, Basali! evokes Basotho women's admiration and wonderment for themselves and each other. These stories in 'Sesotho-ised' English reveal a way of life and a way of perceiving experience that is unique in African literature. The stories offer glimpses of traditional healers, circumcision schools, witches, bride-prices, and extended rural family life. There are families disrupted by migrant labour, women and men brutalised by apartheid, teenagers who violate tradition, and middle-class office-workers whose rural families live by a different click than the one that ticks for them. The focus of each story is the decisions women make, the actions they take to protect and to provide for themselves and their children, and to care for the people they love.</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgements</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Moments in a Marriage</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Unexpected Daughter</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lost Sheep is Found</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Give Me a Chance</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arriving Home in a Helicopter</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How She Lost Her Eye</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Letter to 'M'e</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Catastrophe</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Decision to Remain</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Universe</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why Blame Her?</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The African Goddess: The Figure in My Past</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What about the Lobola?</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Escape to Manzini</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ask Him to Explain</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How I Became an Activist</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Basali! A Photographic Essay</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glossary</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD></table>
28How God Fix JonahLorenz Graham0<p><b>Lorenz Graham</b> (1902-1989) was a pioneer in African American literature. His books include <i>South Town, North Town,</i> and <i>Whose Town?,</i> a trilogy of novels that were among the first to provide an honest portrayal of the lives of African Americans.</p> <p><b>Ashley Bryan</b> is the illustrator of more than thirty titles, many of them with texts he also wrote, retold, or selected. His books have been richly acclaimed and highly honored. <i>Beat the Story Drum, Pum-Pum</i> won the Coretta Scott King Award, and four more of his titles have been selected Coretta Scott King Honor Books. Mr. Bryan lives on a small island off the coast of Maine.</p>Lorenz Graham, Ashley Bryan (Illustrator), Effie Lee Morrishow-god-fix-jonahlorenz-graham97815639769881563976986$16.15HardcoverBoyds Mills PressOctober 20001ST, REVISEDBible - Stories, African Literature Anthologies1607.33 (w) x 10.32 (h) x 0.67 (d)<p>"Utterly delightful" is how Zora Neal Hurston described this classic book when it was first published in 1946. Long out of print, Lorenz Graham's beautiful collection of Bible stories, told in the idiom of West Africa, is available again in an expanded edition newly illustrated by Ashley Bryan.</p><p>"Utterly delightful" is how Zora Neal Hurston described this book when it was first published in 1946. Long out of print, Lorenz Graham's beautiful collection of Bible stories, told in the idiom of West Africa, is available again in an expanded edition newly illustrated by Ashley Bryan. This revised edition includes a foreword by Effie Lee Morris, along with the original foreword by W. E. B. Du Bois. Together they provide an appreciation of the work of Lorenz Graham and his classic book.</p><h3>(Booklist) - Hazel Rochman</h3><p>The son of an African Methodist Episcopal minister in California, Graham taught in a missionary school in Liberia in the 1920s. He wrote this collection of biblical story-poems, which he published in 1946, in the voices of West African teachers and students. Now the collection has been reissued in a handsome volume with dramatic, new, full-page block prints by Ashley Bryan. The stories, great for reading aloud, have the simplicity and rhythm of the oral tradition. Both colloquial and poetic, they bring the holy into daily life. There's Noah ("God Wash the World and Start Again"), Solomon ("Wise Sword Find True Mommy"), Ruth, Samson, and many others. There are also a few selections from the New Testament, among them, "Make glad all people / God's pican be born in Bethlehem." The word pican, with its racist associations to picaninny, may be a problem with some readers, but as Graham explains in his introduction, the original word, meaning baby, son, or child, was used with great tenderness up and down the West African coast. It would be a shame to deprive today's children of this newly illustrated collection, endorsed by leading black authors, educators, and political leaders, because of the occasional use of this word. Most beautiful is the story of the Prodigal Son, told with a dramatic simplicity that's just right for readers' theater: the wastrel son's return and celebration, the good son's complaint to his father ("I work, I work, I work, I never left you. All the time you never kill one small goat for me. How you do me so?"), and the moving reply ("He was dead and now he live. He ain't got nothin. And he hungry"). A book to share across generations.</p><article> <h4>Hazel Rochman</h4>The son of an African Methodist Episcopal minister in California, Graham taught in a missionary school in Liberia in the 1920s. He wrote this collection of biblical story-poems, which he published in 1946, in the voices of West African teachers and students. Now the collection has been reissued in a handsome volume with dramatic, new, full-page block prints by Ashley Bryan. The stories, great for reading aloud, have the simplicity and rhythm of the oral tradition. Both colloquial and poetic, they bring the holy into daily life. There's Noah ("God Wash the World and Start Again"), Solomon ("Wise Sword Find True Mommy"), Ruth, Samson, and many others. There are also a few selections from the New Testament, among them, "Make glad all people / God's pican be born in Bethlehem." The word pican, with its racist associations to picaninny, may be a problem with some readers, but as Graham explains in his introduction, the original word, meaning baby, son, or child, was used with great tenderness up and down the West African coast. It would be a shame to deprive today's children of this newly illustrated collection, endorsed by leading black authors, educators, and political leaders, because of the occasional use of this word. Most beautiful is the story of the Prodigal Son, told with a dramatic simplicity that's just right for readers' theater: the wastrel son's return and celebration, the good son's complaint to his father ("I work, I work, I work, I never left you. All the time you never kill one small goat for me. How you do me so?"), and the moving reply ("He was dead and now he live. He ain't got nothin. And he hungry"). A book to share across generations.<br> —(<i>Booklist</i>) </article> <article> <h4>Children&#039;s Literature</h4>These poems, first published in 1946, are at times profound or humorous, but each reflects the uncomplicated view of an African child recounting the Biblical stories in his own way. As Graham presents the poems, the reader (or better the listener) is aware of the importance of the oral tradition in the West African culture. Graham, a missionary to West Africa in the 1920s, heard the stories and wanted others to share them. In this newly published edition, Ashley Bryan adds detailed black-and-white blockprints to offer visual images to accompany the text. Each story is accompanied by one full-page print. Because of the dialect used by Graham, these stories lend themselves to being read aloud or told. One might question the use of dialect, but Graham's introduction presents the origin of the dialect and offers the proper argument for its use. This new edition would be a worthy addition to a body of African literature. 2000 (orig. 1946), Boyds Mills Press, Ages 5 to 8, $17.95. Reviewer: Jenny B. Petty </article><article> <h4>School Library Journal</h4>Gr 4 Up-A newly illustrated edition of a 1946 title. Using the vernacular English of West Africa in the 1920s, Graham eschewed "Uncle Remus" phonetic spelling, but preserved the idiomatic and idiosyncratic grammar of Sudanic coastal groups (Mandingo, Golah, Kru). Excerpts may sound awkward ("Now you mens they dead," Naomi tells Ruth), but the ear catches on quickly to the meaning of the phrases sung in poetic rhythms. Biblical order is not followed, so the Prodigal Son appears between two Moses episodes, rather than as a Christian parable; only brief accounts of the Nativity, the lost boy-Jesus, and the loaves and fishes come from the New Testament. All of the stories focus on relationships. There is unexpected humor (Goliath's question to David, "Do you mommy know you out?), drama (Goliath's protracted fall), and poignancy (David's mourning). Solomon's wisdom; Joshua's leadership; and the stories of Joseph, Esther, Job, Elisha, and Cain and Abel are among those memorably retold. Bryan's blockprints communicate a simplicity and strength in harmony with the text. Highly decorative in their intricate design, they also recognize the central character and dramatic moment in each story: Daniel embracing the lions, Isaac embracing Jacob. This book conveys a distinctive flavor of West African culture, and offers fresh, piquant seasoning for familiar Bible tales.-Patricia Lothrop-Green, St. George's School, Newport, RI Copyright 2000 Cahners Business Information. </article>
29Glass Jars among TreesArja Salafranca0<p><b>Arja Salafranca</b> was born in Spain to a Spanish father and a South African mother. She has lived in South Africa since the age of five. In 1993 she earned a degree in African Literature and Psychology from the University of the Witwatersrand. Her fiction and poetry has been published in a number of local and international journals and anthologies. <i>A Life Stripped of Illusions</i>, her first poetry collection, won the 1994 Sanlam Award for poetry, while her short story, 'Couple on the Beach' won the same award in 1999 for short fiction. Her second collection of poetry, <i>The Fire in Which We Burn</i>, was published in 2000. Arja has worked as a journalist and sub-editor for various newspapers.<br><br><b>Alan Finlay</b> was born in Johannesburg and earned his BA in Philosophy and English at Rhodes University. From 1994 to 1999 he published the literary magazine <i>Bleksem</i>, and later founded the online literary magazine Donga (www.donga.co.za). His own published collections of poetry include&#58; <i>Burning Aloes</i> (Dye Hard Press, 1994); <i>No Free Sleeping</i> (with Donald Parenzee and Vonani Bila; Botsotso Publishers, 1998); and <i>The Red Laughter Of Guns In Green Summer Rain</i> (chainpoems with Phillip Zhuwao; Dye Hard Press, 2002). Alan works in social and media research and lives in Johannesburg with his wife and two sons.<br></p>Arja Salafranca (Editor), Alan Finlayglass-jars-among-treesarja-salafranca97819199312341919931236$44.59PaperbackJacana MediaApril 2005African Literature Anthologies1887.75 (w) x 5.00 (h) x 0.47 (d)This genre-shattering anthology includes writings in a variety of styles by pensioners, prisoners, schoolchildren, drifting teenagers, praise-singers, and even a few poets.<br><p>This genre-shattering anthology includes writings in a variety of styles by pensioners, prisoners, schoolchildren, drifting teenagers, praise-singers, and even a few poets.<br></p>
30Running Towards Us: New Writing from South AfricaIsabel Balseiro0<p>ISABEL BALSEIRO is Associate Professor of Comparative Literature at Harvey Mudd College, The Claremont Colleges, in California. Her work has been published in journals in the United Kingdom, the United States, and South Africa. She is currently editing an anthology on South African cinema and a book on Caribbean literature and culture.</p>Isabel Balseiro (Editor), Isabel Balseirorunning-towards-usisabel-balseiro97803250021180325002118$33.63PaperbackHeinemannMay 20001st EditionAfrican Literature Anthologies2165.90 (w) x 9.10 (h) x 0.50 (d)In Running Towards Us, 31 contemporary authors offer literary responses to the end of apartheid, demonstrating what the creative imagination in South Africa has to offer at the turn of the 21st century.<p><P>In Running Towards Us, 31 contemporary authors offer literary responses to the end of apartheid, demonstrating what the creative imagination in South Africa has to offer at the turn of the 21st century.</p><h3>Internet Book Watch</h3><p>Running Towards Us presents new writings from South Africa from both established and new writers, revealing new subjects and concerns from writers who are now beyond the focus on apartheid. How does one define history and plan for the future? This turns to accepted masters of South African literature and new voices to consider changed themes and perceptions.</p><P>Introduction<br> Running towards Us, Jeremy Cronin<br> Marilyn's Dress, Graeme Friedman<br> Memory, Chris van Wyk<br> The Women Sing, Luvuyo Mkangelwa<br> I'm retelling a womanburning, Roshila Nair<br> Spiral Child, Louise Green<br> Homeland Banter, Pumla Dineo Gqola<br> The Awakening of Katie Fortuin, Finuala Dowling<br> The Puddle, Immanuel Suttner<br> Mind-Reader, Maureen Isaacson<br> moni, Seitlhamo Motsapi<br> At the Commission, Ingrid de Kok<br> Mending, Ingrid de Kok<br> TRC Stories&#58; It Gets under the Skin, Heidi Grunebaum-Ralph<br> Truth Commission, Joan Metelerkamp<br> The Devil, Achmat Dangor<br> Emotions and the Delegates, Jonathan Grossman<br> What's in a Name, Bernadette Muthien<br> Je To Mozny, Edward Lurie<br> The Day of the Boycott, Felicity Wood<br> The WHITES ONLY Bench, Ivan Vladislavic<br> land, Antjie Krog<br> Recognition, David Medalie<br> Excerpt from "Freedom Lament and Song", Mongane Wally Serote<br> Fragments from the Life of Norman Rubarto Paul Mason<br> This Carting Life, Rustum Kozain<br> The Naked Song, Mandla Langa<br> Telegraph to the Sky, Sandile Dikeni<br> Rituals for Martha, Zachariah Rapola<br> Habari Gani Africa Ranting, Lesego Rampolokeng<br> Tiresias in the City of Heroes, Karen Press<br> Eternity is a Hell of a Thing to Waste, Natasha Distiller<br> Glossary<article> <h4>From The Critics</h4>Running Towards Us presents new writings from South Africa from both established and new writers, revealing new subjects and concerns from writers who are now beyond the focus on apartheid. How does one define history and plan for the future? This turns to accepted masters of South African literature and new voices to consider changed themes and perceptions. </article>
31Of Suffocated Hearts And Tortured SoulsValerie Key Orlando0Valerie Key Orlandoof-suffocated-hearts-and-tortured-soulsvalerie-key-orlando97807391056340739105639$27.95PaperbackLexington BooksDecember 2002Social Sciences, Women's Studies<p><P>A striking number of hysterical or insane female characters populate Francophone women's writing. To discover why, Orlando reads novels from a variety of cultures, teasing out key elements of Francophone identity struggles.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Writing New H(er)stories for Francophone Women of Africa and the Caribbean</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">The Politics of Race and Patriarchy in Suzanne Lacascade's Claire-Solange, ame africaine</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Home Is Where I Eat My Bread: Multiculturality and Becoming Multiple in Leila Hoauri's Zeida de nulle part</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Self-Loathing, Self-Sacrifice: Michele Lacrosil's Cajou and Myriam Warner-Vieyria's Juletane</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Out(in)side the Confinement of Cultures: Marie Chauvet's Amour, Colere, et Folie and Mariama Ba's Un Chant ecarlate</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Rooms and Prisons, Sex and Sin: Places of Sequestration in Nina Bouraoui's La Voyeuse Interdite and Calixthe Beyala's Tu t'appelleras Tanga</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">War, Revolution, and Family Matters: Yamina Mechakra's La Grotte eclatee and Hajer Djilani's Et Pourtant le ciel etait bleu</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Feminine Voices and H(er)stories: Simone Schwarz-Bart's Pluie et Vent sur Telumee Miracle and Aminata Sow Fall's Douceurs du bercail</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epilogue: Transgressing Boundaries, Reconstructing Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD></TABLE>
32An Anthology of Interracial Literature: Black-White Contacts in the Old World and the NewWerner Sollors0<p><p><B>Werner Sollors</B> is Henry B. and Anne M. Cabot Professor of English Literature and Professor of Afro-American Studies and Chair of the History of American Civilization Program at Harvard University. He is the author and editor of numerous books, including <I>The Multilingual Anthology of American Literature</I>, <I>Theories of Ethnicity&#58; A Classical Reader</I>, and <I>Multilingual America&#58; Transnationalism, Ethnicity, and the Languages of American Literature</I>, all available from NYU Press.<p></p>Werner Sollors (Editor), Werner Sollorsan-anthology-of-interracial-literaturewerner-sollors97808147814490814781446PaperbackNew York University PressFebruary 2004New EditionLiterary Criticism, American<p><p>A white knight meets his half-black half-brother in battle. A black hero marries a white woman. A slave mother kills her child by a rapist-master. A white-looking person of partly African ancestry passes for white. A master and a slave change places for a single night. An interracial marriage turns sour. The birth of a child brings a crisis. Such are some of the story lines to be found within the pages of <B>An Anthology of Interracial Literature</B>.<p> <p>This is the first anthology to explore the literary theme of black-white encounters, of love and family stories that cross&#151;or are crossed by&#151;what came to be considered racial boundaries. The anthology extends from Cleobolus' ancient Greek riddle to tormented encounters in the modern United States, visiting along the way a German medieval chivalric romance, excerpts from <I>Arabian Nights</I> and Italian Renaissance novellas, scenes and plays from Spain, Denmark, England, and the United States, as well as essays, autobiographical sketches, and numerous poems. The authors of the selections include some of the great names of world literature interspersed with lesser-known writers. Themes of interracial love and family relations, passing, and the figure of the Mulatto are threaded through the volume.<p> <p><B>An Anthology of Interracial Literature</B> allows scholars, students, and general readers to grapple with the extraordinary diversity in world literature. As multi-racial identification becomes more widespread the ethnic and cultural roots of world literature takes on new meaning.<p> <p>Contributors include&#58; Hans Christian Andersen, Gwendolyn Brooks, Elizabeth Barrett Browning, Charles W. Chesnutt, Lydia MariaChild, Kate Chopin, Countee Cullen, Caroline Bond Day, Rita Dove, Alexandre Dumas, Olaudah Equiano, Langston Hughes, Victor Hugo, Charles Johnson, Adrienne Kennedy, Henry Wadsworth Longfellow, Guy de Maupassant, Claude McKay, Eugene O'Neill, Alexander Pushkin, and Jean Toomer.<p></p><h3>Library Journal</h3><p>Sollors (English literature & Afro-American studies, Harvard) has compiled the first scholarly anthology that centers on the theme in literature of love and family across, or crossed by, racial boundaries. As Sollors explains in the introduction, "It is a theme that makes for unusual intersections of the plots of love and family relations with issues of society and politics." The anthology contains a broad range of texts, including epics, poems, and novellas, and spans numerous cultures from the ancient to the contemporary. The authors included range from Hans Christian Andersen and Alexander Pushkin to Eugene O'Neill and Gwendolyn Brooks. One is reminded that color was an accidental quality in antiquity and the Christian Middle Ages; that during later times, censure existed; and that, in the United States in particular, interracial marriage bans were not deemed unconstitutional until 1967. As stated in a Rita Dove play: "A sniff of freedom's all it takes to feel history's sting." Recommended for academic libraries and for any reader working around the race rubric.-Scott Hightower, Fordham Univ., New York Copyright 2003 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">"Riddle" (5th century B.C.)</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">From Parzival (1197-1210)</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">From The Book of the Thousand Nights and One Night</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">From Il Novellino (1475)</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">From Hecatommithi (1565)</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">"The Beautiful Slave-Girl" (1614)</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">"A Negress Courts Cestus, a Man of a Different Colour" (1633)</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">"A Faire Nimph Scorning a Black Boy Courting Her" (1658)</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">"The Inversion" (1657), "One Enamour'd on a Black-moor" (1657), "A Black Nymph Scorning a Fair Boy Courting Her" (1657)</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">"To Mrs. Diana Cecyll" (1665), "The Brown Beauty" (1665), "Sonnet of Black Beauty (1665), "Another Sonnet to Black It Self" (1665)</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">"In Laudem Aethiopissae" (1778)</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">The Isle of Pines (1668)</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">From Oroonoko: A Tragedy in Five Acts (1696)</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">"On a Young Lady's Weeping at Oroonooko" (1732), "To a Gentleman in Love with a Negro Woman" (1732)</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%">15</TD><TD WIDTH="70%">Two Versions of the Story of Inkle and Yarico</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%">16</TD><TD WIDTH="70%">The Dying Negro (1773)</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%">17</TD><TD WIDTH="70%">Letter to James Tobin (1788)</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%">18</TD><TD WIDTH="70%">The Engagement in Santo Domingo (1811)</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%">19</TD><TD WIDTH="70%">Ourika (1823)</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%">20</TD><TD WIDTH="70%">The Blackamoor of Peter the Great (1827-1828)</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%">21</TD><TD WIDTH="70%">"The Quadroons" (1842)</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%">22</TD><TD WIDTH="70%">From Georges (1843)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%">23</TD><TD WIDTH="70%">From Beyond the Seas (1863-1864)</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%">24</TD><TD WIDTH="70%">"The Quadroom Girl" (1842)</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%">25</TD><TD WIDTH="70%">"The Runaway Slave at Pilgrim's Point" (1848)</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD><TR><TD WIDTH="20%">26</TD><TD WIDTH="70%">"The Pilot's Story" (1860)</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%">27</TD><TD WIDTH="70%">From Mulatto: An Original Romantic Drama in Five Acts (1840)</TD><TD WIDTH="10%" ALIGN="RIGHT">292</TD><TR><TD WIDTH="20%">28</TD><TD WIDTH="70%">The Octoroon; or, Life in Louisiana: A Play in Five Acts (1859)</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%">29</TD><TD WIDTH="70%">From Black and White: A Drama in Three Acts (1869)</TD><TD WIDTH="10%" ALIGN="RIGHT">337</TD><TR><TD WIDTH="20%">30</TD><TD WIDTH="70%">From Miscegenation: The Theory of the Blending of the Races, Applied to the American White Man and Negro (1863)</TD><TD WIDTH="10%" ALIGN="RIGHT">350</TD><TR><TD WIDTH="20%">31</TD><TD WIDTH="70%">Madame Delphine (1881)</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%">32</TD><TD WIDTH="70%">From "The Pariah" (1895)</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%">33</TD><TD WIDTH="70%">"Boitelle" (1889)</TD><TD WIDTH="10%" ALIGN="RIGHT">424</TD><TR><TD WIDTH="20%">34</TD><TD WIDTH="70%">"The Father of Desiree's Baby" (1893)</TD><TD WIDTH="10%" ALIGN="RIGHT">431</TD><TR><TD WIDTH="20%">35</TD><TD WIDTH="70%">"Uncle Wellington's Wives" (1899)</TD><TD WIDTH="10%" ALIGN="RIGHT">436</TD><TR><TD WIDTH="20%">36</TD><TD WIDTH="70%">"The Mulatto to His Critics" (1918)</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%">37</TD><TD WIDTH="70%">"The Octoroon" (1922), "Cosmopolite" (1922), "The Riddle" (1925)</TD><TD WIDTH="10%" ALIGN="RIGHT">462</TD><TR><TD WIDTH="20%">38</TD><TD WIDTH="70%">From The Vengeance of the Gods (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%">39</TD><TD WIDTH="70%">"Hope" (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">473</TD><TR><TD WIDTH="20%">40</TD><TD WIDTH="70%">"Withered Skin of Berries" (1923)</TD><TD WIDTH="10%" ALIGN="RIGHT">476</TD><TR><TD WIDTH="20%">41</TD><TD WIDTH="70%">"Confession" (1929)</TD><TD WIDTH="10%" ALIGN="RIGHT">498</TD><TR><TD WIDTH="20%">42</TD><TD WIDTH="70%">All God's Chillun Got Wings (1924)</TD><TD WIDTH="10%" ALIGN="RIGHT">504</TD><TR><TD WIDTH="20%">43</TD><TD WIDTH="70%">"Near White" (1925), "Two Who Crossed a Line" (1925)</TD><TD WIDTH="10%" ALIGN="RIGHT">530</TD><TR><TD WIDTH="20%">44</TD><TD WIDTH="70%">"Cross" (1925), "Mulatto" (1927), Mulatto: A Tragedy of the Deep South (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">532</TD><TR><TD WIDTH="20%">45</TD><TD WIDTH="70%">"The Mulatto" (1925), "Near-White" (1932)</TD><TD WIDTH="10%" ALIGN="RIGHT">559</TD><TR><TD WIDTH="20%">46</TD><TD WIDTH="70%">"The Pink Hat" (1926)</TD><TD WIDTH="10%" ALIGN="RIGHT">573</TD><TR><TD WIDTH="20%">47</TD><TD WIDTH="70%">"Ballad of Pearl May Lee" (1945)</TD><TD WIDTH="10%" ALIGN="RIGHT">577</TD><TR><TD WIDTH="20%">48</TD><TD WIDTH="70%">The Owl Answers (1963)</TD><TD WIDTH="10%" ALIGN="RIGHT">583</TD><TR><TD WIDTH="20%">49</TD><TD WIDTH="70%">From Oxherding Tale (1982)</TD><TD WIDTH="10%" ALIGN="RIGHT">594</TD><TR><TD WIDTH="20%">50</TD><TD WIDTH="70%">From The Darker Face of the Earth (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">606</TD><TR><TD WIDTH="20%">51</TD><TD WIDTH="70%">From Buck (2001)</TD><TD WIDTH="10%" ALIGN="RIGHT">634</TD><TR><TD WIDTH="20%">52</TD><TD WIDTH="70%">From The Secret Life of Fred Astaire (2001)</TD><TD WIDTH="10%" ALIGN="RIGHT">653</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sources</TD><TD WIDTH="10%" ALIGN="RIGHT">667</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">673</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Editor</TD><TD WIDTH="10%" ALIGN="RIGHT">675</TD></TABLE>
33Among the BlacksRon Padgett0Ron Padgett, Raymond Rousselamong-the-blacksron-padgett97809396910290939691027$14.00PaperbackAvenue BOctober 1988African Literature Anthologies645.30 (w) x 7.80 (h) x 0.30 (d)<br> Fiction. African American Studies. Translated from the French. AMONG THE BLACKS consists of two works: Ron Padgett's translation of Raymond Roussel's early story "Parmi les noirs," first published in 1935 in his book Comment j'ai ecrit certain de mes livres, together with Padgett's memoir focusing upon his own experience among black people. Roussel's story, about a master mariner named White who encounters an African chief named Booltable, is built upon the kind of whimsical and extravagant word play (its first and last sentences are identical except for one letter in one word--"pooltable"/ "Booltable") for which Roussel was idolized by the French Surrealists. In contrast, as he writes in his Afterword, Padgett's memoir "grew out of the nagging need to come to grips with the frustrations of being a white American who had grown up in a racist environment and who, despite his rejections of racism at an early age, had rarely felt unselfconscious in the company of a black person." "What he leaves us with is a work that is like the perfectly preserved temple of a cult which has disappeared without a trace, or a complicated set of tools whose use cannot be discovered. But even though we may never be able to 'use' [Roussel's] work in the way he hoped, we can still admire its inhuman beauty, and be stirred by a language that seems always on the point of revealing its secret, of pointing the way back to the 'republic of dreams' whose insignia blazed on his forehead"--John Ashbery.
34The Daily Show with Jon Stewart Presents Earth (the Book): A Visitor's Guide to the Human RaceJon Stewart0<p>Jon Stewart was born in <ST1&#58;STATE w&#58;st="on">New York</ST1&#58;STATE> and lives with his wife and children in <ST1&#58;CITY w&#58;st="on"><ST1&#58;PLACE w&#58;st="on">New York City</ST1&#58;PLACE></ST1&#58;CITY>.</p>Jon Stewartthe-daily-show-with-jon-stewart-presents-earthjon-stewart9780446579223044657922X$1.99HardcoverGrand Central PublishingSeptember 2010Humor2448.40 (w) x 10.30 (h) x 0.90 (d)<p>The eagerly awaited new book from the Emmy-winning, Oscar-hosting, <b>Daily Show-</b>anchoring Jon Stewart—the man behind the megaseller <b>America (The Book)</b>.</p> <p>Where do we come from? Who created us? Why are we here? These questions have puzzled us since the dawn of time, but when it became apparent to Jon Stewart and the writers of <b>The Daily Show</b> that the world was about to end, they embarked on a massive mission to write a book that summed up the human race: What we looked like; what we accomplished; our achievements in society, government, religion, science and culture — all in a tome of approximately 256 pages with lots of color photos, graphs and charts.</p> <p>After two weeks of hard work, they had their book. EARTH (The Book) is the definitive guide to our species. With their trademark wit, irreverence, and intelligence, Stewart and his team will posthumously answer all of life's most hard-hitting questions, completely unburdened by objectivity, journalistic integrity, or even accuracy.</p> <p>Also available as an ebook and as an audiobook.</p><p><P>The eagerly awaited new book from the Emmy-winning, Oscar-hosting, <b>Daily Show-</b>anchoring Jon Stewart&#151;the man behind the megaseller <b>America (The Book)</b>. <P>Where do we come from? Who created us? Why are we here? These questions have puzzled us since the dawn of time, but when it became apparent to Jon Stewart and the writers of <b>The Daily Show</b> that the world was about to end, they embarked on a massive mission to write a book that summed up the human race&#58; What we looked like; what we accomplished; our achievements in society, government, religion, science and culture &#151; all in a tome of approximately 256 pages with lots of color photos, graphs and charts. <P>After two weeks of hard work, they had their book. EARTH (The Book) is the definitive guide to our species. With their trademark wit, irreverence, and intelligence, Stewart and his team will posthumously answer all of life's most hard-hitting questions, completely unburdened by objectivity, journalistic integrity, or even accuracy.</p><h3>The New York Times - Janet Maslin</h3><p>Like the "Daily Show" this parody delivers wittily framed absurdities in a sweetly deadpan way&#8230;like the show, [it's] best when it takes on subjects of real substance&#8230;That's why the funniest material is about religion and science.</p><article> <h4>Publishers Weekly</h4>Starred Review. <p>Eight-time Emmy-winner Stewart (America: The Book) seeks to expand his audience to aliens who might land on earth after the extinction of the human race and be puzzled over the artifacts we've left behind. "Greetings... on behalf of not only ourselves, but the entire Viacom family," he writes in this laugh-out-loud, rollicking social satire. In place of skits there are elaborate, color illustrations accompanied by captions written with his trademark deadpan humor; for instance, a photo of a mother and baby-elephant holds the caption, "advances in contraception and industrialized food production allowed modern couples to have fewer offspring, while leaving the total weight of families constant." Nothing is off-limits here, not even Benjamin Franklin, whose pithy saying "Nothing is certain but death and taxes" Stewart expands upon. The book ends with a plea to the aliens to reconstruct the human race from DNA in the hope that, with guidance from the visitors, "we could overcome the baser aspects of our nature... and give this planet the kind of caretakers it deserves," revealing the tears behind Stewart's clown. Photos.<br> Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p> </article> <article> <h4>E.W.com</h4>Has it really been a full six years since Jon Stewart and the writers of <i>The Daily Show</i> released their last book? Well, the delay's understandable. It's a daunting task to cover the history of a 4.5 billion-year-old planet (including the entirety of human existence) in 244 pages. <p>You'll recognize <i>Earth's</i> faux-textbook design and irreverent tone from <i>America (The Book),</i> and some gags recur nearly unchanged — the terrifyingly nude bodies of the Supreme Court justices are replaced here with the terrifyingly nude body of Larry King. But the subject's bigger, and the high concept higher. <i>Earth</i> is written as a Baedeker for the aliens who will eventually discover our planet after our species has expired, likely by our own hand. All the entries, hitting topics like love (''liking another person very very very very very very much'') and work (''that which we didn't want to do, but had to, if we didn't want to eat dirt''), are written in the past tense. It's the ultimate gallows humor: We had it pretty good, and now we're all dead.</p> <p><i>Earth</i> is The Devil's Dictionary for a new generation, twisting our lives in the light and bringing mordant humor to the commonplace. Despite the timelessness of most topics, the writers manage to be pretty lively at times, such as when they refer to the Grand Canyon as ''the biggest rift in Arizona not involving Mexicans.''</p> <p> <i>Earth</i> isn't meant to be read straight through. It's designed to be perused, so you can discover at your leisure all the fun gags and wordplay crammed into its nooks and crannies. Because there are a lot. Enough, in fact, to make you believe this would actually be a fairly comprehensive guide for extraterrestrial visitors, just so long as they have a sense of humor. A–--(Staskiewicz, Keith)</p> </article><article> <h4>Library Journal</h4>Following the 2004 Publishers Weekly Book of the Year America (The Book): A Citizen's Guide to Democracy Inaction—the Hachette Audio version of which won a Grammy Award—Stewart and the writers of his celebrated Daily Show together narrate this satirical overview of humanity written as though it were being explained to aliens of the future who discover Earth after the demise of all human life. Stewart, the primary narrator, explains religion, history, commerce, government, customs, and society in his trademark delivery. Unfortunately, he often swallows his punch lines, thus defeating the efficacy of many of the jokes. Perhaps his brand of humor is better suited to television. Nonetheless, this is a timely and entertaining title sure to do well among Stewart's many fans, who will doubtless laugh along. Recommended. [The Grand Central hc was a No. 1 New York Times and LJ best seller; see the review of the Grand Central hc, also in this issue, p. 122.—Ed.]—J. Sara Paulk, Wythe-Grayson Regional Lib., Independence, VA </article> <article> <h4>Kirkus Reviews</h4><p>A goofy guide to our planet, with literate ironist Stewart (<em>America: The Book</em>, 2004) at the helm.</p> <p>Continuing in the vein of<em>America</em>, but with a touch more detail in both words and images, Stewart and his<em>Daily Show</em>comrades posit that someday soon the ETs we've been hailing for all these decades will arrive—only to find us gone. And why would we not be here? Well, Stewart relegates the possible answers to an appendix that opens, "At some point between the time this was written and the time you are reading it, we perished." Some of those possibilities include ecological catastrophe, nuclear holocaust, disease, robot rebellion and rapture—the last with a generous 30:1 chance of occurring, and evidenced by an "overall 'Jesus-y' feeling in the air." To gauge by the rest of the book, however, the end may well come by dint of our soufflé-like culture's having finally become too airy and collapsed. So it is that<em>Earth</em>is studded with images of all those pop-culture and media figures that one would gladly leave the planet to escape, from Bernie Madoff to Nicole Kidman and J-Lo (or, if not J-Lo, a convincing simulacrum). Stewart lampoons with a broad brush rather than the scalpel with which he dissects pomposity and prevarication on his Comedy Central show. Some of his targets include creationists and school boards, fast-food restaurants, obesity, the medical bureaucracy, the Venus of Willendorf and, not connected to the aforementioned Venus, the use of the brassiere as an instrument of social control. George Bush doesn't escape, of course; but then, neither does Florence Henderson.</p> <p>The legions of readers of<em>America</em> will know exactly what they're in for—and readers of whatever stripe, save those who are fans of McDonald's and Satan, are likely to enjoy this one.</p> </article> <article> <h4>Janet Maslin</h4>Like the "Daily Show" this parody delivers wittily framed absurdities in a sweetly deadpan way…like the show, [it's] best when it takes on subjects of real substance…That's why the funniest material is about religion and science.<br> —The New York Times </article>
35The Best American Nonrequired Reading 2010Dave Eggers0<p><P>Dave Eggers is the editor of McSweeney's and a cofounder of 826 National, a network of nonprofit writing and tutoring centers for youth, located in seven cities across the United States. He is the author of four books, including What Is the What and How We Are Hungry.<P><P><P>David Sedaris is the author of six books, including <b>When You Are Engulfed in Flames, Dress Your Family in Corduroy and Denim,</b> and <b>Me Talk Pretty One Day.</b> He is a regular contributor to <b>The New Yorker</b> and Public Radio International's <b>This American Life.</b></p>Dave Eggers (Editor), David Sedaristhe-best-american-nonrequired-reading-2010dave-eggers97805472416300547241631$11.17PaperbackHoughton Mifflin HarcourtOctober 2010American Literature Anthologies, Fiction Subjects4845.50 (w) x 8.20 (h) x 1.30 (d)<p>An&nbsp;eclectic volume introduced by David Sedaris and compiled by Dave Eggers and students of his San Francisco writing center, who don’t leave a stone unturned in their search for nonrequired gems.&nbsp;Cover art by art by Maurice Sendak.</p><p><P>An&#160;eclectic volume introduced by David Sedaris and compiled by Dave Eggers and students of his San Francisco writing center, who don&#8217;t leave a stone unturned in their search for nonrequired gems. <P>&#160;<P>Cover art by art by Maurice Sendak.</p><h3>Publishers Weekly</h3><p>David Sedaris's unflappable inventiveness translates, in the first section of this anthology, to a smattering of pieces with giddiness, daring, and heart. A particular highlight, by Wendy Molyneux, earned his award for "Best American Woman Comedy Piece Written by a Woman" and is guaranteed to set off snorts of delight with each re-read. In the second section, as in previous years, Eggers's picks prove solid and balanced, if expected. Rana Dasgupta's superb article, exploring India's new wealth and subsequent fallout, as well as David Rhode's profound and gripping account of his seven months as a Taliban hostage reflect not only the literary achievements of 2009, but also the horrors and complexities of these current times on. Meanwhile, Tea Obreht's "The Tiger's Wife" and Kurt Vonnegut's "The Nice Little People" embody the ageless miracles of surprise and originality that comprise the human imagination. (Oct.)</p><p>Editor's Note xi</p> <p>Introduction David Sedaris xv</p> <p>I</p> <p>Best American Woman Comedy Piece Written by a Woman: From therumpus.net Wendy Molyneux 3</p> <p>Best American Sentences on Page 50 of Books Published in 2009 5</p> <p>Best American Magazine Letters Section: From Newsweek Stephen Colbert 8</p> <p>Best American Fast-Food-Related Crimes 10</p> <p>Best American Gun Magazine Headlines 11</p> <p>Best American Six-Word Memoirs on Love and Heartbreak: From Six-Word Memoirs on Love and Heartbreak 13</p> <p>Best American New Patents: From United States Patent and Trademark Office 14</p> <p>Best American Tweets: From twitter.com 16</p> <p>Best American Letter to the Editor: From Bidoun 17</p> <p>Best American Overqualified Cover Letters: From Overqualified Joey Comeau 18</p> <p>Best American Fictional Character Names 22</p> <p>Best American 350-Word Story: From Orion Barry Lopez 23</p> <p>Best American Farm Names 24</p> <p>Best American First Lines of Poems Published in 2009 26</p> <p>Best American Journal Article Titles Published in 2009 28</p> <p>Best American Illustrated Missed Connections: From missedconnectionsny.blogspot.com Sophie Blackall 29</p> <p>Best American New Band Names 37</p> <p>Best American Lawsuits 38</p> <p>Best American Poems Written in the Last Decade or So by Soldiers and Citizens in Iraq and Afghanistan 40</p> <p>II</p> <p>War Dances: From War Dances Sherman Alexie 49</p> <p>Like I Was Jesus: From Harper's Magazine Rachel Aviv 75</p> <p>Burying Jeremy Green: From Shenandoah Nora Bonner 95</p> <p>The Carnival: From Mome Lilli Carré 104</p> <p>Capital Gains: From Granta Rana Dasgupta 137</p> <p>The Encirclement: From Granta Tamas Dobozy 165</p> <p>Man of Steel: From Ninth Letter Bryan Furuness 180</p> <p>Half Beat: From The Greensboro Review Elizabeth Gonzalez 198</p> <p>Gentlemen, Start Your Engines: From San Francisco Panorama Andrew Sean Greer 213</p> <p>Didier Lefèvre, and Frédéric Lemercier. The Photographer: From The Photographer, translated from French by Alexis Siegel Emmanuel Guibert 238</p> <p>What, of this Goldfish, Would You Wish?: From Tin House, translated from Hebrew by Nathan Englander Etgar Keret 262</p> <p>Fed to The Streets: From L.A. Weekly Courtney Moreno 268</p> <p>The Tiger's Wife: From The New Yorker Téa Obreht 287</p> <p>Breakdown: From Mome T. Ott 308</p> <p>Ideas: From The Paris Review, translated from Spanish by Mara Faye Lethem Patricio Pron 316</p> <p>Vanish: From Wired Evan Ratliff 323</p> <p>Seven Months, Ten Days in Captivity: From New York Times David Rohde 345</p> <p>Tent City, U. S. A.: From GQ George Saunders 395</p> <p>The Nice Little People: From Zoetrope: All-Story Kurt Vonnegut 431</p> <p>Freedom: From Boston Review Amy Waldman 439</p> <p>Contributors' Notes 456</p> <p>The Best American Nonrequired Reading Committee 463</p> <p>Notable Nonrequired Reading of 2009 472</p> <p>About 826 National 479</p><article> <h4>Publishers Weekly</h4>David Sedaris's unflappable inventiveness translates, in the first section of this anthology, to a smattering of pieces with giddiness, daring, and heart. A particular highlight, by Wendy Molyneux, earned his award for "Best American Woman Comedy Piece Written by a Woman" and is guaranteed to set off snorts of delight with each re-read. In the second section, as in previous years, Eggers's picks prove solid and balanced, if expected. Rana Dasgupta's superb article, exploring India's new wealth and subsequent fallout, as well as David Rhode's profound and gripping account of his seven months as a Taliban hostage reflect not only the literary achievements of 2009, but also the horrors and complexities of these current times on. Meanwhile, Tea Obreht's "The Tiger's Wife" and Kurt Vonnegut's "The Nice Little People" embody the ageless miracles of surprise and originality that comprise the human imagination. (Oct.) </article>
36The Daily Show with Jon Stewart Presents Earth (the Book): A Visitor's Guide to the Human RaceJon Stewart0<p>Jon Stewart was born in <ST1&#58;STATE w&#58;st="on">New York</ST1&#58;STATE> and lives with his wife and children in <ST1&#58;CITY w&#58;st="on"><ST1&#58;PLACE w&#58;st="on">New York City</ST1&#58;PLACE></ST1&#58;CITY>.</p>Jon Stewartthe-daily-show-with-jon-stewart-presents-earthjon-stewart97816078861501607886154$24.98Compact DiscHachette AudioOctober 2010Literary Collections<p><P>The eagerly awaited new book from the Emmy-winning, Oscar-hosting, <b>Daily Show-</b>anchoring Jon Stewart&#151;the man behind the megaseller <b>America (The Book)</b>. <P>Where do we come from? Who created us? Why are we here? These questions have puzzled us since the dawn of time, but when it became apparent to Jon Stewart and the writers of <b>The Daily Show</b> that the world was about to end, they embarked on a massive mission to write a book that summed up the human race&#58; What we looked like; what we accomplished; our achievements in society, government, religion, science and culture &#151; all in a tome of approximately 256 pages with lots of color photos, graphs and charts. <P>After two weeks of hard work, they had their book. EARTH (The Book) is the definitive guide to our species. With their trademark wit, irreverence, and intelligence, Stewart and his team will posthumously answer all of life's most hard-hitting questions, completely unburdened by objectivity, journalistic integrity, or even accuracy.</p><h3>The New York Times - Janet Maslin</h3><p>Like the "Daily Show" this parody delivers wittily framed absurdities in a sweetly deadpan way&#8230;like the show, [it's] best when it takes on subjects of real substance&#8230;That's why the funniest material is about religion and science.</p>
37100 Best-Loved PoemsPhilip Smith0Philip Smith100-best-loved-poemsphilip-smith97804862855350486285537$1.80PaperbackDover PublicationsMay 1995Special ValuePoetry Anthologies965.22 (w) x 8.28 (h) x 0.28 (d)Popular, well-known poetry: "The Passionate Shepherd to His Love," "Shall I compare thee to a summer's day?" "Death, be not proud," "The Raven," "The Road Not Taken," plus works by Blake, Wordsworth, Byron, Coleridge, Shelley, Emerson, Browning, Keats, Kipling, Sandburg, Pound, Auden, Thomas, and many others. Includes 13 selections from the Common Core State Standards Initiative.<p><p>"The Passionate Shepherd to His Love," "Shall I compare thee to a summer's day?" "Death, be not proud," "The Raven," "The Road Not Taken," plus works by Blake, Wordsworth, Byron, Shelley, Keats, many others.<p></p>
38The Norton Anthology of American Literature, Shorter Seventh Edition, One-Volume PaperbackWayne Franklin0<p><b>Nina Baym</b> (General Editor), Ph.D. Harvard, is Swanlund Endowed Chair and Center for Advanced Study Professor Emerita of English, and Jubilee Professor of Liberal Arts and Sciences at The University of Illinois at Urbana-Champaign. She is author of <b>The Shape of Hawthorne&rsquo;s Career</b>; <b>Woman's Fiction&#58; A Guide to Novels by and About Women in America</b>; <b>Novels, Readers, and Reviewers&#58; Responses to Fiction in Antebellum America</b>; <b>American Women Writers and the Work of History, 1790-1860</b>; and <b>American Women of Letters and the Nineteenth-Century Sciences</b>. Some of her essays are collected in <b>Feminism and American Literary History</b>; she has also edited and introduced many reissues of work by earlier American women writers, from Judith Sargent Murray through Kate Chopin. In 2000 she received the MLA&rsquo;s Hubbell medal for lifetime achievement in American literary studies.<P><b>Wayne Franklin</b>, Ph.D. (University of Pittsburgh), is Professor and Head of English, University of Connecticut. He is the author of <b>James Fenimore Cooper&#58; The Early Years</b> (the first volume of his definitive biography, from Yale University Press), <b>The New World of James Fenimore Cooper</b>, and <b>Discoverers, Explorers, Settlers&#58; The Diligent Writers of Early America</b>. He is the editor of <b>American Voices, American Lives&#58; A Documentary Reader</b> and co-editor of <b>The Norton Anthology of American Literature</b> and of, with Michael Steiner, <b>Mapping American Culture</b>.<P><b>Philip F. Gura</b> (Editor, 1700-1820), Ph.D. Harvard, is William S. Newman Distinguished Professor of American Literature and Culture and Adjunct Professor of Religious Studies at the University of North Carolina at Chapel Hill. He is the author of seven books, including <b>The Wisdom of Words&#58; Language, Theology, and Literature in the New England Renaissance</b>; <b>A Glimpse of Sion&rsquo;s Glory&#58; Puritan Radicalism in New England, 1620-1660</b>; and <b>Jonathan Edwards, America's Evangelical</b>. For ten years he was editor of the journal <b>Early American Literature</b>. He is an elected member of the Massachusetts Historical Society, the American Antiquarian Society, and the Colonial Society of Massachusetts.<P><b>Jerome Klinkowitz</b> (co-editor, American Literature since 1945), Ph.D. Wisconsin, is University Distinguished Scholar and Professor of English at the University of Northern Iowa. He is the author or editor of over forty books in postwar culture and literature, among them, <b>Structuring the Void&#58; The Struggle for Subject in Contemporary American Fiction</b>; <b>Slaughterhouse Five&#58; Reforming the Novel and the World</b>; <b>Literary Subversions&#58; New American Fiction and the Practice of Criticism</b>; and <b>The Practice of Fiction in America&#58; Writers from Hawthorne to the Present</b>.<P><b>Arnold Krupat</b> (editor, Native American Literatures), Ph.D. Columbia, is Professor of Literature at Sarah Lawrence College. He is the author, among other books, of <b>Ethnocriticism&#58; Ethnography, History, Literature</b>, <b>The Voice in the Margin&#58; Native American Literature and the Canon</b>, <b>Red Matters</b>, and most recently, <b>All That Remains&#58; Native Studies</b> (2007). He is the editor of a number of anthologies, including <b>Native American Autobiography&#58; An Anthology and New Voices in Native American Literary Criticism</b>. With Brian Swann, he edited <b>Here First&#58; Autobiographical Essays by Native American Writers</b>, which won the Wordcraft Circle of Native Writers and Storytellers Award for best book of nonfiction prose in 2001.<P><b>Robert S. Levine</b> (editor, American Literature, 1820-1865), Ph.D. Stanford, is Professor of English at the University of Maryland, College Park. He is the author of <b>Conspiracy and Romance&#58; Studies in Brockden Brown, Cooper, Hawthorne, and Melville</b>; and <b>Martin Delany, Frederick Douglass, and the Politics of Representative Identity</b>. He has edited a number of books, including <b>The Cambridge Companion to Herman Melville</b>; <b>Martin R. Delany&#58; A Documentary Reader</b>; and a Norton Critical Edition of Hawthorne&rsquo;s <b>The House of the Seven Gables</b>.<P><b>Mary Loeffelholz</b> (editor, 1914-1945), Ph.D. Yale, is Professor of English at Northeastern University. She is the author of <b>Dickinson and the Boundaries of Feminist Theory</b>; <b>Experimental Lives&#58; Women and Literature, 1900-1945</b>; and, most recently, <b>From School to Salon&#58; Reading Nineteenth-Century American Women&rsquo;s Poetry</b>. Her essays have appeared in such journals as <b>American Literary History</b>, <b>English Literary History</b>, the <b>Yale Journal of Criticism</b>, and <b>Modern Language Quarterly</b>. Since 1991 she has been the editor of <b>Studies in American Fiction</b>.<P><b>Jeanne Campbell Reesman</b> (editor, 1865-1914), Ph.D. University of Pennsylvania, is Ashbel Smith Professor of English at the University of Texas at San Antonio. She is author of <b>Houses of Pride&#58; Jack London&rsquo;s Race Lives</b>, <b>Jack London&#58; A Study of the Short Fiction</b>, and <b>American Designs&#58; The Late Novels of James and Faulkner</b>, and editor of <b>Speaking the Other Self&#58; American Women Writers</b>, and <b>Trickster Lives&#58; Culture and Myth in American Fiction</b>. With Wilfred Guerin et al. she is co-author of <b>A Handbook of Critical Approaches to Literature</b> and with Earle Labor of <b>Jack London&#58; Revised Edition</b>. With Kenneth Brandt she is co-editor of MLA Approaches to <b>Teaching Jack London</b>, with Leonard Cassuto <b>Rereading Jack London</b>, with Dale Walker <b>No Mentor but Myself&#58; Jack London on Writing and Writers</b>, and with Sara S. Hodson <b>Jack London&#58; One Hundred Years a Writer</b>. She and No&euml;l Mauberret are co-editors of a series of 25 new Jack London editions in French published by &Eacute;ditions Ph&eacute;bus of Paris. She is presently at work on two books&#58; <b>Mark Twain Versus God&#58; The Story of a Relationship</b>, and, with Sara S. Hodson, <b>The Photography of Jack London</b>. She is a member of the Executive Board of the American Literature Association and founder and Executive Coordinator of the Jack London Society.<P><b>Patricia B. Wallace</b> (co-editor, American Literature since 1945), Ph.D. Iowa, is Professor of English at Vassar College. She is a contributing editor of <b>The Columbia History of American Poetry</b>; her essays and poems have appeared in such journals as <b>The Kenyon Review</b>, <b>The Sewanee Review</b>, <b>MELUS</b> and <b>PEN America</b>. She has been a recipient of fellowships from the NEA, the Mellon Foundation, and the ACLS.</p>Wayne Franklin (Editor), Jerome Klinkowitz (Editor), Mary Loeffelholz (Editor), Arnold Krupat (Editor), Philip F. Gurathe-norton-anthology-of-american-literature-shorter-seventh-edition-one-volume-paperbackwayne-franklin97803939305730393930572$63.03PaperbackNorton, W. W. & Company, Inc.July 20077th EditionAmerican Literature Anthologies30086.00 (w) x 9.20 (h) x 2.50 (d)Under Nina Baym's direction, the editors have considered afresh each selection and the entire apparatus to make the Shorter Edition an even better teaching tool for the one-semester and brief two-semester courses.<br><p>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field, <b>The Norton Anthology of American Literature</b> has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p>
39The Best American Poetry 2009David Wagoner0<p><P><b>David Lehman</b> is the editor of <i>The Oxford Book of American Poetry</i> and the author of seven books of poetry, including <i>When a Woman Loves a Man.</i> He lives in New York City.<P></p>David Wagoner (Editor), David Lehmanthe-best-american-poetry-2009david-wagoner9781615521647161552164XPaperbackSimon & Schuster Adult Publishing GroupSeptember 2009Bargain<p><P>David Wagoner writes about regular lives with plain grace and transcendent humanity, and the seventy-five poems he has chosen for the 2009 edition of <i>The Best American Poetry</i> grapple with life, celebrate freedom, and teem with imaginative energy. With engaging notes from the poets, Wagoner's superb introductory essay, series editor David Lehman's astute foreword about the current state of poetry and criticism, and cover art from the beloved poet John Ashbery, <i>The Best American Poetry 2009</i> is a memorable and delightful addition to a series dedicated to showcasing the work of poets at their best.<br></p><h3>Publishers Weekly</h3><p>From the moment series editor David Lehman invokes the myth of Jacob wrestling the Angel in his introduction, the gloves are off in this year's installment of this popular annual anthology. Lehman devotes much of his introduction to throwing jabs at longtime sparring partner and professional poetry grump William Logan, whom Lehman calls &ldquo;wounded&rdquo; and &ldquo;thin skinned.&rdquo; Guest editor Wagoner chooses to abstain from the scuffle, but there's no denying the aesthetic character amassed by the poems he's selected&#58; American poets not only want to talk about their country this year, they want to talk violence in (and toward) their country. &ldquo;They came to blow up America,&rdquo; writes John Ashbery, followed hard on his heels by Mark Bibbins, who warns our fifth state, &ldquo;Connecticut! we're sawing you in half.&rdquo; Denise Duhamel envisions &ldquo;How It Will End&rdquo; (&ldquo;We look around, but no one is watching us&rdquo;) and Rob Cook, in his bold and incantatory &ldquo;Song of America,&rdquo; tells us, &ldquo;I'm raising my child to drown and drop dead and to carry buildings on his back.&rdquo; It appears our poets are at last ready to confront the hysteria and violence of the past eight years, and who can say there's a better year than 2009 to begin. (Sept.)</p>
40The Oxford Book of American Short StoriesJoyce Carol Oates0<p>In a prolific and varied oeuvre that ranges over essays, plays, criticism, and several genres of fiction, Joyce Carol Oates has proved herself one of the most influential and important storytellers in the literary world.</p>Joyce Carol Oatesthe-oxford-book-of-american-short-storiesjoyce-carol-oates97801950926220195092627$19.95PaperbackOxford University Press, USASeptember 1994~Biographies &amp; Autobiographies, General<p><P>"How ironic," Joyce Carol Oates writes in her introduction to this marvelous collection, "that in our age of rapid mass-production and the easy proliferation of consumer products, the richness and diversity of the American literary imagination should be so misrepresented in most anthologies." Why, she asks, when writers such as Samuel Clemens, F. Scott Fitzgerald, Eudora Welty, Flannery O'Connor, Saul Bellow, and John Updike have among them written hundreds of short stories, do anthologists settle on the same two or three titles by each author again and again? "Isn't the implicit promise of an anthology that it will, or aspires to, present something different, unexpected?"<br> In <b>The Oxford Book of American Short Stories</b>, Joyce Carol Oates offers a sweeping survey of American short fiction, in a collection of fifty-six tales that combines classic works with many "different, unexpected" gems, and that invites readers to explore a wealth of important pieces by women and minority writers. Some selections simply can't be improved on, Oates admits, and she happily includes such time-honored works as Irving's "Rip Van Winkle," Poe's "The Tell-Tale Heart," and Hemingway's "A Clean, Well-Lighted Place." But alongside these classics, Oates introduces such little-known stories as Mark Twain's "Cannibalism in the Cars," a story that reveals a darker side to his humor ("That morning we had Morgan of Alabama for breakfast. He was one of the finest men I ever sat down to...a perfect gentleman, and singularly juicy"). From Melville come the juxtaposed tales "The Paradise of Bachelors and the Tartarus of Maids," of which Oates says, "Only Melville could have fashioned out of 'real' events...such harrowing and dreamlike allegorical fiction." From Flannery O'Connor we find "A Late Encounter With the Enemy," and from John Cheever, "The Death of Justina," one of Cheever's own favorites, though rarely anthologized. The reader will also delight in the range of authors found here, from Charles W. Chesnutt, Jean Toomer, and Sarah Orne Jewett, to William Carlos Williams, Kate Chopin, and Zora Neale Hurston. Contemporary artists abound, including Bharati Mukherjee and Amy Tan, Alice Adams and David Leavitt, Bobbie Ann Mason and Tim O'Brien, Louise Erdrich and John Edgar Wideman. Oates provides fascinating introductions to each writer, blending biographical information with her own trenchant observations about their work, plus a long introductory essay, in which she offers the fruit of years of reflection on a genre in which she herself is a master.<br> This then is a book of surprises, a fascinating portrait of American short fiction, as filtered through the sensibility of a major modern writer.</p><h3>Library Journal</h3><p>In these lean times, it is difficult to imagine many libraries champing at the bit to purchase yet another anthology of American short stories. But institutions seeking to expand the diversity of their holdings in this area may find this collection the perfect choice. ``Familiar names, unfamiliar titles'' is the raison d'etre for this new volume. Along with some old chestnuts such as ``The Tell-Tale Heart'' and ``A Clean, Well-Lighted Place,'' editor Oates presents many fresh selections such as Edith Wharton's ``The Journey'' and John Cheever's ``The Death of Justina.'' She includes lesser-known minority and women writers such as Jean Toomer and Mary E. Wilkins Freeman alongside stories by newcomers Amy Tan, Louise Erdrich, and David Leavitt. Each author is given a brief biographical introduction. Recommended for serious literary collections.-- Rita Ciresi, Pennsylvania State Univ., University Park</p><P><b>Stories include&#58; </b><br>1. Rip Van Winkle, <b>Washington Irving</b><br>2. The Wives of the Dead, <b>Nathaniel Hawthorne</b><br>3. The Paradise of Bachelors and the Tartarus of Maids, <b>Herman Melville</b><br>4. The Tell-Tale Heart, <b>Edgar Allan Poe</b><br>5. The Ghost in the Mill, <b>Harriet Beecher Stowe</b><br>6. Cannibalism in the Cars, <b>Mark Twain</b><br>7. The Storm, <b>Kate Chopin</b><br>8. The Yellow Wallpaper, <b>Charlotte Gilman Perkins</b><br>9. The Middle Years, <b>Henry James</b><br>10. In a Far Country, <b>Jack London</b><br>11. The Little Regiment, <b>Stephen Crane</b><br>12. A Journey, <b>Edith Wharton</b><br>13. A Death in the Desert, <b>Willa Carter</b><br>14. A Clean, Well-Lighted Place, <b>Ernest Hemingway</b><br>15. An Alcoholic Case, <b>F. Scott Fitzgerald</b><br>16. The Girl with the Pimply Face, <b>William Carlos Williams</b><br>17. He, <b>Katherine Anne Porter</b><br>18. Red-Headed Baby, <b>Langston Hughes</b><br>19. A Late Encounter with the Enemy, <b>Flannery O'Connor</b><br>20. Sonny's Blues, <b>James Baldwin</b><br>21. There will Come Soft Rains, <b>Ray Bradbury</b><br>22. Where is the Voice Coming From, <b>Eudora Welty</b><br>23. The Lecture, <b>Isaac Beshevis Singer</b><br>24. My Son the Murderer, <b>Bernard Malamud</b><br>25. Something to Remember Me By, <b>Saul Bellow</b><br>26. The Death of Justina, <b>John Cheever</b><br>27. Texts, <b>Ursula Le Guin</b><br>28. The Persistence of Desire, <b>John Updike</b><br>29. Are These Actual Miles?, <b>Raymond Carver</b><br>30. Heat, <b>Joyce Carol Oates</b>
41The Best American Essays 2009Mary Oliver0<p><P>Mary Oliver is one of the most celebrated and best-selling poets in America. Her books include Red Bird; Our World; Thirst; Blue Iris; New and Selected Poems, Volume One; and New and Selected Poems, Volume Two. She has also published five books of prose, including Rules for the Dance and, most recently, Long Life. She lives in Provincetown, Massachusetts.<P><P>ROBERT ATWAN has been the series editor of <i>The Best American Essays</i> since its inception in 1986. He has edited numerous literary anthologies and written essays and reviews for periodicals nationwide.</p>Mary Oliver (Editor), Robert Atwan (Editor), Mary Oliverthe-best-american-essays-2009mary-oliver97806189827210618982728$13.56PaperbackHoughton Mifflin HarcourtOctober 2009American Essays, American Literature Anthologies2245.40 (w) x 8.40 (h) x 0.60 (d)<p>Edited by award-winning poet and essayist Mary Oliver, the latest edition of this "rich and thoughtful collection" (<i>Publishers Weekly</i>) offers the finest essays "judiciously selected from countless publications" (<i>Chicago Tribune</i>).</p><p><P>Edited by award-winning poet and essayist Mary Oliver, the latest edition of this "rich and thoughtful collection" (<i>Publishers Weekly</i>) offers the finest essays "judiciously selected from countless publications" (<i>Chicago Tribune</i>).</p><article> <h4>From Barnes & Noble</h4>Pulitzer Prize-winning poet Mary Oliver presides over this edition of the celebrated Best American Essays series. Quite predictably, this stellar number exhibits a full range of refreshing pieces from a variety of magazines, quarterlies, and other periodicals.\ </article>
42The Norton Anthology of American Literature, Package 2: Volumes C, D, and EJerome Klinkowitz0<p><b>Nina Baym</b> (General Editor), Ph.D. Harvard, is Swanlund Endowed Chair and Center for Advanced Study Professor Emerita of English, and Jubilee Professor of Liberal Arts and Sciences at The University of Illinois at Urbana-Champaign. She is author of <b>The Shape of Hawthorne&rsquo;s Career</b>; <b>Woman's Fiction&#58; A Guide to Novels by and About Women in America</b>; <b>Novels, Readers, and Reviewers&#58; Responses to Fiction in Antebellum America</b>; <b>American Women Writers and the Work of History, 1790-1860</b>; and <b>American Women of Letters and the Nineteenth-Century Sciences</b>. Some of her essays are collected in <b>Feminism and American Literary History</b>; she has also edited and introduced many reissues of work by earlier American women writers, from Judith Sargent Murray through Kate Chopin. In 2000 she received the MLA&rsquo;s Hubbell medal for lifetime achievement in American literary studies.<P><b>Jerome Klinkowitz</b> (co-editor, American Literature since 1945), Ph.D. Wisconsin, is University Distinguished Scholar and Professor of English at the University of Northern Iowa. He is the author or editor of over forty books in postwar culture and literature, among them, <b>Structuring the Void&#58; The Struggle for Subject in Contemporary American Fiction</b>; <b>Slaughterhouse Five&#58; Reforming the Novel and the World</b>; <b>Literary Subversions&#58; New American Fiction and the Practice of Criticism</b>; and <b>The Practice of Fiction in America&#58; Writers from Hawthorne to the Present</b>.<P><b>Arnold Krupat</b> (editor, Native American Literatures), Ph.D. Columbia, is Professor of Literature at Sarah Lawrence College. He is the author, among other books, of <b>Ethnocriticism&#58; Ethnography, History, Literature</b>, <b>The Voice in the Margin&#58; Native American Literature and the Canon</b>, <b>Red Matters</b>, and most recently, <b>All That Remains&#58; Native Studies</b> (2007). He is the editor of a number of anthologies, including <b>Native American Autobiography&#58; An Anthology and New Voices in Native American Literary Criticism</b>. With Brian Swann, he edited <b>Here First&#58; Autobiographical Essays by Native American Writers</b>, which won the Wordcraft Circle of Native Writers and Storytellers Award for best book of nonfiction prose in 2001.<P><b>Mary Loeffelholz</b> (editor, 1914-1945), Ph.D. Yale, is Professor of English at Northeastern University. She is the author of <b>Dickinson and the Boundaries of Feminist Theory</b>; <b>Experimental Lives&#58; Women and Literature, 1900-1945</b>; and, most recently, <b>From School to Salon&#58; Reading Nineteenth-Century American Women&rsquo;s Poetry</b>. Her essays have appeared in such journals as <b>American Literary History</b>, <b>English Literary History</b>, the <b>Yale Journal of Criticism</b>, and <b>Modern Language Quarterly</b>. Since 1991 she has been the editor of <b>Studies in American Fiction</b>.<P><b>Jeanne Campbell Reesman</b> (editor, 1865-1914), Ph.D. University of Pennsylvania, is Ashbel Smith Professor of English at the University of Texas at San Antonio. She is author of <b>Houses of Pride&#58; Jack London&rsquo;s Race Lives</b>, <b>Jack London&#58; A Study of the Short Fiction</b>, and <b>American Designs&#58; The Late Novels of James and Faulkner</b>, and editor of <b>Speaking the Other Self&#58; American Women Writers</b>, and <b>Trickster Lives&#58; Culture and Myth in American Fiction</b>. With Wilfred Guerin et al. she is co-author of <b>A Handbook of Critical Approaches to Literature</b> and with Earle Labor of <b>Jack London&#58; Revised Edition</b>. With Kenneth Brandt she is co-editor of MLA Approaches to <b>Teaching Jack London</b>, with Leonard Cassuto <b>Rereading Jack London</b>, with Dale Walker <b>No Mentor but Myself&#58; Jack London on Writing and Writers</b>, and with Sara S. Hodson <b>Jack London&#58; One Hundred Years a Writer</b>. She and No&euml;l Mauberret are co-editors of a series of 25 new Jack London editions in French published by &Eacute;ditions Ph&eacute;bus of Paris. She is presently at work on two books&#58; <b>Mark Twain Versus God&#58; The Story of a Relationship</b>, and, with Sara S. Hodson, <b>The Photography of Jack London</b>. She is a member of the Executive Board of the American Literature Association and founder and Executive Coordinator of the Jack London Society.<P><b>Patricia B. Wallace</b> (co-editor, American Literature since 1945), Ph.D. Iowa, is Professor of English at Vassar College. She is a contributing editor of <b>The Columbia History of American Poetry</b>; her essays and poems have appeared in such journals as <b>The Kenyon Review</b>, <b>The Sewanee Review</b>, <b>MELUS</b> and <b>PEN America</b>. She has been a recipient of fellowships from the NEA, the Mellon Foundation, and the ACLS.</p>Jerome Klinkowitz (Editor), Robert Levine (Editor), Mary Loeffelholz (Editor), Arnold Krupat (Editor), Patricia Wallacethe-norton-anthology-of-american-literature-package-2jerome-klinkowitz97803939299420393929949$20.00PaperbackNorton, W. W. & Company, Inc.April 20077th EditionAmerican Literature Anthologies28706.00 (w) x 9.20 (h) x 3.70 (d)<p><b>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field,</b> The Norton Anthology of American Literature has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p> <p>Under Nina Baym’s direction, the editors have considered afresh each selection and all the apparatus to make the anthology an even better teaching tool.</p><p>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field, <b>The Norton Anthology of American Literature</b> has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p>
43Early African American Classics (Barnes &amp; Noble Classics Series)Barnes &amp; Noble0Barnes & Nobleearly-african-american-classicsbarnes-amp-noble97814005002841400500281$24.95PaperbackBarnes & NobleOctober 2008Special ValueSlavery - Social Sciences, Peoples & Cultures - American Anthologies, American Fiction & Literature Classics, Slave Narratives & Biographies11.10 (w) x 14.10 (h) x 6.30 (d)Culled from the annals of early African American history, these personal narratives recount the stories of men and women who survived the cruel injustice of slavery to become prominent leaders in the struggle for freedom and equality. <ul> <li><i>Incidents in the Life of a Slave Girl</i> by Harriet Jacobs</li> <li><i>Narrative of Sojourner Truth</i> by Sojourner Truth</li> <li><i>Narrative of the Life of Frederick Douglass, an American Slave</i> by Frederick Douglass,</li> <li><i>The Souls of Black Folk</i> by W.E.B. Du Bois</li> <li><i>My Bondage and My Freedom</i> by Frederick Douglass</li> <li><i>Great Escapes: Four Slave Narratives</i></li> </ul> The <a href="http://www.barnesandnoble.com/classics/index.asp?z=y&amp;cds2Pid=16447&amp;sLinkPrefix"><i>Barnes &amp; Noble Classics</i></a> series offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of <i>Barnes &amp; Noble Classics</i>: <ul> <li>New introductions commissioned from today's top writers and scholars</li> <li>Biographies of the authors</li> <li>Chronologies of contemporary historical, biographical, and cultural events</li> <li>Footnotes and endnotes</li> <li>Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work</li> <li>Comments by other famous authors</li> <li>Study questions to challenge the reader's viewpoints and expectations</li> <li>Bibliographies for further reading</li> <li>Indices &amp; Glossaries, when appropriate</li> </ul> All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. <i>Barnes &amp; Noble Classics</i> pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works.<p>Culled from the annals of early African American history, these personal narratives recount the stories of men and women who survived the cruel injustice of slavery to become prominent leaders in the struggle for freedom and equality.<ul> <li> <i>Incidents in the Life of a Slave Girl</i> by Harriet Jacobs <li> <i>Narrative of Sojourner Truth</i> by Sojourner Truth <li> <i>Narrative of the Life of Frederick Douglass, an American Slave</i> by Frederick Douglass, <li> <i>The Souls of Black Folk</i> by W.E.B. Du Bois <li> <i>My Bondage and My Freedom</i> by Frederick Douglass <li> <i>Great Escapes: Four Slave Narratives</i> </ul> The <A href="http://www.barnesandnoble.com/classics/index.asp?z=y&amp;cds2Pid=16447&amp;"><I>Barnes &amp; Noble Classics</I></A> series offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of <i>Barnes & Noble Classics</i>: <p> <ul> <li>New introductions commissioned from today's top writers and scholars <li> Biographies of the authors <li> Chronologies of contemporary historical, biographical, and cultural events <li> Footnotes and endnotes <li> Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work <li> Comments by other famous authors <li> Study questions to challenge the reader's viewpoints and expectations <li> Bibliographies for further reading <li> Indices & Glossaries, when appropriate </ul> All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. <i>Barnes & Noble Classics</i> pulls together a constellation of influences biographical, historical, and literary to enrich each reader's understanding of these enduring works.</p>
44African-American Poetry: An Anthology, 1773-1930Joan R. Sherman0Joan R. Shermanafrican-american-poetryjoan-r-sherman97804862960430486296040$1.80PaperbackDover PublicationsJuly 1997Special ValuePoetry Anthologies, American Poetry, African Americans - Fiction & Literature, American Literature Anthologies965.29 (w) x 8.21 (h) x 0.25 (d)Rich selection of 74 poems ranging from the religious and moral verse of Phillis Wheatley Peters (ca. 1753–1784) to 20th-century work of Langston Hughes and Countee Cullen. Other contributors include James Weldon Johnson, Paul Laurence Dunbar, many others. Indispensable for students of the black experience in America and any lover of fine poetry. Includes 4 selections from the Common Core State Standards Initiative.<p><p>Rich selection of 74 poems ranging from religious and moral verse of Phillis Wheatley Peters (ca. 1753&#150;1784) to 20th-century work of Countee Cullen, James Weldon Johnson, and Langston Hughes. Introduction.<p></p>
45Couldn't Keep It to Myself: Testimonies from Our Imprisoned SistersWally Lamb2<p>Wally Lamb's books are neither short nor simple; but like a James Patterson of emotions, he pulls readers in and doesn't let go. His affecting novels are marvels of imagination and empathy.</p>Wally Lamb, Diane Bartholomew, Nancy Birkla, Robin Cullen, Brenda Medinacouldnt-keep-it-to-myselfwally-lamb9780060595371006059537X$10.59PaperbackHarperCollins PublishersFebruary 2004ReprintAmerican Literature Anthologies, Penology & Correctional Studies, True Crime3686.00 (w) x 9.00 (h) x 0.92 (d)<p>In a stunning work of insight and hope, <em>New York Times</em> bestselling author Wally Lamb once again reveals his unmatched talent for finding humanity in the lost and lonely and celebrates the transforming power of the written word.</p> <p>For several years, Lamb has taught writing to a group of women prisoners at York Correctional Institution in Connecticut. In this unforgettable collection, the women of York describe in their own words how they were imprisoned by abuse, rejection, and their own self-destructive impulses long before they entered the criminal justice system. Yet these are powerful stories of hope and healing, told by writers who have left victimhood behind.</p> <p>In his moving introduction, Lamb describes the incredible journey of expression and self-awareness the women took through their writing and shares how they challenged him as a teacher and as a fellow author. <em>Couldn't Keep It to Myself</em> is a true testament to the process of finding oneself and working toward a better day.</p><h1>Couldn't Keep It to Myself</h1> <b>Testimonies from Our Imprisoned Sisters</b> <hr noshade size="1"> <b>By Wally Lamb and the Women of the York Correctional Institution</b> <h4 class="null1">HarperCollins Publishers</h4> <b>Copyright © 2003</b> <b>Wally Lamb<br> All right reserved.</b><br> <b>ISBN: 006053429X</b> <br> <hr noshade size='1'> <br> <h3>Chapter One</h3> <p>Couldn't Keep it to Ourselves</p> <p>The toy department at the Durable store sold two blackboards. The modest two-by-three-foot model came with wall brackets and a three-piece starter box of chalk. Its deluxe cousin was framed in wood, had legs and feet, and came "loaded": a pair of erasers, a pointer, a twelve-stick chalk set, and a bonus box of colored chalk. I was a third-grader when I spotted that blackboard. Good-bye to Lincoln Logs and Louisville Sluggers. From the age of eight, I wanted to teach.</p> <p>My first students were my older sisters. As preteenagers, Gail and Vita were more interested in imitating the dance steps of the American Bandstand "regulars" than in playing school, but a direct order from our mother sent them trudging upstairs to my classroom. I'd prepared for their arrival: work sheets, white shirt and clip-on tie, alarm clock hidden under my bed for the surprise fire drill. If my sisters had to play, then they would playact. Vita cast herself as hip-swiveling Cookie Crane, as smoldering a third-grader as there ever was. Gail was Rippy Van Snoot, the class incorrigible. I was launching into opening exercises when Rippy reached past me, grabbed a blackboard eraser, and bounced it off my forehead. Cookie shrieked with delight and lit an imaginary cigarette. I forget which reprobate flung my flash cards into the air and made the room rain arithmetic.</p> <p>Fourteen years later I was a high school English teacher with my first actual students. Paula Plunkett and Seth Jinks were the two I remember most vividly from my rookie year. Paula had pretty eyes and graceful penmanship, but she was encased in a fortress of fat. Sad and isolated, she sat at a special table in back because she didn't fit the desks. She never spoke; no one ever spoke to her. In my first-year-teacher naïveté, I sought to draw Paula into the dynamic, thinking group work and class discussion would save her. My plan failed miserably.</p> <p>Seth Jinks was in the twelfth-grade class I'd been assigned because I had no seniority. "The sweathogs," these kids dubbed themselves. I was twenty-one, and so were three or four of my sweathogs. We honeymooned for a couple of weeks. Then one morning I walked up the aisle and tapped Seth Jinks on the shoulder. I needed to wake him up so I could exchange the paperback he hadn't read for the new one he wasn't going to read. "Seth, get your head off the desk," I said. "Here's the new book." No response. I poked him. He looked up at me with little-boy-lost eyes. "Go fuck yourself," he said. The room went quiet. The sweathogs, Seth, and I held our collective breath and waited for my response. And in that uneasy silence, and the days, and months, and decades that followed, teaching became for me not just a job but a calling. I have found special meaning in working with hard nuts, tough cookies, and hurtin' buckaroos - those children among us who are the walking wounded.</p> <p>That said, I did not want to go to York Correctional Institution, Connecticut's maximum-security prison for women, on that warm August afternoon in 1999. I was keeping a promise I'd made to Marge Cohen, the prison school librarian. Marge had called three months earlier, as I was preparing for a twelve-city book tour in support of my second novel, I Know This Much Is True. Several suicides and suicide attempts had triggered an epidemic of despair at the prison, Marge had explained; the school staff, groping to find help, was canvasing the community. They thought writing might prove useful to the women as a coping tool. Would I come and speak? Because I'm frequently asked to support good causes and have a hard time saying no, I keep an index card taped to my phone - a scripted refusal that allows me to preserve family and writing time. That day, though, I couldn't find my card. I told Marge I'd visit when I got back from my book tour.</p> <p>I would never have predicted an author's life for myself, but when I was thirty, while on summer hiatus from teaching, I'd sat down and written a short story on a whim. I liked doing it and wrote another. For my third story, I fused a sarcastic voice to the visual memory of the mute, isolated Paula Plunkett. For years I had worried and wondered about my former student. What had become of her? What had all that weight meant? Who had she been as a child? In the absence of actual knowledge, the life I invented around her remembered image became my first novel, She's Come Undone. It took me nine years to figure out the story of that bruised fictional soul whom I'd fathered and then grown to love and worry over. I loved and stewed over the flawed identical twins of my second novel, too - one of whom had a generous measure of Seth Jinks's anger. What I did not see coming was that the world would embrace these characters also. "Hello, Wally? Guess what?" The caller on the other end of the phone line was Oprah Winfrey. She called twice, once for each novel. The result: best-seller lists, limo rides, movie deals, and foreign translations. Oprah's Book Club had taken my life by the seat of the pants and sent me on the road.</p> <p>Rock stars on tour bust up their hotel rooms. They get drunk or high, trash the furniture with their bandmates, party with groupies. But authors on tour are quieter, more solitary souls. Between appointments, we sit by ourselves in our rooms, nibbling like prairie dogs on room service sandwiches, or ironing our clothes for the next reading, or watching Judge Judy. Perhaps the most surreal moment during my book tour that summer occurred in a hotel room in Dayton, Ohio. While channel-surfing, I came upon the quiz show Jeopardy! at the exact moment my name surfaced. "He wrote the novel She's Come Undone," Alex Trebek stated. In the long and torturous pause that followed, the three contestants stood there, lockjawed and mute, itching but unable to press their thumbs to their buzzers. And sitting on the edge of the bed in room 417 of the Westin Hotel, I uttered in a sheepish voice, "Who is Wally Lamb?"</p> <p>I'm a family man, a fiction writer, a teacher, and a guy who can't say no without the index card. On that nervous first drive to York Correctional Institution, I sought to calm myself with music. I was fumbling with CD cases and radio buttons when suddenly, over the airwaves, a piano pounded and the car shook with the vocal thunder of Newark, New Jersey's Abyssinian Baptist Choir. The unfamiliar song so overpowered me that I pulled to the shoulder to listen. When it ended, I looked up at the highway sign in front of which I'd landed. correctional facility area, it said. do not stop. The inexplicable emotional wallop of that moment fills me with wonder to this day.</p> <p>To gain access to the women of York prison, you check in with the guard at the main gate, hang your laminated badge on your shirt pocket, walk through a metal detector, then pass through a series of ten doors, some of which slide open mysteriously after you stand and wait. You don't see who's flipping the switches, so it's an Orwellian entrance. At the prison school, I met my liaison, Dale Griffith, a warm and exuberant English teacher. Dale and I arranged the chairs in a circle, a uniformed corrections officer bellowed orders from the corridor, and thirty inmates entered the room.</p> <p>Dressed identically in cranberry T-shirts and pocketless jeans, the women came in all colors, shapes, sizes, and degrees of gender identification. Their attitudes ranged from hangdog to Queen of Sheba. Most had shown up not to write but to check out "that guy who was on Oprah." I spoke. We tried some exercises. I asked if anyone had questions about writing. Several hands shot into the air. "You met Oprah?" "What's Oprah like?" "Oprah's cool, you know what I'm sayin'?" Uh, was that a question?</p> <p>At the end of my talk, one of the women stood, thanked me for coming, and pitched me a curveball. "You coming back?" she asked. Thirty pairs of wary eyes were upon me and my index card was back in my office. "Uh, well . . . okay," I said. "Write something and I'll see you in two weeks. Any subject, two pages minimum. Your drafts will be your tickets into the workshop."</p> <p>At session two, fifteen of the thirty chairs were empty. Stacie wanted praise, not feedback. Manhattan said she'd meant to be vague and nonspecific - that her business wasn't necessarily the reader's business. Ruth must have thought she was a guest on Oprah; she'd written only a paragraph, but man oh man, did she want to talk. At age fifty-five Diane was the senior member of the group. For ninety minutes she hunched forward, fists clenched on her desktop. Her suspicious eyes followed my every move. Diane had written under the pseudonym Natasha and had exacted a promise before class that her work would never, ever be read aloud. I predicted she'd be gone by session three.</p> <p>But it was during session three that Diane Bartholomew ("Snapshots of My Early Life") couldn't keep her writing to herself. Her shaky hand went up and she asked if she could share what she'd written. In a barely audible voice, she read a disjointed, two-page summary of her horrific life story: incest, savage abuse, spousal homicide, lawyerly indifference, and, in prison, parallel battles against breast cancer and deep, dark depression. When she stopped, there was silence, a communal intake of breath. Then, applause - a single pair of hands at first, joined by another pair, and then by everyone. Bartholomew had sledgehammered the dam of distrust, and the women's writing began to flow.</p> <p>That was three years ago. I stopped counting sessions somewhere around number fifty. Writers have come and gone: the narcotics-addicted nurse who wrote a moving apologia to a deceased aunt whose support had never wavered; the high school athlete who, a month after graduation, brandished her softball bat during a convenience store robbery and wrote to figure out why; the young alcoholic mother who time-traveled, penning a personal letter to one of the prison's original 1917 inmates, also an alcoholic. The workshop sessions have been a journey rich with laughter, tears, heart-stopping leaps of faith, and miraculous personal victories. There have been bumps in the road, too. Addicts are elusive; they tend to begin promising drafts, take them to some interesting midway point, then give up on themselves and stop coming. There have been trust issues. Prison is not a place where trust is given easily, and a writer who shares her work in progress risks exposure. That risk taking must be honored. Only the writer should decide when, and if, her work is ready for the eyes and ears of nongroup members - ready, in other words, to go public. If another group member breaches that trust, she has to leave. Similarly, a few con artists and drama queens have been handed their walking papers. A functional writing community cannot accommodate the needs of would-be superstars or instigators of the guess-what-she-said-about-you variety. But those have been the exceptions. The brave writers whose work is represented in this volume have acted in good faith, faced their demons, stayed the course, and revised relentlessly. And in taking on the subject of themselves - making themselves vulnerable to the unseen reader - they have exchanged powerlessness for the power that comes with self-awareness.</p> <p>"I started writing because of a terrible feeling of powerlessness," the novelist Anita Brookner has said. The National Book Award winner Alice McDermott noted that the most difficult thing about becoming a writer was convincing herself that she had anything to say that people would want to read. "There's nothing to writing," the columnist Red Smith once commented. "All you do is sit down at a typewriter and open a vein."</p> <p>Michelle Jessamy ("Motherlove") was fourteen when she became pregnant by her teenage boyfriend. Despite the challenges, Jessamy's impending motherhood helped her get closer to her own emotionally distant mother. As she drafted her memory piece, that mother-daughter epiphany emerged as the centerpiece. Then, mid-draft, Jessamy hit a snag. She began writing a flashback to an earlier instance of sexual abuse - a hallway molestation by a friend of the family when she was eleven. The painful incident was integral to the story she needed to tell, but disclosing her long-kept secret made Jessamy feel uncomfortable. She stopped writing. But self-censorship felt uncomfortable, too. Jessamy had worked hard on her essay and wanted to see it through. The solution? A change of genre. On paper, Jessamy became Mo'Shay Shambly, and the pronoun I became she. Mo'Shay had the same hazel eyes as Michelle, the same experiences. But now Jessamy was writing autobiographical fiction. That little bit of distance unblocked her and she finished her piece.</p> <p>Brenda Medina ("Hell, and How I Got Here") was self-censoring like Michelle Jessamy, but for a very different reason. For months after she joined our group, she labored on the same short essay about the death of her uncle Carlos - draft after draft after draft. One day I suggested to Medina that, God bless him, I didn't think I had the strength to attend to poor Uncle Carlos's death one more time. "There's something else I want to write about, but I can't," she told me. That "something" was what had landed her in prison ten years earlier at age seventeen: her affiliation with a violent street gang.</p> <p>York Correctional Institution is vigilant in its efforts to eliminate gang influence within the compound. Incarcerated gang members who choose to uphold their allegiance to "the family" pay a steep price in the form of punitive segregation, loss of privileges, and loss of the "good time" that can shorten their stay on the inside. A self-described punk when she arrived at York, Brenda Medina had traveled a long and difficult road as an inmate, freeing herself from the psychological grip of her "family" and undertaking the rigorous step-by-step process by which an inmate repudiates her gang affiliation and begins rehabilitation in earnest. Even mentioning the name of a gang can cast suspicion that the inmate has reneged on her disaffiliation. Medina's very real fear was that, if she wrote about her past life, her work might be seized, taken out of context, and misconstrued as gang-friendly. If that happened, she could lose much of what she had worked so hard to achieve. My collaborator, Dale Griffith, dealt with the problem directly. She sought and received permission from prison officials for Medina to take up her gang experience as subject matter. With that hurdle cleared, the writer was on her way to a personal essay that, far from glorifying gangs, depicts their insidious hold on young people's lives and the cancerous destruction of their futures.</p> <p>In her much-loved book on writing, Bird by Bird: Some Instructions on Writing and Life, Anne Lamott observes: "We write to expose the unexposed.<br> <br> <i>Continues...</i><br> </p> <blockquote> <hr noshade size='1'> Excerpted from <b>Couldn't Keep It to Myself</b> by <b>Wally Lamb and the Women of the York Correctional Institution</b> Copyright © 2003 by Wally Lamb<br> Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher. <hr noshade size='1'> </blockquote><p><P>In a stunning work of insight and hope, <i>New York Times</i> bestselling author Wally Lamb once again reveals his unmatched talent for finding humanity in the lost and lonely and celebrates the transforming power of the written word.<P>For several years, Lamb has taught writing to a group of women prisoners at York Correctional Institution in Connecticut. In this unforgettable collection, the women of York describe in their own words how they were imprisoned by abuse, rejection, and their own self-destructive impulses long before they entered the criminal justice system. Yet these are powerful stories of hope and healing, told by writers who have left victimhood behind.<P>In his moving introduction, Lamb describes the incredible journey of expression and self-awareness the women took through their writing and shares how they challenged him as a teacher and as a fellow author. <i>Couldn't Keep It to Myself</i> is a true testament to the process of finding oneself and working toward a better day.</p><h3>The Los Angeles Times</h3><p>One truth this book affirms is the capacity for people to change. The writers of <i>Couldn't Keep It to Myself</i> chart their own journeys of growth, navigating the terrain of their internal worlds, their pasts and present prison realities. Who they have become is clear both in self-awareness and what they do with their lives teaching others, advocacy, computer work, construction in prison and out. It is in this change that hope resides; lying next to and rising out of despair, hope permeates the book. Why, in the end, does Lamb want us to care about 10 women in prison? Perhaps because in noticing the humanity of others, we become more human ourselves. &mdash; <i>Kathy Boudin</i></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes to the Reader</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Couldn't Keep it to Ourselves</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The True Face of Earth</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Orbiting Izzy</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thefts</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hair Chronicles</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Steps Past the Monkeys</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hell, and How I Got Here</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas in Prison</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Faith, Power, and Pants</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puzzle Pieces</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Motherlove</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snapshots of My Early Life</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bad Girls</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sources and Suggested Reading</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD></TABLE><article> <h4>From Barnes & Noble</h4>Wally Lamb's novels <i>She's Come Undone</i> and <i>I Know This Much Is True</i> were both Oprah's Book Club selections and No. 1 <i>New York Times</i> bestsellers. On the surface, <i>Couldn't Keep It to Myself</i> is far different than these works of fiction. In this heart-wrenching collection, Lamb introduces and presents 11 female writers who happen to be convicted felons. Their pieces, as potent as their personalities, would be less accessible without Lamb's modest and disarming preludes. "Prison," he writes, "is not a place where trust is given easily." Obviously, he earned that trust, and we now share its fruits. </article> <article> <h4>The Los Angeles Times</h4>One truth this book affirms is the capacity for people to change. The writers of <i>Couldn't Keep It to Myself</i> chart their own journeys of growth, navigating the terrain of their internal worlds, their pasts and present prison realities. Who they have become is clear both in self-awareness and what they do with their lives — teaching others, advocacy, computer work, construction in prison and out. It is in this change that hope resides; lying next to and rising out of despair, hope permeates the book. Why, in the end, does Lamb want us to care about 10 women in prison? Perhaps because in noticing the humanity of others, we become more human ourselves. — <i>Kathy Boudin</i> </article><article> <h4>Publishers Weekly</h4>Bestselling author and Oprah Winfrey favorite Lamb (She's Come Undone; I Know This Much Is True) takes a cue from Winfrey herself in collecting and editing this book of writings gleaned from a workshop he conducted for the female inmates of Connecticut's York Correctional Institution. The result is an intriguing and powerful collection of unlikely literary debuts. Although the 11 selections cover the range one might expect from writings plucked from a women's prison-tales of broken homes, poverty, violence, teenage pregnancy, race and gender bias, and, of course, crime and punishment-Lamb succeeds in giving the collection an intense, recognizable emotional core reminiscent of his blockbuster debut novel, She's Come Undone. Indeed, each selection bears the marks of Lamb's heavy involvement-the clipped yet elegant prose and the delicate, occasionally humorous manner in which difficult emotional situations are rendered. Standout selections include Nancy Whiteley's opening remembrance of her troubled adolescence and Diane Bartholomew's artfully rendered, heart-wrenching "Snapshots of My Early Life." As a sad footnote, Bartholomew, whom Lamb credits with inspiring the success of the workshop, will never see her opus in print. Sent to prison in 1990 for murdering her abusive husband, Bartholomew was stricken with cancer while serving her sentence and died in November 2001. In his introduction, Lamb calls the workshop "a journey rich with laughter, tears, [and] heart-stopping leaps of faith." To the credit of Lamb and his authors, this book, the end product of the workshop, is as well. (On sale Feb. 1) Forecast: Although this book is a departure for Lamb, fans of She's Come Undone will undoubtedly enjoy it. Copyright 2002 Cahners Business Information. </article> <article> <h4>Library Journal</h4>At the urgent request of the librarian at York Correctional Institution in Connecticut, Lamb (She's Come Undone) organized a writing class for incarcerated women. The intention was to make writing a coping tool that might counter an epidemic of despair at the prison. The 12 pieces in this volume are the best of the students' efforts, and as efforts they are noteworthy, offering memoirs of childhood and acute observations about prison life. In "Three Steps Past the Monkeys," Nancy Birkla chronicles her dependence on drugs by describing her early dependence on candy. In "Christmas in Prison," Robin Cullen describes a congregation at a prison church service as "a rainbow of skin tones, their chocolate, honey vanilla, and raspberry ripple-colored hair topped with crocheted red scrunchies that sit like cherries atop ice cream parlor hairdos." All in all, the volume represents good student writing and a success from everyone's point of view. If it is vying for shelf space with professional writers, it will probably (and justifiably) lose out. But if funds permit, it is worth considering.-Frances Sandiford, formerly with Green Haven Correctional Facility Lib., Stormville, NY Copyright 2003 Reed Business Information. </article> <article> <h4>Kirkus Reviews</h4>Intense attestations of lives that ran afoul of the law, from women who have done or are doing time at a prison in Connecticut. Bestselling novelist Lamb (I Know This Much Is True, 1998, etc.) teaches a course in writing at the York Correctional Institution, and he offers here a selection of ten works from the women in his class, plus one by his co-instructor. The pieces are uniformly wrenching, reported from desperate circumstances by authors doomed to punishment. Yet they are as far from self-pity as possible, written by extremely self-aware authors who give a clear sense of setting out to take some degree of control of their destinies. Each piece is a probing re-examination of its author’s life and of the reasons she ended up in prison. Some recount childhoods taxing by any yardstick, years of learning to become "experts at detecting the slightest barometric fluctuations of Storm Mom," or of being raped by a father who’d just lost the house in a card game—and, at term, having the baby spirited away before its mother was allowed to touch him. There are demons aplenty, inner ones begging to be tamed by drugs, and outer ones, like husbands, uncontrollable (one woman asks, "Why do I feel safer here in prison than I felt at home?"). The maximum-security prison is a tough house, and prospects of release for some of the writers are dim: "Ineligible for parole, I have served the first nine years of my twenty-five year sentence. I am 27." This same person will also say, "I’m kept afloat by my writing." And her writing, like other of the women’s, is lean, with the momentum and clarity needed for its work of helping frame and make sense of these authors’ situations. There are things, says Lamb,that need "to be known about prison and prisoners. There are misconceptions to be abandoned, biases to be dropped." Here’s a step in that direction. </article>
46The Norton Anthology of Poetry, Shorter 5th EditionMargaret Ferguson0<p><b>Margaret Ferguson</b> (Ph.D. Yale University) is Professor of English and Comparative Literature at the University of California&mdash;Davis. She is author of <b>Dido&rsquo;s Daughters&#58; Literacy, Gender, and Empire in Early Modern England and France</b> (2003) and <b>Trials of Desire&#58; Renaissance Defenses of Poetry</b> (1984). She is coeditor of <b>Feminism in Time</b>, <b>Women, Property, and the Letters of the Law</b>, <b>Literacies in Early Modern England</b> and a critical edition of Elizabeth Cary&rsquo;s <b>Tragedy of Mariam</b>.<P><b>Mary Jo Salter</b> (M.A. Cambridge University) is Emily Dickinson Senior Lecturer in the Humanities at Mount Holyoke College, where she teaches poetry and poetry-writing. She has published several books of poems, including <b>Henry Purcell in Japan</b> (1985), <b>Unfinished Painting</b> (1989), <b>Sunday Skaters</b> (1994), <b>A Kiss in Space</b> (1999), and, most recently, <b>Open Shutters</b> (2003). A vice president of the Poetry Society of America, she has also served as poetry editor of <b>The New Republic</b>.<P><b>Jon Stallworthy</b> (M.A. and B.Litt. Oxford) is Senior Research Fellow at Wolfson College of Oxford University, where he is also Professor of English Literature. He is also the former John Wendell Anderson Professor at Cornell, where he taught after a career at Oxford University Press. His biography of Wilfred Owen won the Duff Cooper Memorial Prize, the W. H. Smith Literary Award, and the E. M. Forster Award of the American Academy of Arts and Letters. His biography of Louis MacNeice won the Southern Arts Literary Prize. He is also the author of <b>Rounding the Horn&#58; Collected Poems</b> and <b>Singing School&#58; The Making of a Poet</b> and he is the editor of the definitive edition of Wilfred Owen&rsquo;s poetry, <b>The Complete Poems and Fragments</b>; <b>The Penguin Book of Love Poetry</b>; and <b>The Oxford Book of War Poetry</b>. Stallworthy has received a Guggenheim Fellowship and is a fellow of the British Academy and the Royal Society of Literature.</p>Margaret Ferguson (Editor), Jon Stallworthy (Editor), Mary Jo Salter (Editor), Mary Jo Salter (Editor), Jon Stallworthythe-norton-anthology-of-poetry-shorter-5th-editionmargaret-ferguson97803939792130393979210$58.69PaperbackNorton, W. W. & Company, Inc.December 20045th EditionPoetry Anthologies, American Poetry, English Poetry, English & Irish Literature Anthologies, American Literature Anthologies14249.16 (w) x 5.86 (h) x 1.50 (d)<p><b>Offering over one thousand years of verse from the medieval period to the present,</b> The Norton Anthology of Poetry is the classroom standard for the study of poetry in English.</p> <p>The Fifth Edition retains the flexibility and breadth of selection that has defined this classic anthology, while improved and expanded editorial apparatus make it an even more useful teaching tool.</p><p>Offering over one thousand years of verse from the medieval period to the present, <b>The Norton Anthology of Poetry</b> is the classroom standard for the study of poetry in English.</p>
47The Best American Poetry 2010Amy Gerstler0<p><br><b>David Lehman</b> is the editor of <I>The Oxford Book of American Poetry</i> and the author of seven books of poetry, including <I>When a Woman Loves a Man.</i> He lives in New York City.</p>Amy Gerstler (Editor), David Lehmanthe-best-american-poetry-2010amy-gerstler97814391814541439181454$13.87PaperbackSimon & Schuster Adult Publishing GroupSeptember 2010Poetry Anthologies, American Poetry, American Literature Anthologies2295.40 (w) x 8.30 (h) x 0.70 (d)<p>AMY GERSTLER’S COMMITMENT TO INNOVATIVE POETRY that conveys meaning, feeling, wit, and humor informs the cross section of poems in the 2010 edition of <i>The Best American Poetry.</i> The works collected here represent the wealth, the breadth, and the tremendous energy of poetry in the United States today. Featuring poems from some of our country’s top bards, including John Ashbery, Anne Carson, Louise Glück, Sharon Olds, and Charles Simic, <i>The Best American Poetry 2010</i> also presents poems that poignantly capture the current moment, such as the sonnets John Updike wrote to chronicle his dying weeks. And there are exciting poems from a constellation of rising stars: Bob Hicok, Terrance Hayes, Denise Duhamel, Dean Young, and Elaine Equi, to name a very few.</p> <p>The anthology’s mainstays are in place: It opens with series editor David Lehman’s incisive foreword about the state of American poetry and has a marvelous introduction by Amy Gerstler. Notes from the poets, illuminating their poems and their writing processes, conclude this delightful addition to a classic series.</p> <p>Dick Allen • John Ashbery • Sandra Beasley • Mark Bibbins • Todd Boss • Fleda Brown • Anne Carson • Tom Clark • David Clewell • Michael Collier • Billy Collins • Dennis Cooper • Kate Daniels • Peter Davis • Tim Dlugos • Denise Duhamel • Thomas Sayers Ellis • Lynn Emanuel • Elaine Equi • Jill Alexander Essbaum • B. H. Fairchild • Vievee Francis • Louise Glück • Albert Goldbarth • Amy Glynn Greacen • Sonia Greenfield • Kelle Groom • Gabriel Gudding • Kimiko Hahn • Barbara Hamby • Terrance Hayes • Bob Hicok • Rodney Jones • Michaela Kahn • Brigit Pegeen Kelly • Corinne Lee • Hailey Leithauser • Dolly Lemke • Maurice Manning • Adrian Matejka • Shane McCrae • Jeffrey McDaniel • W. S. Merwin • Sarah Murphy • Eileen Myles • Camille Norton • Alice Notley • Sharon Olds • Gregory Pardlo • Lucia Perillo • Carl Phillips • Adrienne Rich • James Richardson • J. Allyn Rosser • James Schuyler • Tim Seibles • David Shapiro • Charles Simic • Frank Stanford • Gerald Stern • Stephen Campbell Sutherland • James Tate • David Trinidad • Chase Twichell • John Updike • Derek Walcott • G. C. Waldrep • J. E. Wei • Dara Wier • Terence Winch • Catherine Wing • Mark Wunderlich • Matthew Yeager • Dean Young • Kevin Young</p><p class="null1">FOREWORD</p> <p class="null2">by David Lehman</p> <p>Over the years I’ve read novels centering on lawyers, doctors, diplomats, teachers, financiers, even car salesmen and dentists, but not until 2009 did I come across one about the travails of the editor of a poetry anthology. When word of <i>The Anthologist</i>, Nicholson Baker’s new novel, reached me last September, I couldn’t wait to read it. Baker’s novels defy convention and reveal an obsessive nature, and I wondered what he would make of American poetry, for surely his novel would reflect a strenuous engagement with the art. The title character here, Paul Chowder by unfortunate name, has put together an anthology of poems he is calling <i>Only Rhyme.</i> The phrase describes the notional book’s contents and indicates the editor’s conception of poetic virtue. Paul has chosen the contents of his anthology but is now, on the eve of a deadline, afflicted with writer’s block. He needs to write a foreword but cannot. “How many people read introductions to poetry anthologies, anyway?” he wonders, then volunteers, “I do, but I’m not normal.”</p> <p>Having asked myself that same question and given a similar answer, I can appreciate the speaker’s troubling awareness of the many poets who have to be left out of his book—and the relatively few people who will bother to read his introductory essay. The task of writing a prefatory note becomes no less difficult when it is an annual requirement, though Nicholson Baker may have made my job a little easier this time around. Every editor has the impulse to use the introductory space to open the door, welcome the guest, and disappear without further ado. But some things are worth saying, and one such is Baker’s defense of anthologies. For a poet facing all the perils that lurk in a poet’s path—a poet very like the novel’s Paul Chowder—anthologies represent the possibility of a belated second chance. And it is that possibility, however slim, that spurs the poet to stick to a vocation that offers so much resistance and promises so few rewards. The “you” in these sentences refers to the American poet—and perhaps to American poetry itself, an oddity in an age that worships celebrity. “You think: One more poem. You think: There will be some as yet ungathered anthology of American poetry. It will be the anthology that people tote around with them on subways thirty-five, forty years from now.” The poet’s conception of fame exists within modest limits, but it is persistent: “And you think: Maybe the very poem I write today will somehow pry open a space in that future anthology and maybe it will drop into position and root itself there.”</p> <p>Baker’s skeptical distance from the fray makes his take on things particularly compelling. The opinions he puts forth are provocative and entertaining. A proponent of the sit-com as the great American art form, Baker’s anthologist believes that “any random episode of <i>Friends</i> is probably better, more uplifting for the human spirit, than ninety-nine percent of the poetry or drama or fiction or history ever published.” That is quite a statement, even allowing for the complexity of irony. (After all, to be “uplifting for the human spirit” may not be the ideal criterion by which to judge poetry or history.) The speaker establishes his credentials as an American poet with his realism for self-pity’s sake. He suspects that poets form a “community” only in the realm of piety: “We all love the busy ferment, and we all know it’s nonsense. Getting together for conferences of international poetry. Hah! A joke. Reading our poems. Our little moment. Physical presence. In the same room with. A community. Forget it. It’s a joke.”</p> <p>Baker (or his mouthpiece) likes Swinburne, Poe, Millay, Elizabeth Bishop, Louise Bogan, and the contemporary British poets Wendy Cope and James Fenton. He disapproves of free verse, distrusts the “ultra-extreme enjambment” that you find in William Carlos Williams or Charles Olson, and argues that “iambic pentameter” is something of a hoax. As for the unrhymed poems that dominate literary magazines and university workshops, he feels it would be more accurate to call them “plums” and their authors “plummets” or “plummers.” How did we get to this state of affairs? In Baker’s account, the chief villain is Ezra Pound, “a blustering bigot—a humorless jokester—a talentless pasticheur—a confidence man.” Pound advocated modernism in verse with the same bullying arrogance that went into his radio broadcasts on behalf of Mussolini, and that is no accident, because the impulse that led to fascism also gave rise to modern poetry. Modernism as Pound preached it and T. S. Eliot practiced it—in <i>The Waste Land</i>, “a hodge-podge of flummery and borrowed paste”—was, in short, probably as ruinous for the art of verse as fascism was for Europe. The popularity of translations, especially prose versions of exotic foreign verse rendered from a language that the translator doesn’t know, also did its part to hasten the “death of rhyme.”</p> <p>The views articulated in <i>The Anthologist</i> are antithetical to contemporary practice in ways that recall Philip Larkin’s conviction that Pound ruined poetry, Picasso ruined painting, and Charlie Parker ruined jazz: the dissenting position, pushed to an amusing extreme, and stated with uncompromising intelligence. The narrator can sound a sour note. To teach creative writing to college students is to be “a professional teller of lies,” he maintains, gleefully quoting Elizabeth Bishop on the subject: “I think one of the worst things I know about modern education is this ‘Creative Writing’ business.” Nevertheless Baker’s opinions are worth pondering, especially when the “difficulty versus accessibility” question becomes the subject of debate. And his advice to the aspiring poet is astute. Don’t postpone writing the poem, he says. “Put it down, work on it, finish it. If you don’t get on it now, somebody else will do something similar, and when you crack open next year’s <i>Best American Poetry</i> and see it under somebody else’s name you’ll hate yourself.”</p> <p><i>The Anthologist</i> was well received and prominently reviewed in book supplements that rarely notice poetry books, let alone anthologies of them, except with a certain contempt, which was a mild irony but an old story. Some laudatory articles went so far as to declare that “you” will enjoy the work “even if you generally couldn’t care less about verse.” But then, when poetry or the teaching of poetry is discussed, commentators have a hard time avoiding a note of condescension. Poetry is called a “lost art.” It is thought to be something young people go through, a phase; something you have to apologize for, as when a poet at a reading reassures the audience that only three more poems remain on the docket. And yet poetry retains its prestige. The term exists as a sort of benchmark in fields ranging from politics to athletics. Columnists enjoy reminding newly elected officials that “you campaign in poetry but govern in prose”—an axiom that aligns poetry on the side of idealism and eloquence against the bureaucratic details and inconveniences of prosaic administration. In the <i>Financial Times</i>, the Czech photographer Miroslav Tichý, who spied on women with his homemade viewfinder, “stealing their likenesses as they giggled, gossiped and dreamed,” is described as “a peeping Tom with a poet’s eye.” Of Nancy Pelosi, readers of <i>Time</i> learned that, to the Speaker’s credit, when a colleague’s mother dies, she “encloses a poem written by her own mother with her condolence.” In the same issue of the magazine, a flattering profile of General Stanley McChrystal, commander of U.S. forces in Afghanistan, appeared. During the Iraq war, McChrystal sent copies of “The Second Coming” to his special operators, challenging them to flip the meaning of Yeats’s lines: “The best lack all conviction, while the worst / Are full of passionate intensity.”</p> <p>Has there ever been a really good movie about a poet as opposed to the many excellent movies in which poetry is quoted to smart effect? <i>Bright Star</i>, Jane Campion’s film about the ill-starred romance of John Keats and the barely legal Fanny Brawne, came out in 2009 and showed there is life left in the familiar stereotype of the consumptive poet burning a fever for love. Campion won over Quentin Tarantino. “The movie made me think about taking a writing class,” the director of <i>Pulp Fiction</i> said. “One of the best things that can happen from a movie about an author is that you actually want to read their work.” On television, poetry continues to put in regular appearances on <i>The PBS NewsHour</i> with Jim Lehrer and sometimes sneaks into scripted shows. When an advertising copywriter on <i>Mad Men</i> loses his job, he doesn’t take it well. He “did not go gentle into that good night,” an ex-associate observes. The critic Stephen Burt believes that <i>Project Runway</i> holds some useful lessons for poetry critics: “<i>Project Runway</i> even recalls the famous exercises in ‘practical criticism’ performed at the University of Cambridge in the 1920s, in which professor I. A. Richards asked his students to make snap judgments about unfamiliar poems.” I have commented on the inspired way that quotations from poems turn up in classic Hollywood movies, and if you’re lucky enough to catch <i>It’s Always Fair Weather</i> the next time Robert Osborne shows it on TCM, you’ll see a superb 1950s movie musical (music by André Previn, book and lyrics by Betty Comden and Adolph Green) that sums itself up brilliantly in three lines from <i>As You Like It</i> that enliven a conversation between Gene Kelly and Cyd Charisse:</p> <p>Most friendship is feigning, most loving mere folly.</p> <p>Then heigh-ho, the holly!</p> <p>This life is most jolly.</p> <p>Meanwhile, you can’t pull the wool over the creative writers responsible for <i>Law and Order: Criminal Intent.</i> In a 2009 episode, a celebrated campus bard is murdered by his ex-girlfriend, who is handy with a knife. Has he been pimping out his attractive young assistants to wealthy donors? After learning how rotten the poets are to one another, the major case squad detective says that if her daughter ever says she wants to be a poet, she’d tell her to join the Mafia instead: “Nicer people.” As convalescents confined to hospital beds know, you can go wall to wall with reruns of <i>Law and Order</i>, and sure enough, the day after this episode aired I saw a rerun of <i>Law and Order: Criminal Intent</i>, in which the villain is a nerdy insurance man, an actuary with Asperger’s syndrome, whose name is Wallace Stevens. The detectives call him Wally affectionately. I spent the rest of my bedridden day with Stevens’s collected poems.</p> <p><i>Haaretz</i>, Israel’s oldest Hebrew-language daily, turned over its pages entirely to poets and novelists for one day in June 2009. The results were unsurprising in some ways (a lot of first-person point of view) but inventive and unconventional in the coverage of the stock market (“everything okay”) and the weather (a sonnet likening summer to an unsharpened pencil). The experiment reminded me of W. S. Di Piero’s assertion that the writing of good prose is the acid test of a poet’s intelligence. “Some shy from putting prose out there because it’s a giveaway,” Di Piero has written. “You can’t fake it. It reveals quality of mind, for better or worse, in a culture where poems can be faked. Find a faker and ask him or her to write anything more substantial than a jacket blurb, and the jig is up.” When we posted Di Piero’s remark on the <i>Best American Poetry</i> blog, Sally Ashton added an apt simile (a poem can be faked “like an orgasm”) and a few inevitable questions (“Who is fooled? Who benefits?”). Speaking of the <i>BAP</i> blog, there are days when it resembles nothing so much as a cross-cultural newspaper written by poets and poetry lovers. Recent visitors to the <i>BAP</i> blog could read Catharine Stimpson’s reaction to homicidal violence at the University of Alabama; Lewis Saul’s meticulously annotated commentary on thirty films by Akira Kurosawa; Jennifer Michael Hecht’s heartfelt plea to poets contemplating the suicide of Rachel Wetzsteon (“don’t kill yourself”); Laura Orem’s obituaries for Lucille Clifton, Jean Simmons, and J. D. Salinger; Katha Pollitt on Berlin in the fall; Larry Epstein on Bob Dylan; Ken Tucker on new books of poetry; Todd Swift on young British poets; Phoebe Putnam on the covers poets choose for their books; Mitch Sisskind’s “poetic tips of the day” (e.g., “Secrecy sustains the world”); Gabrielle Calvocoressi at the sports desk; Terence Winch on Irish American music; Stacey Harwood on <i>nocino</i>, the Italian liqueur made from under-ripe green walnuts; and a James Cummins epigram entitled “Anti-Confessional”: “What it was like, I don’t recall, or care to; / believe me, you should be grateful I spare you.”</p> <p><i>The Best American Poetry</i> anthology itself, now in its twenty-third year, remains committed to the idea that American poetry is as vital as it is various and that it is possible to capture the spirit of its diversity and a measure of its excellence in an annual survey of our magazines, in print or online. As the selections are made by a different editor each year, each a distinguished practitioner, the series has inevitably become an annotated chronicle of the taste of our leading poets. I persuaded Amy Gerstler to make the selections for the 2010 edition of <i>The Best American Poetry</i> because of my delight in her poems and my respect for her judgment, and it was wonderful to work with her. Amy’s new book, <i>Dearest Creature</i>, came out last year, and augmented her reputation as arguably the most inventive and ambitious poet of her generation. Gerstler can be very funny without forfeiting her right to be taken seriously; she has a quality of sincerity, of truth-telling, that can coexist with the most sophisticated of comic sensibilities. Her poems of deep feeling may take on an insouciant disguise: a letter to a cherished niece about the virtues of an encyclopedia, a conversation between a black taffeta and strapless pink dress, a riff consisting entirely of slang phrases from the not too distant past. Yet always at the heart of the poetry is an insight into the human condition and the ability to state it simply and powerfully: “Some of us grow up doing / credible impressions of model citizens / (though sooner or later hairline / cracks appear in our facades). The rest / get dubbed eccentrics, unnerved and undone / by other people’s company, for which we / nevertheless pine.” David Kirby reviewed <i>Dearest Creature</i> in <i>The New York Times Book Review.</i> “Gerstler is skilled in every kind of comedy, from slapstick to whimsy,” Kirby wrote. “Yet there’s a deep seriousness in every one of these poems, like the plaintive ‘Midlife Lullaby,’ in which the cow who is now the meatloaf in somebody’s sandwich speaks of life’s passing pleasures as hauntingly as one of those skeletons who tend to pop up in medieval allegories to remind young knights of their mortality.” Kirby concluded his review with a ringing endorsement: “In Amy Gerstler I trust.”</p> <p>The world has been slow to react to the case of Saw Wai, the imprisoned Burmese poet who was arrested two years ago for publishing a love poem for Valentine’s Day with a secret message critical of Burma’s military dictator, Than Shwe. But the story refuses to die, and the anonymously translated poem itself has now been published (in <i>Pen America</i>) and reprinted (in <i>Harper’s</i>, in February 2010). What early journalistic accounts called a “straightforward” or “innocuous” love poem turns out to be something much richer and stranger. Entitled “February 14,” Saw Wai’s poem, which appeared in the Rangoon magazine <i>The Love Journal</i>, was initially said to have been a torch song to the fashion model who rejected the poet but taught him the meaning of love. Nothing of the sort. It exemplifies rather a particular strain of modernist poetry, the leading-edge poems of the 1930s that were aped (and perfected) by the Australian hoax poet Ern Malley. The poem is an acrostic—that is, the first letters of the lines, when read down vertically, spell out a message, and in this case that message is, “General Than Shwe is power crazy.” In Burmese, Than means “million” and Shwe means “gold,” so when Saw Wai concludes his poem with the injunction “Millions of people / Who know how to love / Please clap your gilded hands / And laugh out loud,” he is secretly urging his compatriots to laugh the “power crazy” head of the junta off the stage. It took courage to write these lines. It also took an extraordinary talent for modern poetry considered as a kind of cipher, and the result in its English translation might be read as either a brief for the methods of modernism or a textbook illustration of what Nicholson Baker would have us see as the tempting dangers of the non-rhyming, prose-saturated “plum”:</p> <p>Arensberg said:<sup>1</sup></p> <p>Only once you have experienced deep pain</p> <p>And madness</p> <p>And like an adolescent</p> <p>Thought the blurred photo of a model</p> <p>Great art</p> <p>Can you call it heartbreak.</p> <p>Millions of people</p> <p>Who know how to love</p> <p>Please clap your gilded hands</p> <p>And laugh out loud.</p> <p><sup>1</sup>. Walter Conrad Arensberg, the noted art collector and donor of great paintings to the Philadelphia Museum of Art, wrote <i>The Cryptography of Shakespeare</i> (1922), purporting to find, in the Bard’s plays, anagrams and acrostics that prove Francis Bacon’s authorship. Arensberg wrote symbolist-influenced poetry, but it is conceivable that spurious cryptography is his real contribution to the radical element in modern poetry.</p> <p>© 2010 David Lehman</p><p><p>AMY GERSTLER&rsquo;S COMMITMENT TO INNOVATIVE POETRY that conveys meaning, feeling, wit, and humor informs the cross section of poems in the 2010 edition of <I>The Best American Poetry. </i>The works collected here represent the wealth, the breadth, and the tremendous energy of poetry in the United States today. Featuring poems from some of our country&rsquo;s top bards, including John Ashbery, Anne Carson, Louise Gl&Uuml;ck, Sharon Olds, and Charles Simic, <I>The Best American Poetry 2010 </i>also presents poems that poignantly capture the current moment, such as the sonnets John Updike wrote to chronicle his dying weeks. And there are exciting poems from a constellation of rising stars&#58; Bob Hicok, Terrance Hayes, Denise Duhamel, Dean Young, and Elaine Equi, to name a very few. <p>The anthology&rsquo;s mainstays are in place&#58; It opens with series editor David Lehman&rsquo;s incisive foreword about the state of American poetry and has a marvelous introduction by Amy Gerstler. Notes from the poets, illuminating their poems and their writing processes, conclude this delightful addition to a classic series.<P>Dick Allen <br>&bull; John Ashbery <br>&bull; Sandra Beasley <br>&bull; Mark Bibbins <br>&bull; Todd Boss <br>&bull; Fleda Brown <br>&bull; Anne Carson <br>&bull; Tom Clark <br>&bull; David Clewell <br>&bull; Michael Collier <br>&bull; Billy Collins <br>&bull; Dennis Cooper <br>&bull; Kate Daniels <br>&bull; Peter Davis <br>&bull; Tim Dlugos <br>&bull; Denise Duhamel <br>&bull; Thomas Sayers Ellis <br>&bull; Lynn Emanuel <br>&bull; Elaine Equi <br>&bull; Jill Alexander Essbaum <br>&bull; B. H. Fairchild <br>&bull; Vievee Francis <br>&bull; Louise Gl&Uuml;ck <br>&bull; Albert Goldbarth <br>&bull; Amy Glynn Greacen <br>&bull; Sonia Greenfield <br>&bull; Kelle Groom <br>&bull; Gabriel Gudding <br>&bull; Kimiko Hahn <br>&bull; Barbara Hamby <br>&bull; Terrance Hayes <br>&bull; Bob Hicok <br>&bull; Rodney Jones <br>&bull; Michaela Kahn <br>&bull; Brigit Pegeen Kelly <br>&bull; Corinne Lee <br>&bull; Hailey Leithauser <br>&bull; Dolly Lemke <br>&bull; Maurice Manning <br>&bull; Adrian Matejka <br>&bull; Shane McCrae <br>&bull; Jeffrey McDaniel <br>&bull; W. S. Merwin <br>&bull; Sarah Murphy <br>&bull; Eileen Myles <br>&bull; Camille Norton <br>&bull; Alice Notley <br>&bull; Sharon Olds <br>&bull; Gregory Pardlo <br>&bull; Lucia Perillo <br>&bull; Carl Phillips <br>&bull; Adrienne Rich <br>&bull; James Richardson <br>&bull; J. Allyn Rosser <br>&bull; James Schuyler <br>&bull; Tim Seibles <br>&bull; David Shapiro <br>&bull; Charles Simic <br>&bull; Frank Stanford <br>&bull; Gerald Stern <br>&bull; Stephen Campbell Sutherland <br>&bull; James Tate <br>&bull; David Trinidad <br>&bull; Chase Twichell <br>&bull; John Updike <br>&bull; Derek Walcott <br>&bull; G. C. Waldrep <br>&bull; J. E. Wei <br>&bull; Dara Wier <br>&bull; Terence Winch <br>&bull; Catherine Wing <br>&bull; Mark Wunderlich <br>&bull; Matthew Yeager <br>&bull; Dean Young <br>&bull; Kevin Young</p>
48Classic Slave Narratives: The Life of Olaudah Equiano, The History of Mary Prince, Narrative of the Life of Frederick Douglass, Incidents in the Life of a Slave GirlHenry Louis Gates Jr.0<p><P></p>Henry Louis Gates Jr. (Editor), Frederick Douglass, Olaudah Equiano, Harriet Jacobs, Mary Princeclassic-slave-narrativeshenry-louis-gates-jr97804515282470451528247$1.99Mass Market PaperbackPenguin Group (USA)January 2002ReissueSlavery - Social Sciences, Slave Narratives & Biographies, Historical Figures - Women's Biography, African American Women's Biography, African American Political & Historical Biography6884.36 (w) x 7.08 (h) x 1.48 (d)<p>No group of slaves anywhere, in any era, has left such prolific testimony to the horror of bondage as African-American slaves. Here are four of the most notable narratives: <i>The Life of Olaudah Equiano; The History of Mary Prince; Narrative of the Life of Frederick Douglass;</i> and <i>Incidents in the Life of Slave Girl</i>.</p> <p>Along with the writings of Frederick Douglas and Olaudah Equiano, this anthology includes the writings of women slaves Harriet Jacobs and Mary Prince. </p><p><P>No group of slaves anywhere, in any era, has left such prolific testimony to the horror of bondage as African-American slaves. Here are four of the most notable narratives&#58; <i>The Life of Olaudah Equiano; The History of Mary Prince; Narrative of the Life of Frederick Douglass;</i> and <i>Incidents in the Life of Slave Girl</i>.</p><p>Introduction The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African The History of Mary Prince, a West Indian Slave Narrative of the Life of Frederick Douglass, an American Slave Incidents in the Life of a Slave Girl Selected Bibliography A Note on the Texts</p>
49The Best American Nonrequired Reading 2009Dave Eggers0<p><P>Dave Eggers is the editor of McSweeney's and a cofounder of 826 National, a network of nonprofit writing and tutoring centers for youth, located in seven cities across the United States. He is the author of four books, including What Is the What and How We Are Hungry.</p>Dave Eggers (Editor), Marjane Satrapithe-best-american-nonrequired-reading-2009dave-eggers97805472416090547241607$14.39PaperbackHoughton Mifflin HarcourtOctober 2009Short Story Anthologies, American Literature Anthologies4325.40 (w) x 8.10 (h) x 1.20 (d)<p>This "great volume" highlights the "very best of this year's fiction, nonfiction, alternative comics, screenplys, blogs and more" (<i>OK!).</i> Compiled by Dave Eggers and students from his San Francisco writing center, it is "both uproarious and illuminating" (<i>Publishers Weekly).</i></p><p><P>This "great volume" highlights the "very best of this year's fiction, nonfiction, alternative comics, screenplys, blogs and more" (<i>OK!).</i> Compiled by Dave Eggers and students from his San Francisco writing center, it is "both uproarious and illuminating" (<i>Publishers Weekly).</i></p><article> <h4>From the Publisher</h4>"...zesty...a terrific hodgepodge of essays, satirical pieces, short fiction, lists and comics"—<i>The Cleveland Plain Dealer</i> </article>
50In Fact: The Best of Creative NonfictionLee Gutkind0<p><b>Lee Gutkind</b> is the founder and editor of the literary journal <b>Creative Nonfiction</b> and a pioneer in the field of narrative nonfiction. Writer-in-residence at Arizona State University, Gutkind is also the editor of <b>In Fact</b>, the author of <b>Almost Human</b>, and has written books about baseball, health care, travel, and technology.<P><b>Annie Dillard</b> is a noted novelist and poet.</p>Lee Gutkind (Editor), Annie Dillardin-factlee-gutkind97803933266590393326659$15.24PaperbackNorton, W. W. & Company, Inc.November 2004Journalism - Collections & History, American Essays, Nonfiction Writing - General & Miscellaneous, American Literature Anthologies, Journalism - General & Miscellaneous4805.50 (w) x 8.50 (h) x 1.20 (d)<p class="null1">Twenty-five arresting selections from the groundbreaking journal that defined a genre.</p> <p>Creative nonfiction, also known as narrative nonfiction, liberated journalism by inviting writers to dramatize, interpret, speculate, and even re-create their subjects. Lee Gutkind collects twenty-five essays that flourished on this new ground, all originally published in the journal he founded, <b>Creative Nonfiction</b>, now celebrating its tenth anniversary. Lauren Slater is a therapist in the institution where she was once a patient. John Edgar Wideman reacts passionately to the unjust murder of Emmett Till. Charles Simic tells of wild nights with Uncle Boris. John McPhee creates a rare, personal, album quilt. Terry Tempest Williams speaks on the decline of the prairie dog. Madison Smartt Bell invades Haiti. Many of the writers are crossing genres—from poetry and fiction to nonfiction—symbolic of <b>Creative Nonfiction's</b> scope and popularity. A cross section of the famous and those bound to become so, this collection is a riveting experience highlighting the expanding importance of this dramatic and exciting new genre.</p><p>Twenty-five arresting selections from the groundbreaking journal that defined a genre.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction : notes for young writers</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The creative nonfiction police?</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three spheres</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Looking at Emmett Till</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shunned</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An album quilt</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dinner at Uncle Boris's</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prayer dogs</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What is it we really harvestin' here?</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The brown study</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Killing wolves</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Being Brians</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Language at play</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Finders keepers : the story of Joey Coyle</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes from a difficult case</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adventures in celestial navigation</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leaving Babylon : a walk through the Jewish divorce ceremony</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gray area : thinking with a damaged brain</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Joe stopped by</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the woods</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sa'm Pedi</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Going native</TD><TD WIDTH="10%" ALIGN="RIGHT">356</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chimera</TD><TD WIDTH="10%" ALIGN="RIGHT">368</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mixed-blood stew</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I ride</TD><TD WIDTH="10%" ALIGN="RIGHT">395</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Delivering Lily</TD><TD WIDTH="10%" ALIGN="RIGHT">419</TD></TABLE>
51The Best American Essays of the CenturyJoyce Carol Oates3<p>In a prolific and varied oeuvre that ranges over essays, plays, criticism, and several genres of fiction, Joyce Carol Oates has proved herself one of the most influential and important storytellers in the literary world.</p>Joyce Carol Oates, Robert Atwanthe-best-american-essays-of-the-centuryjoyce-carol-oates97806181558730618155872$14.84PaperbackHoughton Mifflin HarcourtOctober 2001American Essays, American Literature Anthologies6246.00 (w) x 9.00 (h) x 1.50 (d)<p>This singular collection is nothing less than a political, spiritual, and intensely personal record of America’s tumultuous modern age, as experienced by our foremost critics, commentators, activists, and artists. Joyce Carol Oates has collected a group of works that are both intimate and important, essays that move from personal experience to larger significance without severing the connection between speaker and audience.<br> From Ernest Hemingway covering bullfights in Pamplona to Martin Luther King, Jr.’s “Letter from Birmingham Jail,” these essays fit, in the words of Joyce Carol Oates, “into a kind of mobile mosaic suggest[ing] where we’ve come from, and who we are, and where we are going.” Among those whose work is included are Mark Twain, John Muir, T. S. Eliot, Richard Wright, Vladimir Nabokov, James Baldwin, Tom Wolfe, Susan Sontag, Maya Angelou, Alice Walker, Joan Didion, Cynthia Ozick, Saul Bellow, Stephen Jay Gould, Edward Hoagland, and Annie Dillard.</p>Foreword<br> The Essay in the Twentieth Century<br> When I was very young, my father purchased a small, uniform set of <br> cheap literary classics. Why, I never knew. He was not a reader. <br> Perhaps he had been duped by a door-to-door salesman. Perhaps he had <br> aspirations for his children. The books crowded the only bookshelf in <br> a cramped two-family house hedged in by humming factories on a narrow <br> street that dead-ended into the mysterious and spectacular sumac-<br> lined banks of the Passaic River in Paterson, New Jersey. As a result <br> of his once-in-a-lifetime purchase I grew up with the privilege of <br> knowing that Emerson was not merely the name of a television set.<br> <br> I found Emerson's message bracing and liberating. I can see <br> it now as self-help elevated to the highest literary standard, but <br> reading "Self-Reliance" as an adolescent I simply took heart from his <br> exhortations to resist conformity, trust in oneself, and not feel <br> pressured by conventions, parties, and authority: "I am ashamed to <br> think how easily we capitulate to badges and names, to large <br> societies and dead institutions," he said. "If I know your sect, I <br> anticipate your argument," he said. "Insist on yourself; never <br> imitate," he said. He warned about the physical pain of forced smiles <br> and acknowledged the advantages of being misunderstood. If the <br> writings of the medieval Jewish philosopher Maimonides comprised a <br> Guide for the Perplexed, Emerson's essays provided a Guide for the <br> Intimidated. His independent, freethinking, inquisitive mind shaped <br> American thought and writing, and his spiritual heirsinvented the <br> twentieth-century essay.<br> Although Emerson may be said to hover over the volume, his <br> presence can be detected more directly in one of his most prominent <br> descendants, William James. Although this selection of great American <br> essays begins in 1901, one could argue that the symbolic origins of <br> the twentieth-century essay go back to the day in 1842 when Emerson <br> was invited by the James family to visit their New York apartment <br> and "bless" young William in his cradle. As a teacher, lecturer, <br> physician, scientist, and one of the founders of modern psychology, <br> William James would exert a powerful influence over the new century. <br> Two of his students, W.E.B. Du Bois and Gertrude Stein, would <br> permanently alter the course of the American essay by initiating two <br> new modes of literary introspection: Du Bois's "double-consciousness" <br> grounded in racial identity and Stein's experiments with "stream of <br> consciousness." Both originated in the critical first decade of the <br> century, and their literary legacies can be felt throughout this <br> collection.<br> The twentieth-century essay also emerged from a resistance to <br> the "familiar" or "polite" essay that had been a literary staple of <br> the preceding era. Proper, congenial, Anglophilic, the genteel essay <br> survived, even against the skepticism and irascibility of the Mark <br> Twains, Randolph Bournes, and H. L. Menckens, who did their best to <br> bury it. By the 1930s, however, some writers were lamenting its <br> demise, and in the most curious metaphors. "The familiar essay, that <br> lavender-scented little old lady of literature, has passed away," one <br> wrote, regretting that magazines now filled their pages with "crisp <br> articles, blatant exposés, or statistic-laden surveys," and <br> concluding that one day "her pale ghost will not appear at all, and <br> the hard young sociologists can have her pages all to themselves." <br> But the "pale ghost" did not vanish all at once. It lived on in <br> college courses and gave the essay a bad name for decades. The goal <br> of English teachers, the novelist Kurt Vonnegut recalls, was to get <br> you "to write like cultivated Englishmen of a century or more ago."<br> This collection features none of those "lavender-scented" <br> essays, not even for historical reasons. Our object was not to <br> construct a Museum of the American Essay. Although some vestiges <br> of "gentility" or essayistic "leisure" may have seeped in here and <br> there, the ruling idea behind the volume was that the essays should <br> speak to the present, not merely represent the past. So you will find <br> more "hard young sociologists" here than "cultivated" literati. After <br> all, some of those young social scientists were Jane Addams, Zora <br> Neale Hurston, and a youthful Saul Bellow, who happened to be <br> studying sociology and anthropology at Northwestern at precisely the <br> same time the genteel essayists were lamenting their own demise. The <br> sociologists, accompanied by such self-taught social critics as <br> Edmund Wilson, Richard Wright, and James Agee, brought the essay out <br> of the library and into the American factories, city streets, <br> courthouses, and tenant farms. For many of them, ardent pacifists and <br> reformers, writing essays would amount to what James called "the <br> moral equivalent of war."<br> Unlike their predecessors, twentieth-century essayists were <br> eager to confront inner as well as outer strife. To be sure, the <br> genteel essay was personal, but no matter how "familiar," it always <br> politely stopped short of full disclosure. Here, too, William James <br> made his presence felt. The brilliant chapters "The Divided Self" <br> and "The Sick Soul" in his monumental The Varieties of Religious <br> Experience (1902) would become a valuable resource for essayists <br> seeking ways to articulate despair, breakdowns, aberrant states of <br> consciousness, psychic confusion, the ineffable in general. F. Scott <br> Fitzgerald's famous observation in "The Crack-Up" - "The test of a <br> first-rate intelligence is the ability to hold two opposed ideas in <br> the mind at the same time, and still retain the ability to function" -<br> laid out a course for future essayists and expanded the <br> possibilities of self-disclosure. As writers began amplifying the <br> personal essay into what is now known singularly as "the memoir," the <br> processes of confession would know no limits.<br> What next? Will this new century reject our "best" essays as <br> dramatically as the twentieth discarded those of James Russell Lowell <br> and Oliver Wendell Holmes? The 1890s, too, saw astonishing changes in <br> technology, rapid changes that frightened Henry Adams as he wondered <br> what the "Law of Acceleration" would finally lead to. We have reached <br> his speculative end point - visionary though he was, he never <br> imagined a world transformed by electronics. The Internet is already <br> generating new sources of essays. Will it somehow channel the usual <br> processes of prose into new literary forms the way some thought the <br> typewriter had once done? Will young essayists discover audiences <br> without having to sweat through the hundreds of rejection slips James <br> Thurber received before he could break into print? And will they do <br> what few from any century have ever done: make a living writing <br> essays? These remain to be seen, but what I think we can say for <br> certain is that whatever new forms the essay takes, if they are <br> wonderful, they will have the blessing of William James and his <br> legitimate heirs.<br> <br> About This Collection<br> This volume is not a "best of the best." I founded The Best American <br> Essays series in 1986, and therefore Joyce Carol Oates and I had only <br> a small slice of the century to provide us with essays that had <br> already achieved an annual "best" status. Only seven of the essays in <br> this volume come from the series. We wish we could have included many <br> more of the superb contemporary writers who have contributed to the <br> yearly books, but it was of course not possible. Our consolation is <br> that their work is still accessible to readers and that the annual <br> books are for the most part available in libraries and bookstores. It <br> was important that we include writers from previous generations who <br> may not be well known to today's readers and who in our opinion still <br> very much deserve an audience.<br> I proceeded with this book in much the same way that I have <br> with the annual volumes. I screened a good number of essays - though <br> far, far more than usual - and turned them over to Joyce Carol Oates <br> for a final decision. There were hundreds of essays to consider and <br> so little space. But we winnowed and winnowed and arrived at these <br> fifty-five. We tried to include the best of as many different kinds <br> of essay as possible - personal, critical, philosophical, humorous, <br> pastoral, autobiographical, scientific, documentary, political. <br> Obviously we had to pull back in many cases. A comparable volume <br> could be assembled to showcase each one of these categories. I also <br> exercised one final choice: I insisted that Oates's essay from The <br> Best American Essays 1996, "They All Just Went Away," be included.<br> "Essays end up in books," Susan Sontag writes, "but they <br> start their lives in magazines." That fact may not interest many <br> readers, but it played a large role in the research for this book, <br> since between an essay's debut in a periodical and its inclusion in a <br> collection, a good deal of revision often occurs. Vladimir Nabokov's <br> memoir of his father, for example, went through three very distinct <br> publishing stages. It began life as "The Perfect Past" in The New <br> Yorker in 1950, but Nabokov, dissatisfied with some of the editing, <br> returned to his original typescript when he included (and expanded) <br> it as the opening chapter of his 1951 autobiography, Conclusive <br> Evidence. When he revised that book as Speak, Memory: An <br> Autobiography Revisited in 1966, he expanded the essay yet again. Of <br> the three published versions, we chose - as we did with many of the <br> selections - to reprint the final version, as it would reflect and <br> respect the author's final decisions. But in some instances <br> (consistency "is the hobgoblin of little minds," Emerson said), we <br> selected the first or a different published version.<br> Some essays start out looking like essays only to reemerge in <br> unexpected contexts. James Agee's lovely childhood <br> reminiscence, "Knoxville: Summer of 1915," started out in Partisan <br> Review in 1938 but was given a new twist when an editor cleverly <br> borrowed and italicized it in 1957 to serve as the introduction to <br> Agee's posthumously published novel, A Death in the Family. Other <br> essays in this book were also put to service by their authors to <br> introduce works of fiction: Richard Wright's "The Ethics of Living <br> Jim Crow" became the preface to his collection of stories Uncle Tom's <br> Children, and N. Scott Momaday's "The Way to Rainy Mountain" now <br> serves as the prologue to his popular novel of the same title.<br> I discovered that there is rarely only one version of an <br> essay. Susan Sontag's useful observation sometimes gets reversed: an <br> essay starts out in book form and ends up in a magazine. Several <br> essays in this volume were skillfully carved out of books and re-<br> created either by their authors or a magazine's editors as <br> independent essays. Usually, what's required is the removal of the <br> interstitial glue that connects a book's separate chapters. For <br> example, the opening sections of Maya Angelou's 1970 memoir, I Know <br> Why the Caged Bird Sings, were transformed into a memorable childhood <br> reminiscence of the same title in Harper's Magazine.<br> Because essays may go through so many publishing variations, <br> settling on a precise date for each selection was no easy matter. I <br> proceeded largely case by case. Nabokov's 1966 essay on his father <br> was so transformed from its 1950 origins that it seemed only <br> reasonable to use the later date. So, too, I decided to use the final <br> publication date for John Muir's Alaskan adventures with his <br> unforgettable companion Stickeen; it was that version, and not the <br> earlier and now forgotten essay, that became his most popular work. <br> But occasionally I thought it would be misleading to use the final <br> date of publication. Langston Hughes's "Bop," for example, clearly <br> comes out of the forties; though it was revised considerably for <br> subsequent book publication, to place it in a later decade would <br> distort its contemporary flavor. An essay like Mark Twain's "Corn-<br> pone Opinions," never published in the author's lifetime, is listed <br> by date of composition.<br> For the reader's convenience, I have attached brief notes to <br> each essay outlining its publishing history and supplying relevant <br> contextual information. I have placed an asterisk before the source <br> used for this collection. I have also translated foreign words and <br> phrases within brackets when it seemed necessary. Additional <br> information is contained in the Biographical Notes in the back of the <br> book, where I included pertinent information on the writer's career, <br> relevant details to establish a context for the selected essay, and <br> titles of books and collections (with the emphasis on nonfiction) <br> that will direct interested readers to more books by that writer.<br> Writers and magazine editors interested in submitting <br> published essays for the annual volumes should send complimentary <br> issues, subscriptions, or appropriate material to Robert Atwan, <br> Series Editor, The Best American Essays, Box 220, Readville, <br> Massachusetts 02137-9998. Criteria and guidelines can be found in the <br> annual book.<br> Acknowledgments<br> As I researched books and periodicals for this unprecedented volume, <br> I often felt like Henry Adams, poised at the crossroads of two time <br> periods: the rapidly accelerating age of cyberspace that instantly <br> furnishes vast amounts of information and the old-fashioned era of <br> dim library stacks and dusty, out-of-print books. The experience was <br> both high-tech and low-tech. If it was satisfying to sit at my desk <br> and click a few keys for immediate access to material that only a few <br> years ago would have required frequent library visits, it was even <br> more satisfying to hold in my hand hardcover first editions of books <br> like Martin Luther King's Why We Can't Wait or H. L. Mencken's <br> Prejudices. Even obtaining these books involved travel in both <br> worlds: through the Internet I could enter my local library's <br> regional network, discover books it didn't own, and conveniently <br> order them online. A day or two later - and sometimes within hours - <br> I would be experiencing the tactile and intellectual pleasures of <br> handling some of the treasured pieces of our literary heritage. For <br> their invaluable assistance, then, I want to thank especially the <br> staff of the Milton Public Library as well as all the other <br> institutions connected with the Old Colony Library Network in <br> Massachusetts.<br> What I was unable to find, my researcher could. Much of the <br> knottier research - establishing the original source or date of an <br> essay, or tracking down an elusive periodical - was performed by <br> Donna Ashley, who relied on the superb resources of the libraries at <br> the Massachusetts Institute of Technology, Boston University, Boston <br> College, and the Boston Public Library. Nearly all of the source <br> notes attached to each essay derive from her dogged research; without <br> her assistance this project might have taken another year to <br> complete. I want to thank, too, Arthur Johnson for his generous help <br> in providing permissions data for all of the essays. I borrowed a <br> good deal of biographical information about the essayists from some <br> of my previous anthologies and would like to thank a few coeditors <br> for their contributions: Martha Banta, Bruce Forer, Justin Kaplan, <br> Donald McQuade, David Minter, Jon Roberts, Robert Stepto, and William <br> Vesterman. I'm enormously grateful to Charles H. Christensen for his <br> advice and encouragement over the years. The Houghton Mifflin staff <br> has been helpful and supportive as always, and I'd like to thank <br> Janet Silver, Sean Lawler, Larry Cooper, Bridget Marmion, Dean <br> Johnson, and Bruce Cantley for all their efforts. My wife, Hélène <br> Atwan, kindly read over portions of the manuscript and offered many <br> valuable suggestions for which I am very grateful. Finally, it was a <br> great pleasure to work once again with Joyce Carol Oates. Her broad <br> knowledge of American writing and her literary judgment transformed <br> what seemed like a paralyzing critical task - reducing several <br> hundred great essays to a mere fifty-five - into a spirited, <br> illuminating assessment of the modern American essayist's struggle to <br> encompass the creative energies and social emergencies of a century <br> that had no shortage of either.<br> Robert Atwan <br> <br> Introduction<br> The Art of the (American) Essay<br> Here is a history of America told in many voices.<br> It's an elliptical tale, or a compendium of tales, of the <br> American twentieth century by way of individual essays that, fitting <br> together into a kind of mobile mosaic, suggest where we've come from, <br> and who we are, and where we are going. In his probing, <br> provocative "The Creation Myth of Cooperstown," Stephen Jay Gould <br> asks: "Why do we prefer creation myths to evolutionary stories?" The <br> more we know of history, of both the natural and the civilized <br> worlds, the more we understand that our tangled lives are ever <br> evolving, and that our culture, far from being timeless, is a living <br> expression of Time.<br> The essay, in its directness and intimacy, in its first-<br> person authority, is the ideal literary form to convey such a vision. <br> By tradition essays have been categorized as formal or informal; yet <br> it can be argued that all essays are an expression of the human voice <br> addressing an imagined audience, seeking to shift opinion, to <br> influence judgment, to appeal to another in his or her common <br> humanity. Even the most artfully composed essay suggests a <br> naturalness of discourse. As our precursor Montaigne advised, "We <br> must remove the mask."<br> The essays in this volume have all been written by writers <br> who have published at least one collection of essays or nonfiction. <br> Not only did this principle allow the editors a reasonable means of <br> limiting selections, it is an acknowledgment that writing is a <br> vocation, not merely an avocation. In a historical overview of a <br> century virtually teeming with talent, I wanted to honor those <br> writers who have made writing their life's work. I didn't see my role <br> as one to reward the lucky amateur who writes a single good essay, <br> then disappears forever. Better to search for little-known but <br> excellent essays by, for instance, writers of historical significance <br> like John Jay Chapman, Jane Addams, Edmund Wilson. Most of the essays <br> are "informal"; but this isn't to suggest that they are innocent, <br> unmediated utterances lacking the stratagems of art. Even Mark <br> Twain's "Corn-pone Opinions," delivered in the author's <br> characteristic forthright voice, is driven by a passionate <br> intellectual conviction regarding the gullibility of mankind and the <br> tragic consequences of this gullibility.<br> My general theme in the assemblage of this volume has been a <br> search for the expression of personal experience within the <br> historical, the individual talent within the tradition (to paraphrase <br> T. S. Eliot). My preference was always to essays that, springing from <br> intense personal experience, are nonetheless significantly linked to <br> larger issues, even if, as in the case of James Thurber and S. J. <br> Perelman, these issues are viewed playfully. The emotion I felt when <br> beginning to read most of the essays gathered here was one of great <br> excitement and anticipation; even, at times, a distinct visceral <br> thrill. As an editor, I am primarily a reader. I could not <br> countenance including essays out of duty's sake that, in fact, I <br> found deadly dull. For the many essays considered for this volume, <br> the majority of which ultimately had to be excluded, I was the ideal <br> reader: I wanted to like what I read, and I was committed to reading <br> the entire essay with sympathy. If you will substitute "literature" <br> for "poetry" in this famous remark in a letter of Emily Dickinson's, <br> you have my basic criterion for the work included in The Best <br> American Essays of the Century: "If I read a book [and] it makes my <br> whole body so cold no fire can ever warm me I know that is poetry. If <br> I feel physically as if the top of my head were taken off, I know <br> that is poetry."<br> And what powerful openings in certain of these exemplary <br> essays:<br> We are met to commemorate the anniversary of one of the most terrible <br> crimes in history - not for the purpose of condemning it, but to <br> repent of our share in it.<br> - John Jay Chapman, "Coatesville" (1912)<br> The knowledge of the existence of Devil Baby burst upon the residents <br> of Hull House one day when three Italian women, with an excited rush <br> through the door, demanded that he be shown to them.<br> - Jane Addams, "The Devil Baby at Hull-House" (1916)<br> Of course all life is a process of breaking down, but the blows that <br> do the dramatic side of the work - the big sudden blows that come, or <br> seem to come, from outside - the ones you remember and blame things <br> on and, in moments of weakness, tell your friends about, don't show <br> their effect all at once. There is another sort of blow that comes <br> from within - that you don't feel until it's too late to do anything <br> about it, until you realize with finality that in some regard you <br> will never be as good a man again.<br> - F. Scott Fitzgerald, "The Crack-Up" (1936)<br> The cradle rocks above an abyss, and common sense tells us that our <br> existence is but a brief crack of light between two eternities of <br> darkness.<br> - Vladimir Nabokov, "Perfect Past" (1950)<br> On the twenty-ninth of July, in 1943, my father died. On the same <br> day, a few hours later, his last child was born. Over a month before <br> this, while all our energies were concentrated in waiting for these <br> events, there had been, in Detroit, one of the bloodiest race riots <br> of the century.<br> - James Baldwin, "Notes of a Native Son" (1955)<br> The decaying, downtown shopping section of Memphis - still another <br> Main Street - lay, the weekend before Martin Luther King's funeral, <br> under a siege.<br> - Elizabeth Hardwick, "The Apotheosis of Martin Luther King" (1968)<br> We were all strapped into the seats of the Chinook, fifty of us, and <br> something, someone was hitting it from the outside with an enormous <br> hammer. How do they do that? I thought, we're a thousand feet in the <br> air!<br> - Michael Herr, "Illumination Rounds" (1977)<br> We tell ourselves stories in order to live.<br> - Joan Didion, "The White Album" (1978)<br> Of course there are crucial distinctions between the art of <br> the essay and the art of prose fiction, yet to the reader the <br> immediate experience in reading is an engagement with that mysterious <br> presence we call voice. Reading, we "hear" another's speech <br> replicated in our heads as if by magic. Where in life we sometimes <br> (allegedly infrequently) fall in love at first sight, in reading we <br> may fall in love with the special, singular qualities of another's <br> voice; we may become mesmerized, haunted; we may be provoked, <br> shocked, illuminated; we may be galvanized into action; we may be <br> enraged, revulsed, and yet! - drawn irresistibly to experience this <br> voice again, and again. It's a writer's unique employment of language <br> to which we, as readers, are drawn, though we assume we admire the <br> writer primarily for what he or she "has to say." For consider: how <br> many intelligent, earnest, right-minded commentators published essays <br> on such important subjects as racial conflict in twentieth-century <br> America, social and personal disintegration in the thirties, <br> morality, democracy, nostalgia-for-a-vanishing-America; class <br> struggle, civil rights, Martin Luther King, Jr., the Vietnam War, the <br> mystical experience of nature, ethnic diversity, various <br> American "myths" - and how few of these are worth rereading, let <br> alone enshrining, in this new century. To be an editor in so massive <br> an undertaking, committed to reading with sympathy countless essays <br> of high worth and distinction published in the most prestigious <br> journals of their era, beginning in about 1900 and sweeping through <br> the decades, is to experience first-hand that quickening of dread, <br> which Nabokov calls mere "common sense," in the realization of human <br> mortality. So many meritorious voices, so much evidence of American <br> good will and wisdom, and so many fallen by the wayside! There were <br> times when I felt as if I were indeed standing at the edge of an <br> abyss, entrusted with rescuing pages of impeccable prose being blown <br> past me into oblivion, preserving what I could, surrendering all the <br> rest. (Those excellent essayists of a bygone time John Muir, Randolph <br> Bourne, and John Jay Chapman are preserved here; surrendered to the <br> exigencies of space limitations are John Burroughs, George Santayana, <br> Joseph Wood Krutch, Ellen Glasgow, and others listed in the Appendix.)<br> My belief is that art should not be comforting; for comfort, <br> we have mass entertainment, and one another. Art should provoke, <br> disturb, arouse our emotions, expand our sympathies in directions we <br> may not anticipate and may not even wish. Art should certainly aspire <br> to beauty, but there are myriad sorts of beauty: the presentation of <br> a subject in the most economical way, for instance; a precise choice <br> of language, of detail. There is beauty in the calibrated ugliness of <br> the opening of William Gass's meditation on suicide and art, "The <br> Doomed in Their Sinking," because it is so finely calibrated; there <br> is beauty in the eloquent, elegiac expression of hurt, rage, and <br> despair in James Baldwin's "Notes of a Native Son," because it is <br> eloquent and elegiac, in the service of art. That staple of <br> traditional essay collections, the unhurried musings of a disembodied <br> (Caucasian, male, privileged) consciousness, is missing here, except <br> for its highest, most lyric expression in E. B. White's classic "Once <br> More to the Lake" and its total transmogrification in Edward <br> Hoagland's powerful "Heaven and Nature" - which is about neither <br> heaven nor nature. (Hoagland, one of the few American writers who has <br> forged a brilliant career out of essays, is our Chopin of the genre. <br> Though best known for such nature essays as "The Courage of <br> Turtles," "Red Wolves and Black Bears," and "Earth's Eye," in the <br> tradition of Thoreau, Hoagland is equally memorable as a recorder of <br> startling, confessional utterances of a kind the very private Thoreau <br> would not have dared.) Though there are deeply moving essays in the <br> nostalgic/musing mode by such fine writers as White, James Agee, <br> Eudora Welty, and John Updike, I have given more space to what might <br> be called a radical expansion of this familiar genre, essays that <br> have the power of personal nostalgia yet are not sentimental, and in <br> which private contemplation touches on crucial public issues, as Zora <br> Neale Hurston's "How It Feels to Be Colored Me," Richard <br> Wright's "The Ethics of Living Jim Crow," Baldwin's "Notes of a <br> Native Son," Loren Eiseley's "The Brown Wasps," N. Scott <br> Momaday's "The Way to Rainy Mountain," Maya Angelou's "I Know Why the <br> Caged Bird Sings," Richard Rodriguez's "Aria: A Memoir of a Bilingual <br> Childhood," and others. If you begin Edmund Wilson's "The Old Stone <br> House" presuming it to be another nostalgic lament for a vanishing <br> America, you will be shocked by the author's conclusion:<br> And what about me? As I come back in the train, I find that - other <br> causes contributing - my depression of Talcottville deepens. I did <br> not find the river and the forest of my dream - I did not find the <br> magic of the past . . . I would not go back to that old life if I <br> could: the civilization of northern New York - why should I idealize <br> it? - was too lonely, too poor, too provincial.<br> Similarly, Donald Hall's "A Hundred Thousand Straightened Nails" is <br> both a sympathetic portrait of an older relative of the writer's and <br> a devastating critique of the romance of American rural eccentricity, <br> the stock material of how many homespun reminiscences in the Norman <br> Rockwell mode:<br> [Washington Woodward] worked hard all his life at being himself, but <br> there were no principles to examine when his life was over . . . The <br> life that he could recall totally was not worth recalling; it was a <br> box of string too short to be saved.<br> Apart from being first-rate reportage, Joan Didion's "The White <br> Album" can be seen as a radical variant of the genre of nostalgia as <br> well, in which the essayist positions her intimate, interior life <br> ("an attack of vertigo and nausea does not seem to me an <br> inappropriate response to the summer of 1968") within the larger, <br> wayward, and "poorly comprehended" life of our culture circa 1966-<br> 1978, with the defiant conclusion "writing [this] has not yet helped <br> me to see what it means": the antithesis of the traditional essay, <br> which was organized around a principle, or epiphany, toward which it <br> confidently moved. So too Michael Herr's "Illumination Rounds," from <br> Dispatches, is appropriately ironically titled, for little is finally <br> illuminated in this account of a young American journalist's visit to <br> Vietnam in the mid-seventies, at the height of that protracted and <br> tragic war; the techniques of vividly cinematic fiction writing are <br> here employed in the service of the author's vision, but there is, <br> conspicuously, no "moral" - no "moralizing." This is the art of the <br> contemporary essay, or memoir: a heightened, trompe l'oeil attention <br> to detail that allows the reader to see, hear, witness, as if at <br> first hand, what the essayist has witnessed. Though this <br> is "informal" writing, there is no lack of form. Postmodernist <br> strategies of fragmentation and collage have replaced that of <br> exposition, summary, and argument.<br> <br> For all their diversity, essays tend to fall into three general <br> types: those that present opinions primarily, and have been written <br> to "instruct"; those that impart information and knowledge; and those <br> that record personal impressionistic experiences, especially <br> memories. These categories often overlap, of course, as in the <br> outstanding essays named above, and in recent years, judging from the <br> annual series The Best American Essays, from which essays in this <br> volume published since 1985 have been taken, the genre has evolved <br> into a form closely akin to prose fiction and prose poetry, employing <br> dialogue, dramatic scenes, withheld information, suspense.<br> The essay of opinion, of which Montaigne (1533-1592) was an <br> early, highly influential master, was for centuries the <br> quintessential essay. Here, you find no dialogue or dramatic scenes, <br> only a rational, reasoning voice. Such an essay is an argument, often <br> couched in conversational terms; its intention is to instruct, to <br> illuminate, to influence. Except for editorial and op-ed pages of <br> newspapers, in which they appear in miniature form, and in a very few <br> general-interest magazines like Harper's and the Atlantic, such <br> essays are not much favored today. In our egalitarian culture we tend <br> to feel, rightly or wrongly, that an essayist's opinion is only as <br> good as his or her expertise, and in such uncharted areas as ethics, <br> morals, and general wisdom, whose opinion should be taken more <br> seriously than anyone else's? In the past, however, the gentlemanly <br> art of opinion-offering was commonplace; Ralph Waldo Emerson is the <br> North American master of this form. With the publication of "Nature" <br> in 1836, Emerson's prestige and influence through the whole of the <br> nineteenth century was incalculable. Here was a brilliant aphoristic-<br> philosophical mind expressed in an elegantly idiosyncratic language. <br> Henry David Thoreau, Emerson's younger contemporary, combines strong <br> opinions with a wealth of observed information and firsthand <br> experience in a crystalline, poetic prose, and for this reason seems <br> to us more modern, and far more accessible, than Emerson. There is a <br> rich subcategory of American essays, the confrontation of nature by a <br> refined, fastidiously observing consciousness, that has descended to <br> us from Thoreau; I would have dearly liked to include more <br> practitioners of this sort but had room for only John Muir, Rachel <br> Carson, Loren Eiseley, Annie Dillard, and Gretel Ehrlich. (But all <br> these essays are gems.) In general, our patience tends to wear thin <br> when we're confronted with sermonizing in its many forms; I most <br> often encountered such essays among those published in the first four <br> or five decades of the century, when magazines seemed to have <br> unlimited space for rambling, genial prose by men with nothing <br> especially urgent on their minds apart from platitudes of nature and <br> morality. Who were the readers of these essays, I wondered. The more <br> elusive the subject, the more verbose the style, as in two <br> fascinating masterpieces of ellipsis, indirection, and irresolution <br> by Henry James at his most baroque, "Is There a Life after Death?" <br> (1910) and "Within the Rim" (1915). ("Is There a Life after Death?" <br> was initially included in this volume, and then reluctantly excluded; <br> then included again, and finally excluded. A longtime admirer of <br> Henry James, I wanted badly for him to be represented, but the essay <br> is, one might say, "Jamesian," and long, and could hardly be <br> justified as among the best of the century. And "Within the Rim," on <br> the apparent theme of war, is even more abstruse.)<br> Yet for all their unfashionableness, the opinion essays <br> included here are, I think, excellent, and will repay the sort of <br> close, sympathetic reading required for prose that isn't immediately <br> gripping and specific. Henry Adams's "A Law of Acceleration," from <br> the classic The Education of Henry Adams, is a bravura work of <br> astonishing intellectual abstraction; written nearly one hundred <br> years ago, it strikes a disturbingly contemporary note in its somber <br> contemplation of a mechanistic universe reduced to a series <br> of "relations" and mankind itself reduced to "Motion in a universe of <br> Motions, with an acceleration . . . of vertiginous violence." With <br> the authority of science, Adams says, history has no right to meddle, <br> since science "now lay in a plane where scarcely one or two hundred <br> minds in the world could follow its mathematical processes." <br> Fittingly, William James's famous "The Moral Equivalent of War" was <br> written in the same year, 1910, as Henry James's "Is There a Life <br> after Death?" Though William James is a far more lucid prose stylist <br> than his younger brother, both brothers are concerned with profound <br> questions of life and death; William James broods upon the future of <br> civilization itself in a prophetic work that looks ahead to Freud's <br> late, melancholic Civilization and Its Discontents (1930). What is <br> history but a bloodbath? "The horrors make the fascination. War is <br> the strong life; it is life in extremis; war-taxes are the only ones <br> men never hesitate to pay, as the budgets of all nations show us." <br> John Jay Chapman, once considered an essayist of nearly Emerson's <br> stature, is not much read today, yet his passionate meditation upon a <br> notorious lynching that took place in Coatesville, Pennsylvania, in <br> 1911 transcends its time and tragic circumstances.<br> The two most influential literary essays of the twentieth <br> century are perhaps T. S. Eliot's "Tradition and the Individual <br> Talent" ("The emotion of art is impersonal") and Robert Frost's "The <br> Figure a Poem Makes" ("No tears in the writer, no tears in the <br> reader"); each gains from being read in conjunction with the other. <br> Sui generis is Gertrude Stein's "What Are Master-pieces and Why Are <br> There So Few of Them," itself a masterpiece of polemics, an argument <br> that convinces by sheer repetition:<br> . . . One has not identity [when] one is in the act of doing <br> anything. Identity is recognition, you know who you are because you <br> and others remember anything about yourself but essentially you are <br> not that when you are doing anything. I am I because my little dog <br> knows me but, creatively speaking the little dog knowing that you are <br> you and your recognizing that he knows, is what destroys creation.<br> H. L. Mencken's "The Hills of Zion" is, like many of <br> Mencken's essays and columns, a passionate repudiation of evangelical <br> Christianity and anti-intellectualism. This is sermonizing disguised <br> as social satire, zestful in its accumulation of damning details; one <br> can see why the young Negro Richard Wright was so impressed by <br> Mencken's example, seeing the older white man as "fighting, fighting <br> with words . . . using words as a weapon . . . as one would use a <br> club." Katherine Anne Porter's "The Future Is Now" is an almost <br> purely cerebral opinion piece, less compelling perhaps than Porter's <br> elegantly composed short stories, but gracefully argued nonetheless, <br> while "Artists in Uniform," one of Mary McCarthy's most anthologized <br> essays, smoothly combines her satirical gifts with her passion for <br> intellectual discourse. Susan Sontag's "Notes on Camp" is both <br> opinion essay and cultural criticism of a high order; Adrienne Rich's <br> dramatically fragmented "Women and Honor: Some Notes on Lying" might <br> be defined as an essay of opinion in a unique, poetic form. Essays by <br> Alice Walker, Richard Rodriguez, N. Scott Momaday, and Cynthia Ozick <br> advance arguments by means of an accumulation of memoirist detail, <br> and each presents us with the wonder of how, in Ozick's words, "a <br> writer is dreamed and transfigured into being." And essays that seem <br> to be primarily concerned with the imparting of information and <br> description, like Loren Eiseley's "The Brown Wasps," Tom <br> Wolfe's "Putting Daddy On," Elizabeth Hardwick's "The Apotheosis of <br> Martin Luther King," Lewis Thomas's "The Lives of a Cell," Annie <br> Dillard's "Total Eclipse," among others, contain arguments of <br> subtlety and insight. Saul Bellow's "Graven Images" is a meditation <br> in the author's characteristic ironic mode on photography as a <br> violation of personal dignity and privacy and the "revolutionary <br> transformation" of a world that no longer honors such values. John <br> McPhee's wonderfully original "The Search for Marvin Gardens" makes <br> of the popular American board game an allegory of capitalist <br> adventure, and rewards us with the unexpected discovery of the <br> secluded middle-class bastion Marvin Gardens, the security-<br> patrolled "suburb within a suburb" that is one's reward for winning <br> the game.<br> The earliest essay in the anthology, Mark Twain's "Corn-pone <br> Opinions," is a superbly modulated argument that begins with an <br> engaging portrait of a young black slave (this is the Missouri of <br> Twain's childhood, in the 1850s) and proceeds to a ringing <br> denunciation of cultural chauvinism that is as relevant to our time <br> as it was to Twain's:<br> Broadly speaking, there are none but corn-pone opinions. And broadly <br> speaking, corn-pone stands for self-approval. Self-approval is <br> acquired mainly from the approval of other people. The result is <br> conformity.<br> By which Twain means that deathly conformity that leads to an <br> acceptance of slavery, lynchings, white bigotry, and injustice in a <br> nation constituted as a democracy.<br> Twain's essay strikes a chord that resounds through the <br> anthology: the ever-shifting, ever-evolving issue of race in America. <br> It can't be an accident that the essays in this volume by men and <br> women of ethnic minority backgrounds are outstanding; to paraphrase <br> Melville, to write a "mighty" work of prose you must have a "mighty" <br> theme. And what mightier, what more challenging and passionate theme <br> for both writer and reader than how it feels to be of minority status <br> in America, from the time of W.E.B. Du Bois in the first decade of <br> the century to our contemporaries Maya Angelou, N. Scott Momaday, <br> Maxine Hong Kingston, Alice Walker, Richard Rodriguez, and Gerald <br> Early? For historical reasons obviously having to do with slavery, <br> the experience of blacks in America has been significantly different <br> from that of other minorities, and this fact is reflected in the <br> essays included here.<br> W.E.B. Du Bois's "Of the Coming of John," from The Souls of <br> Black Folk (1903), is a chillingly prophetic work that traces the <br> intellectual and spiritual evolution of a seemingly ordinary black <br> boy from southeastern Georgia who is sent north to be educated in a <br> Negro school, returns after seven years to his hometown so thoroughly <br> changed that he seems more foreign to his former relatives and <br> neighbors than a Georgian white man would be, and is given advice by <br> the kindly white Judge:<br> ". . . You and I both know, John, that in this country the Negro must <br> remain subordinate, and can never expect to be the equal of white <br> men. In their place, you people can be honest and respectful; and God <br> knows, I'll do what I can to help them. But when they want to reverse <br> nature . . . by God! we'll hold them under if we have to lynch every <br> Nigger in the land."<br> Zora Neale Hurston in "How It Feels to Be Colored Me" (1928) defines <br> herself very differently from Du Bois's tragic protagonist, partly <br> because she has been raised in a "colored town" in Florida, <br> Eatonville. Her defiance strikes us as courageous, and touching:<br> At certain times I have no race, I am me . . . Sometimes, I feel <br> discriminated against, but it does not make me angry. It merely <br> astonishes me. How can any deny themselves the pleasure of my <br> company! It's beyond me.<br> Richard Wright's "The Ethics of Living Jim Crow: An Autobiographical <br> Sketch," the preface to Wright's 1938 collection of novellas, Uncle <br> Tom's Children, would become a section of his heralded Black Boy <br> (1945). Wright's education in Jim Crow "wisdom" begins ironically <br> with a beating his mother gives him for having dared to fight with <br> white boys, and carries him into a prematurely cynical adolescence; <br> it's a vision of the American South contiguous with that of New York <br> City in the 1940s experienced by Langston Hughes.<br> Perhaps the preeminent essayist of the American twentieth <br> century is James Baldwin, and it seems fitting that Baldwin wrote his <br> most powerful and influential nonfiction works, Notes of a Native <br> Son, Nobody Knows My Name, and The Fire Next Time, at about <br> midcentury. Baldwin was a natural master of a kind of nonfiction <br> narration we associate with the most engaging fiction, in which <br> personal, familial experience is linked with a larger social and <br> political context that enhances it as myth. Like his mentor Richard <br> Wright, James Baldwin was a poet of irony; his bitterness and rage at <br> social injustice was so finely distilled, his use of language so <br> impassioned and fluent, he made of the most tragically debased <br> materials a world of startling beauty. Baldwin's is a secular <br> mystical vision that seems to us quintessentially American:<br> All of my [newly deceased] father's texts and songs, which I had <br> decided were meaningless, were arranged before me at his death like <br> empty bottles, waiting to hold the meaning which life would give them <br> for me. This was his legacy: nothing is ever escaped . . . The dead <br> man mattered, the new life mattered; blackness and whiteness did not <br> matter; to believe they did was to acquiesce in one's own <br> destruction. Hatred, which could destroy so much, never failed to <br> destroy the man who hated and this man was an immutable law.<br> This is the vision of Martin Luther King, Jr., expressed in <br> his historic 1963 "Letter from Birmingham Jail": "One who breaks an <br> unjust law must do it openly, lovingly . . . and with a willingness <br> to accept the penalty."<br> <br> Robert Atwan, who has been an invaluable series editor for the highly <br> regarded The Best American Essays since its inception in 1986, <br> assisted me tirelessly and with inspiration in our months-long effort <br> of sifting through any and all essays that were possibilities for <br> this anthology. We have been limited, or, one might say, assisted, in <br> our selections only since 1986, being obliged to choose essays from <br> the series anthology after that date; before 1986, we had no <br> restrictions. Our decision to reprint essays only by writers who have <br> published nonfiction books helped to limit our search, as did our <br> exclusion of journalism, excepting unique reportage like <br> Hemingway's "Pamplona in July" and Michael Herr's "Illumination <br> Rounds." We hoped to avoid prose fiction in essay form, though such <br> prose pieces as W.E.B. Du Bois's "Of the Coming of John" and Langston <br> Hughes's "Bop" certainly employ fictional techniques; we excluded <br> literary criticism - though some of our finest writers, like Randall <br> Jarrell, Jacques Barzun, and Lionel Trilling, have excelled in it - <br> and footnote-laden academic essays for a limited readership, even by <br> Hannah Arendt. Much as I wanted to include Henry James, as I've noted <br> above, I could not justify reprinting a long, convoluted skein of <br> words that few readers would read. Nor could I include another major <br> twentieth-century writer, Willa Cather, whose available essays were <br> simply inappropriate, and lengthy. Of Norman Mailer's nonfiction <br> work, "The Fight" would have been my choice for this volume, but it's <br> book length (and has already appeared in The Best American Sports <br> Writing of the Century); other essays of Mailer's, like "The White <br> Negro," controversial in their time, are badly dated today. Gay <br> Talese, a brilliant practitioner of what has come to be known as New <br> Journalism, has written no "essays" per se. William Carlos Williams, <br> Ralph Ellison, John Hersey, Wallace Stegner, Barbara Tuchman, Gore <br> Vidal, most painfully William Faulkner: these important writers had <br> no single appropriate essay. Faulkner in particular seems to have had <br> little aptitude, or perhaps inspiration, for the essay form.<br> Of contemporary essayists there are so many - so very many! - <br> who might well be included here, it isn't possible to list their <br> names except in the Appendix. Quite apart from the numerous memoirs <br> of high quality being written today, and published to much acclaim, <br> this is a remarkably fruitful era for the personal essay. The <br> triumph, one might say, of the mysterious pronoun "I."<br> It was the aim of the editors to tell a more or less <br> chronological story of America as the century unfolded, with <br> representative essays from each decade, as we have done; yet, the <br> reader will note, the traumatic experiences of World War II, vividly <br> described by William Manchester in "Okinawa: The Bloodiest Battle of <br> All," does not appear in the forties but decades later, in 1987; and <br> numerous other essays, stimulated by memory and meditation, have been <br> written years after the occasion of their subjects. The ideal essay, <br> in any case, is as timeless as any work of art, transcending the <br> circumstances of its inception. It moves, as Robert Frost says of the <br> ideal poem, from delight to wisdom, and "rides on its own melting," <br> like ice on a hot stove.<br> Joyce Carol Oates <br> <br> Copyright © 2000 by Houghton Mifflin Company<br> Introduction copyright © 2000 by The Ontario Review Inc.<br> All rights reserved<p><p>This singular collection is nothing less than a political, spiritual, and intensely personal record of America&#8217;s tumultuous modern age, as experienced by our foremost critics, commentators, activists, and artists. Joyce Carol Oates has collected a group of works that are both intimate and important, essays that move from personal experience to larger significance without severing the connection between speaker and audience.<br> From Ernest Hemingway covering bullfights in Pamplona to Martin Luther King, Jr.&#8217;s &#147;Letter from Birmingham Jail,&#8221; these essays fit, in the words of Joyce Carol Oates, &#147;into a kind of mobile mosaic suggest[ing] where we&#8217;ve come from, and who we are, and where we are going.&#8221; Among those whose work is included are Mark Twain, John Muir, T. S. Eliot, Richard Wright, Vladimir Nabokov, James Baldwin, Tom Wolfe, Susan Sontag, Maya Angelou, Alice Walker, Joan Didion, Cynthia Ozick, Saul Bellow, Stephen Jay Gould, Edward Hoagland, and Annie Dillard.<p></p><h3>Publishers Weekly</h3><p>"Here is a history of America told in many voices," declares Oates in her introduction, revealing the heart of her intelligent and incisive collection of 55 essays by American writers. Never attempting to capture or replicate a single, authentic "American identity," this collection succeeds by producing a comprehensive and multifaceted look at what America has been and, by extension, what it is and might become. While it's not explicitly political, the volume's multicultural intentions are visible. Beginning with "Cone-pone Opinions," a 1901 Mark Twain essay that uses the wisdom of an African-American child as its central image, Oates has fashioned a collection that calls attention to the way that "America" is made up of competing, and often antagonistic, cultural and social visions. There is not only the apparent contrast between the populist, overtly political visions of W.E.B. Du Bois's "Of the Coming of John," James Baldwin's "Notes of a Native Son" and Mary McCarthy's "Artists in Uniform" and the cultural elitism of T.S. Eliot's "Tradition and the Individual Talent." Oates has managed to find numerous pieces whose vision and philosophy resonate with one another without becoming homogeneous, so Gretel Ehrlich's meditation on pastoral aesthetics in "The Solace of Open Spaces" contrasts abruptly and ingeniously with Susan Sontag's urban-centered "Notes on Camp." In all, Oates has assembled a provocative collection of masterpieces reflecting both the fragmentation and surprising cohesiveness of various American identities. QPB and History Book Club selections; BOMC alternate. (Sept.) Copyright 2000 Cahners Business Information.|</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">x</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">xvii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1901: Corn-pone Opinions</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1903: Of the Coming of John</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1906: A Law of Acceleration</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1909: Stickeen</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1910: The Moral Equivalent of War</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1911: The Handicapped</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1912: Coatesville</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1916: The Devil Baby at Hull-House</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1919: Tradition and the Individual Talent</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1923: Pamplona in July</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1925: The Hills of Zion</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1928: How It Feels to Be Colored Me</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1933: The Old Stone House</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1935: What Are Master-pieces and Why Are There So Few of Them</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1936: The Crack-Up</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1937: Sex Ex Machina</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1937: The Ethics of Living Jim Crow: An Autobiographical Sketch</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1938: Knoxville: Summer of 1915</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1939: The Figure a Poem Makes</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1941: Once More to the Lake</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1944: Insert Flap "A" and Throw Away</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1949: Bop</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1950: The Future Is Now</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1953: Artists in Uniform</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1955: The Marginal World</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1955: Notes of a Native Son</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1956: The Brown Wasps</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1957: A Sweet Devouring</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1961: A Hundred Thousand Straightened Nails</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1963: Letter from Birmingham Jail</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1964: Putting Daddy On</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1964: Notes on "Camp"</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1966: Perfect Past</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1967: The Way to Rainy Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1968: The Apotheosis of Martin Luther King</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1969: Illumination Rounds</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1970: I Know Why the Caged Bird Sings</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1971: The Lives of a Cell</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1972: The Search for Marvin Gardens</TD><TD WIDTH="10%" ALIGN="RIGHT">361</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1972: The Doomed in Their Sinking</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1975: No Name Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1975: Looking for Zora</TD><TD WIDTH="10%" ALIGN="RIGHT">395</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1977: Women and Honor: Some Notes on Lying</TD><TD WIDTH="10%" ALIGN="RIGHT">412</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1979: The White Album</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1980: Aria: A Memoir of a Bilingual Childhood</TD><TD WIDTH="10%" ALIGN="RIGHT">447</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1981: The Solace of Open Spaces</TD><TD WIDTH="10%" ALIGN="RIGHT">467</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1982: Total Eclipse</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1982: A Drugstore in Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">490</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1987: Okinawa: The Bloodiest Battle of All</TD><TD WIDTH="10%" ALIGN="RIGHT">497</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1988: Heaven and Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">507</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1989: The Creation Myths of Cooperstown</TD><TD WIDTH="10%" ALIGN="RIGHT">520</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1990: Life with Daughters: Watching the Miss America Pageant</TD><TD WIDTH="10%" ALIGN="RIGHT">532</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1993: The Disposable Rocket</TD><TD WIDTH="10%" ALIGN="RIGHT">549</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1995: They All Just Went Away</TD><TD WIDTH="10%" ALIGN="RIGHT">553</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1997: Graven Images</TD><TD WIDTH="10%" ALIGN="RIGHT">564</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Biographical Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">569</TD><TR><TD WIDTH="20%">Appendix</TD><TD WIDTH="70%">Notable Twentieth-Century American Literary Nonfiction</TD><TD WIDTH="10%" ALIGN="RIGHT">591</TD></TABLE><article> <h4>From Barnes & Noble</h4><b>Bookseller Reviews</b> <p>These essays educate us, amuse us, startle us with their immediacy. Who among us can read Henry Adam's "A Law of Acceleration," penned in 1904, and not think of our mind-zapping digital age? Who could resist the first sentence of Zora Neale Hurston's piece:I am colored but I offer nothing in the way of extenuating circumstances except the fact that I am the only Negro in the United States whose grandfather on the mother's side was not an Indian chief." And which of you could disagree with the unrepeatable wisdom of Gertrude Stein's "The tradition has always been that you may more or less describe the things that happen nowadays everybody all day long knows what is happening and so what is happening is not really interesting."</p> <p>The essays that Joyce Carol Oates has selected linger with us, not because their authors (from Mark Twain to Martin Luther King), retain their fame, but because each piece is a talisman, irreducible and well-carved. James Age's prose-poems "Knoxville, Summer of 1915" appeals to us today just as it inspired composer Samuel Barber decades ago, and two thirds of a century have only enhanced the thrall of the languorous rhythms of Edmund Wilson's "The Old Stone House." H.L. Mencken's article on the 1925 Scopes trial shames this week's pale convention prose with its freshness, and T.S. Eliot's 1919 "Tradition and The Individual Talent" still has something to teach us.</p> </article> <article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>"Here is a history of America told in many voices," declares Oates in her introduction, revealing the heart of her intelligent and incisive collection of 55 essays by American writers. Never attempting to capture or replicate a single, authentic "American identity," this collection succeeds by producing a comprehensive and multifaceted look at what America has been and, by extension, what it is and might become. While it's not explicitly political, the volume's multicultural intentions are visible. Beginning with "Cone-pone Opinions," a 1901 Mark Twain essay that uses the wisdom of an African-American child as its central image, Oates has fashioned a collection that calls attention to the way that "America" is made up of competing, and often antagonistic, cultural and social visions. There is not only the apparent contrast between the populist, overtly political visions of W.E.B. Du Bois's "Of the Coming of John," James Baldwin's "Notes of a Native Son" and Mary McCarthy's "Artists in Uniform" and the cultural elitism of T.S. Eliot's "Tradition and the Individual Talent." Oates has managed to find numerous pieces whose vision and philosophy resonate with one another without becoming homogeneous, so Gretel Ehrlich's meditation on pastoral aesthetics in "The Solace of Open Spaces" contrasts abruptly and ingeniously with Susan Sontag's urban-centered "Notes on Camp." In all, Oates has assembled a provocative collection of masterpieces reflecting both the fragmentation and surprising cohesiveness of various American identities. QPB and History Book Club selections; BOMC alternate. Sept. Copyright 2000 Cahners Business Information. </article><article> <h4>From The Critics</h4>". . . Oates has assembled a provocative collection of masterpieces <br> reflecting both the fragmentation and surprising cohesiveness of <br> various American identities." </article> <article> <h4>KLIATT</h4>In her excellent introduction to this collection, Joyce Carol Oates states her belief that "art should not be comforting." It should, instead, "provoke, disturb,...and expand our sympathies in directions we may not anticipate and may not even wish." The reader should therefore be prepared to have these 55 carefully selected essays do just that. Arranged chronologically, the essays span the century with an average of five essays per decade. From Mark Twain to Saul Bellow by way of William James, T.S. Eliot, Robert Frost and Gertrude Stein, the collection notes literary trends as well as social upheavals as recorded in essays of W.E.B DuBois, Langston Hughes, Zora Neale Hurston and Richard Wright. Chosen from authors who had published at least one book of nonfiction or essays, this collection attempts to present a "mobile mosaic" of 20th-century America. Category: Collections. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2001, Houghton Mifflin, 624p., Ages 16 to adult. Reviewer: Patricia A. Moore; Brookline, MA </article> <article> <h4>Library Journal</h4>One of the pleasures of an anthology like this is reading people you might not otherwise have picked up. Like John Muir, whose "Stickeen," a life-and-death adventure on an Alaskan glacier with a singular small black dog, is a great piece of adventure writing. Or Jane Addams, whose insights into the spread of an urban legend of "The Devil Baby at Hull House" are thoughtful and compassionate. Another sort of pleasure comes from rereading familiar works in a new context: E.B. White's "Once More to the Lake," N. Scott Momaday's "The Way to Rainy Mountain," John McPhee's "The Search for Marvin Gardens," and Annie Dillard's "Total Eclipse." Only seven of the essays come from the annual "Best American Essays" series that Atwan has coedited since 1986. The other 48 were culled from the rest of the century, with the ruling idea, Atwan says, "that the essays should speak to the present, not merely represent the past." Oates looked "for the expression of personal experience within the historical." They have created a mosaic of a century in an America whose dominant and recurring theme has been race. Essential for most libraries.--Mary Paumier Jones, Westminster P.L., CO Copyright 2000 Cahners Business Information.\ </article> <article> <h4>Megan Harlan</h4>...all the essays transcend fashion and speak just as eloquestly to us today as they did when they were first published.<br> —<i>Entertainment Weekly</i> </article>
52The Best Loved Poems of the American PeopleHazel Felleman0Hazel Felleman (Selected by), Edward Frank Allen (Introduction), Hazel Fellemanthe-best-loved-poems-of-the-american-peoplehazel-felleman97803850001920385000197$17.92HardcoverKnopf Doubleday Publishing GroupOctober 1936ReissuePoetry Anthologies, American Poetry, Poetry - General & Miscellaneous, American Literature Anthologies6705.99 (w) x 8.56 (h) x 2.06 (d)More than 1,500,000 copies in print! Over 575&nbsp;&nbsp;traditional favorites to be read and reread.&nbsp;&nbsp;Categorized by theme, and indexed by author and first&nbsp;&nbsp;line, this is a collection that will be treasured.<p><P>More than 1,500,000 copies in print! Over 575&#160;&#160;traditional favorites to be read and reread.&#160;&#160;Categorized by theme, and indexed by author and first&#160;&#160;line, this is a collection that will be treasured.</p>
53The Norton Anthology of American Literature: Volume A: Beginnings to 1820Wayne Franklin0<p><b>Nina Baym</b> (General Editor), Ph.D. Harvard, is Swanlund Endowed Chair and Center for Advanced Study Professor Emerita of English, and Jubilee Professor of Liberal Arts and Sciences at The University of Illinois at Urbana-Champaign. She is author of <b>The Shape of Hawthorne&rsquo;s Career</b>; <b>Woman's Fiction&#58; A Guide to Novels by and About Women in America</b>; <b>Novels, Readers, and Reviewers&#58; Responses to Fiction in Antebellum America</b>; <b>American Women Writers and the Work of History, 1790-1860</b>; and <b>American Women of Letters and the Nineteenth-Century Sciences</b>. Some of her essays are collected in <b>Feminism and American Literary History</b>; she has also edited and introduced many reissues of work by earlier American women writers, from Judith Sargent Murray through Kate Chopin. In 2000 she received the MLA&rsquo;s Hubbell medal for lifetime achievement in American literary studies.<P><b>Wayne Franklin</b>, Ph.D. (University of Pittsburgh), is Professor and Head of English, University of Connecticut. He is the author of <b>James Fenimore Cooper&#58; The Early Years</b> (the first volume of his definitive biography, from Yale University Press), <b>The New World of James Fenimore Cooper</b>, and <b>Discoverers, Explorers, Settlers&#58; The Diligent Writers of Early America</b>. He is the editor of <b>American Voices, American Lives&#58; A Documentary Reader</b> and co-editor of <b>The Norton Anthology of American Literature</b> and of, with Michael Steiner, <b>Mapping American Culture</b>.<P><b>Philip F. Gura</b> (Editor, 1700-1820), Ph.D. Harvard, is William S. Newman Distinguished Professor of American Literature and Culture and Adjunct Professor of Religious Studies at the University of North Carolina at Chapel Hill. He is the author of seven books, including <b>The Wisdom of Words&#58; Language, Theology, and Literature in the New England Renaissance</b>; <b>A Glimpse of Sion&rsquo;s Glory&#58; Puritan Radicalism in New England, 1620-1660</b>; and <b>Jonathan Edwards, America's Evangelical</b>. For ten years he was editor of the journal <b>Early American Literature</b>. He is an elected member of the Massachusetts Historical Society, the American Antiquarian Society, and the Colonial Society of Massachusetts.<P><b>Arnold Krupat</b> (editor, Native American Literatures), Ph.D. Columbia, is Professor of Literature at Sarah Lawrence College. He is the author, among other books, of <b>Ethnocriticism&#58; Ethnography, History, Literature</b>, <b>The Voice in the Margin&#58; Native American Literature and the Canon</b>, <b>Red Matters</b>, and most recently, <b>All That Remains&#58; Native Studies</b> (2007). He is the editor of a number of anthologies, including <b>Native American Autobiography&#58; An Anthology and New Voices in Native American Literary Criticism</b>. With Brian Swann, he edited <b>Here First&#58; Autobiographical Essays by Native American Writers</b>, which won the Wordcraft Circle of Native Writers and Storytellers Award for best book of nonfiction prose in 2001.</p>Wayne Franklin (Editor), Jerome Klinkowitz (Editor), Arnold Krupat (Editor), Philip F. Gura (Editor), Bruce Michelsonthe-norton-anthology-of-american-literaturewayne-franklin97803939273990393927393$37.77PaperbackNorton, W. W. & Company, Inc.April 20077th EditionAmerican Literature Anthologies9726.00 (w) x 9.20 (h) x 1.10 (d)<p><b>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field,</b> The Norton Anthology of American Literature has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p> <p>Under Nina Baym’s direction, the editors have considered afresh each selection and all the apparatus to make the anthology an even better teaching tool.</p><p>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field, <b>The Norton Anthology of American Literature</b> has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p>
54The Norton Anthology of PoetryMargaret Ferguson0<p><b>Margaret Ferguson</b> (Ph.D. Yale University) is Professor of English and Comparative Literature at the University of California&mdash;Davis. She is author of <b>Dido&rsquo;s Daughters&#58; Literacy, Gender, and Empire in Early Modern England and France</b> (2003) and <b>Trials of Desire&#58; Renaissance Defenses of Poetry</b> (1984). She is coeditor of <b>Feminism in Time</b>, <b>Women, Property, and the Letters of the Law</b>, <b>Literacies in Early Modern England</b> and a critical edition of Elizabeth Cary&rsquo;s <b>Tragedy of Mariam</b>.<P><b>Mary Jo Salter</b> (M.A. Cambridge University) is Emily Dickinson Senior Lecturer in the Humanities at Mount Holyoke College, where she teaches poetry and poetry-writing. She has published several books of poems, including <b>Henry Purcell in Japan</b> (1985), <b>Unfinished Painting</b> (1989), <b>Sunday Skaters</b> (1994), <b>A Kiss in Space</b> (1999), and, most recently, <b>Open Shutters</b> (2003). A vice president of the Poetry Society of America, she has also served as poetry editor of <b>The New Republic</b>.<P><b>Jon Stallworthy</b> (M.A. and B.Litt. Oxford) is Senior Research Fellow at Wolfson College of Oxford University, where he is also Professor of English Literature. He is also the former John Wendell Anderson Professor at Cornell, where he taught after a career at Oxford University Press. His biography of Wilfred Owen won the Duff Cooper Memorial Prize, the W. H. Smith Literary Award, and the E. M. Forster Award of the American Academy of Arts and Letters. His biography of Louis MacNeice won the Southern Arts Literary Prize. He is also the author of <b>Rounding the Horn&#58; Collected Poems</b> and <b>Singing School&#58; The Making of a Poet</b> and he is the editor of the definitive edition of Wilfred Owen&rsquo;s poetry, <b>The Complete Poems and Fragments</b>; <b>The Penguin Book of Love Poetry</b>; and <b>The Oxford Book of War Poetry</b>. Stallworthy has received a Guggenheim Fellowship and is a fellow of the British Academy and the Royal Society of Literature.</p>Margaret Ferguson, Jon Stallworthy, Mary Jo Salter, Jon Stallworthy (Editor), Mary Jo Salterthe-norton-anthology-of-poetrymargaret-ferguson97803939792060393979202$66.30PaperbackNorton, W. W. & Company, Inc.December 20045th EditionPoetry Anthologies, American Poetry, English Poetry, English & Irish Literature Anthologies, American Literature Anthologies22566.00 (w) x 9.20 (h) x 2.00 (d)<p><b>Offering over one thousand years of verse from the medieval period to the present,</b> The Norton Anthology of Poetry is the classroom standard for the study of poetry in English.</p> <p>The Fifth Edition retains the flexibility and breadth of selection that has defined this classic anthology, while improved and expanded editorial apparatus make it an even more useful teaching tool.</p><p>Offering over one thousand years of verse from the medieval period to the present, <b>The Norton Anthology of Poetry</b> is the classroom standard for the study of poetry in English.</p>
55The Norton Anthology of African American Literature, Vol. 2Henry Louis Gates Jr.0<p><b>Henry Louis Gates Jr.</b> (Ph.D. Cambridge) is Alphonse Fletcher University Professor and Director, W. E. B. Du Bois Institute for African and African American Research, at Harvard University. He is the author of <b>Figures in Black&#58; Words, Signs, and the Racial Self</b>; <b>The Signifying Monkey&#58; A Theory of Afro-American Criticism</b>; <b>Loose Canons&#58; Notes on the Culture Wars</b>; <b>Colored People&#58; A Memoir</b>; <b>The Future of Race</b> (with Cornel West); <b>Wonders of the African World</b>; <b>Thirteen Ways of Looking at a Black Man</b>; and <b>America Behind the Color Line&#58; Dialogues with African Americans</b>. He is general editor (with the late Nellie Y. McKay) of <b>The Norton Anthology of African American Literature</b>; editor-in-chief of the Oxford African American Studies Center (online); editor of <b>The African-American Century</b> (with Cornel West); <b>Encarta Africana</b> (with Kwame Anthony Appiah); and <b>The Bondwoman&rsquo;s Narrative</b> by Hannah Craft; <b>African American National Biography</b> (with Evelyn Brooks Higginbotham) and <b>The Annotated Uncle Tom&rsquo;s Cabin</b> (with Hollis Robbins). For PBS, Professor Gates has written and produced several documentaries, among them <b>African American Lives</b>, series 1 and 2, and <b>America Behind the Color Line</b>.<P><b>Nellie Y. McKay</b> (Ph.D. Harvard), General Editor. Professor of American and Afro-American Literature, University of Wisconsin, Madison. Associate editor of the <b>African American Review</b>; author of <b>Jean Toomer&mdash;the Artist&#58; A Study of His Literary Life and Work, 1894-1936</b>; editor of <b>Critical Essays on Toni Morrison</b>; co-editor of the Norton Critical Edition of Harriet Jacobs&rsquo;s <b>Incidents in the Life of a Slave Girl</b>, <b>Beloved&mdash;A Casebook</b>, and <b>Approaches to Teaching the Novels of Toni Morrison</b>.<P><b>William L. Andrews</b> (Ph.D. University of North Carolina, Chapel Hill), Editor, "The Literature of Slavery and Freedom," Co-Editor, "the Literature of the Reconstruction to the New Negro Renaissance." E. Maynard Adams Professor of English, University of North Carolina, Chapel Hill. General editor of the Wisconsin Studies in American Autobiography series and <b>The Literature of the American South&#58; A Norton Anthology</b>, and co-editor of <b>The Oxford Companion to African American Literature</b>. Other works include <b>The Literary Career of Charles W. Chesnutt</b>; <b>To Tell a Free Story&#58; The First Century of Afro-American Autobiography, 1760&ndash;1865</b>; <b>Sisters of the Spirit</b>; <b>Critical Essays on Frederick Douglass</b>; and <b>Classic Fiction of the Harlem Renaissance</b>.<P><b>Houston A. Baker, Jr.</b> (Ph.D. University of California, Los Angeles), Editor, "The Black Arts Era." George D. and Susan Fox Beischer Professor of English, Duke University. Editor of <b>American Literature</b>; Editor of the anthology <b>Black Literature in America</b> and author of three books of poetry. Other works include <b>Afro-American Poetics&#58; Revisions of Harlem and The Black Aesthetic</b>; <b>Workings of the Spirit&#58; A Poetics of Afro-American Women&rsquo;s Writing</b>; <b>Black Studies, Rap, and the Academy</b>; <b>Blues, Ideology, and Afro-American Literature&#58; A Vernacular Theory</b>; <b>Modernism and the Harlem Renaissance</b>; <b>Turning South Again&#58; Re-Thinking Modernism/Re-Reading Booker T</b>.<P><b>Frances Smith Foster</b> (Ph.D. University of California, San Diego), Co-Editor, "The Literature of the Reconstruction to the New Negro Renaissance." Charles Howard Candler Professor of English and Women&rsquo;s Studies, Emory University. Author of <b>Written by Herself&#58; Literary Production by African American Women, 1746-1892</b> and <b>Witnessing Slavery&#58; The Development of the Antebellum Slave Narrative</b>. Co-editor of the <b>Oxford Companion to African American Literature</b> and the Norton Critical Edition of Harriet Jacobs&rsquo;s <b>Incidents in the Life of a Slave Girl</b>. Editor of several works, including Minnie&rsquo;s <b>Sacrifice, Sowing and Reaping</b>, <b>Trial and Triumph&#58; Three Rediscovered Novels by Frances Ellen Watkins Harper</b>, and Elizabeth Keckley&rsquo;s <b>Behind the Scenes</b>.<P>A former fellow of the Bunting Institute and the Woodrow Wilson International Center, <b>Deborah E. McDowell</b> is a professor of English at the University of Virginia.<P><b>Robert G. O&rsquo;Meally</b> (Ph.D. Harvard), Editor, "The Vernacular Tradition." Zora Neale Hurston Professor of English, Columbia University. Author of <b>The Craft of Ralph Ellison</b> and the biography <b>Lady Day&#58; The Many Faces of Billie Holiday</b>, and editor of the essay collection <b>History and Memory in African American Culture</b>. Currently editing an essay collection titled <b>The Jazz Cadence of American Culture</b>.<P><b>Arnold Rampersad</b> (Ph.D. Harvard), Editor, "The Harlem Renaissance." Sara Hart Kimball Professor in the Humanities, Stanford University. Co-Editor of <b>Slavery and the Literary Imagination</b> (with Deborah E. McDowell); editor of the definitive <b>Collected Poems of Langston Hughes</b> and author of the two-volume biography <b>The Life of Langston Hughes</b>. Also author of <b>Jackie Robinson&#58; A Biography</b> and joint author of tennis star <b>Arthur Ashe&rsquo;s Days of Grace&#58; A Memoir</b>.<P><b>Hortense Spillers</b> (Ph.D. Brandeis), Co-Editor, "Realism, Naturalism, Modernism." Frederick J. Whiton Chair of English, Cornell University. Editor of <b>Comparative American Identities&#58; Race, Sex, and Nationality in the Modern Text</b>; co-editor (with Marjorie Pryse) of <b>Conjuring&#58; Black Women, Fiction and the Literary Tradition</b>, and an editor of <b>The Heath Anthology of American Literature</b>.<P><b>Cheryl A. Wall</b> (Ph.D. Harvard), Editor, "Literature since 1975." Professor and Chair of English, Rutgers University. Author of <b>Women of the Harlem Renaissance</b>; editor of <b>Zora Neale Hurston&#58; Novels and Stories</b>, <b>Zora Neale Hurston&#58; Folklore, Memoirs & Other Writings</b>, and <b>Changing Our Own Words&#58; Essays on Criticism, Theory, and Writing by Black Women</b>.</p>Henry Louis Gates Jr. (Editor), Nellie Y. McKaythe-norton-anthology-of-african-american-literaturehenry-louis-gates-jr97803939777830393977781$72.82PaperbackNorton, W. W. & Company, Inc.December 20032nd EditionPeoples & Cultures - American Anthologies28326.00 (w) x 9.30 (h) x 2.30 (d)<p><b>Welcomed on publication as "brilliant, definitive, and a joy to teach from,"</b> The Norton Anthology of African American Literature was adopted at more than 1,275 colleges and universities worldwide. Now, the new Second Edition offers these highlights.</p><p>Welcomed on publication as "brilliant, definitive, and a joy to teach from," <b>The Norton Anthology of African American Literature</b> was adopted at more than 1,275 colleges and universities worldwide. Now, the new Second Edition offers these highlights.</p><h3>Publishers Weekly</h3><p>Collaborating on The Norton Anthology of African American Literature, editors Henry Louis Gates Jr. and Nellie Y. McKay have compiled what may be the definitive collection of its kind. Organized chronologically, the massive work gathers writings from six periods of black history: slavery and freedom; Reconstruction; the Harlem Renaissance; Realism, Naturalism and Modernism; the Black Arts Movement and the period since the 1970s. The work begins with the vernacular tradition of spirituals, gospel and the blues; continues through work songs, jazz and rap; ranges through sermons and folktales; and embraces letters and journals, poetry, short fiction, novels, autobiography and drama. BOMC selection; companion audio CD.</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Collaborating on The Norton Anthology of African American Literature, editors Henry Louis Gates Jr. and Nellie Y. McKay have compiled what may be the definitive collection of its kind. Organized chronologically, the massive work gathers writings from six periods of black history: slavery and freedom; Reconstruction; the Harlem Renaissance; Realism, Naturalism and Modernism; the Black Arts Movement and the period since the 1970s. The work begins with the vernacular tradition of spirituals, gospel and the blues; continues through work songs, jazz and rap; ranges through sermons and folktales; and embraces letters and journals, poetry, short fiction, novels, autobiography and drama. BOMC selection; companion audio CD. </article> <article> <h4>Library Journal</h4>In this anthology, blues, gospel, jazz, rap, and sermons take center stage. In close proximity are poetry, fiction, drama, and autobiography by major authors like Richard Wright, Gwendolyn Brooks, and Toni Morrison. </article>
56Poems, Poets, Poetry: An Introduction and AnthologyHelen Vendler0<p><p><b>HELEN VENDLER</b>, critic and scholar of English-language poetry from the seventeenth century to the present, is A. Kingsley Porter University Professor at Harvard University-the first woman to hold a University Professorship, the highest academic distinction Harvard bestows. She has been poetry critic of <i>The New Yorker</i> since 1978, and has been a member of the Pulitzer Prize jury for poetry. Author of ground-breaking scholarly studies on George Herbert, John Keats, Wallace Stevens, William Butler Yeats, Shakespeare's sonnets, and Seamus Heaney, she won the National Book Critic's Circle Award for Criticism in 1981, and her criticism has been collected in several volumes, including <i>Part of Nature, Part of Us, The Music of What Happens,</i> and <i>Soul Says</i>.<p></p>Helen Vendlerpoems-poets-poetryhelen-vendler97803124631990312463197$1.99PaperbackBedford/St. Martin'sOctober 20093rd EditionPoetry Anthologies, American Poetry, English Poetry, English & Irish Literature Anthologies, American Literature Anthologies7525.90 (w) x 9.00 (h) x 1.00 (d)<br> Many students today are puzzled by the meaning and purpose of poetry. <i>Poems, Poets, Poetry</i> demystifies the form and introduces students to its artistry and pleasures, using methods that Helen Vendler has successfully used herself over her long, celebrated career. Guided by Vendler’s erudite yet down-to-earth approach, students at all levels can benefit from her authoritative instruction. Her blend of new and canonical poets includes the broadest selection of new and multi-racial poets offered by any introductory text. Comprehensive and astute, this text engages students in effective ways of reading — and taking delight in — poetry.<p><p>Written by a preeminent critic and legendary teacher, this text and anthology presents the incisive, practical methods of reading and writing that Helen Vendler has used for decades to demystify poetry for her students and introduce them to its artistry and pleasures.<p></p><p><p>Preface&#58; About This Book <p><p>Brief Contents <p><p>Contents <p><p>Chronological Contents <p><p>About Poets and Poetry <p><p><p><B>PART I. AN INTRODUCTION TO POETRY <p><p></B><p><p><B>1. The Poem as Life <p><p></B>The Private Life <p><p>William Blake, <I>Infant Sorrow <p><p></I>Louise Gl&#252;ck, <I>The School Children <p><p></I>E. E. Cummings, <I>in Just- <p><p></I><B>NEW </B>Robert Hayden, <I>Those Winter Sundays <p><p></I>Walt Whitman, <I>Hours Continuing Long <p><p></I>Wallace Stevens, <I>The Plain Sense of Things <p><p></I>The Public Life <p><p>Michael Harper, <I>American History <p><p></I>Charles Simic, <I>Old Couple <p><p></I>Robert Lowell, <I>Skunk Hour <p><p></I>Nature and Time <p><p>Anonymous, <I>The Cuckoo Song <p><p></I>Dave Smith, <I>The Spring Poem <p><p></I>John Keats, <I>The Human Seasons <p><p></I>William Shakespeare, <I>Sonnet 60 (Like as the waves make towards the pebbled shore) <p><p></I>In Brief&#58; The Poem as Life <p><p>Reading Other Poems <p><p>Sir Thomas Wyatt, <I>They Flee from Me <p><p></I>Ben Jonson, <I>On My First Son <p><p></I>John Milton, <I>On the Late Massacre in Piedmont <p><p></I>John Keats, <I>When I Have Fears <p><p></I>Emily Dickinson, <I>A narrow Fellow in the grass <p><p></I>Langston Hughes, <I>Theme for English B <p><p></I>Dylan Thomas, <I>Do Not Go Gentle into That Good Night <p><p></I>Sylvia Plath, <I>Daddy <p><p></I>Rita Dove, <I>Flash Cards <p><p></I>Yusef Komunyakaa, <I>Facing It <p><p></I>Julia Alvarez, <I>Homecoming <p><p></I><p><p><B>2. The Poem as Arranged Life <p><p></B>The Private Life <p><p>William Blake, <I>Infant Joy <p><p></I>William Blake, <I>Infant Sorrow <p><p></I>Louise Gl&#252;ck, <I>The School Children <p><p></I>E. E. Cummings, <I>in Just- <p><p></I>Robert Hayden, <I>Those Winter Sundays <p><p></I>Walt Whitman, <I>Hours Continuing Long <p><p></I>Wallace Stevens, <I>The Plain Sense of Things <p><p></I>The Public Life <p><p>Michael S. Harper, <I>American History <p><p></I>Charles Simic, <I>Old Couple <p><p></I>Robert Lowell, <I>Skunk Hour <p><p></I>Nature and Time <p><p>Anonymous, <I>The Cuckoo Song <p><p></I>Dave Smith, <I>The Spring Poem <p><p></I>John Keats, <I>The Human Seasons <p><p></I>William Shakespeare, <I>Sonnet 60 (Like as the waves make towards the pebbled shore) <p><p></I>In Brief&#58; The Poem as Arranged Life <p><p>Reading Other Poems <p><p>Anonymous, <I>Lord Randal <p><p></I>William Shakespeare, <I>Sonnet 29 (When in disgrace with fortune and men's eyes) <p><p></I>Chidiock Tichborne, <I>Tichborne's Elegy <p><p></I>John Donne, <I>A Valediction&#58; Forbidding Mourning <p><p></I>Robert Herrick, <I>Upon Julia's Clothes <p><p></I>George Herbert, <I>Love (III) <p><p></I>Walt Whitman, <I>A Noiseless Patient Spider <p><p></I>Thomas Hardy, <I>The Convergence of the Twain <p><p></I>Robert Frost, <I>The Road Not Taken <p><p></I>Margaret Atwood, <I>Footnote to the Amnesty Report on Torture <p><p></I>Marilyn Nelson, <I>Live Jazz, Franklin Park Zoo <p><p></I><p><p><B>3. Poems as Pleasure <p><p></B>Rhythm <p><p>Rhyme <p><p>Ben Jonson, <I>On Gut <p><p></I>Structure <p><p>William Carlos Williams, <I>Poem <p><p></I>Gwendolyn Brooks, <I>We Real Cool <p><p></I>Images <p><p>William Blake, <I>London <p><p></I>Argument <p><p>Christopher Marlowe, <I>The Passionate Shepherd to His Love <p><p></I>Walter Ralegh, <I>The Nymph's Reply to the Shepherd <p><p></I>Poignancy <p><p>William Wordsworth, <I>A Slumber Did My Spirit Seal <p><p></I>Wisdom <p><p>A New Language <p><p>Finding Yourself <p><p>In Brief&#58; Poems as Pleasure <p><p>Reading Other Poems <p><p>William Shakespeare, <I>Sonnet 130 (My mistress' eyes are nothing like the sun) <p><p></I>Robert Herrick, <I>To the Virgins, to Make Much of Time <p><p></I>William Blake, <I>The Sick Rose <p><p></I>Gerard Manley Hopkins, <I>Pied Beauty</I> <p><p>Thomas Hardy, <I>The Darkling Thrush <p><p></I>Robert Frost, <I>After Apple-Picking <p><p></I>Robert Frost, <I>Unharvested <p><p></I>D.H. Lawrence, <I>Snake <p><p></I>William Carlos Williams, <I>The Dance <p><p></I>Theodore Roethke, <I>My Papa's Waltz <p><p></I>Derek Walcott, <I>The Season of Phantasmal Peace <p><p></I>Elizabeth Alexander, <I>Nineteen <p><p></I><p><p><B>4. Describing Poems <p><p></B>Poetic Kinds <p><p>Narrative versus Lyric; Narrative as Lyric <p><p>Adrienne Rich, <I>Necessities of Life <p><p></I>Philip Larkin, <I>Talking in Bed <p><p></I>Classifying Lyric Poems <p><p>Content genres <p><p>Emily Dickinson, <I>The Heart asks Pleasure--first-- <p><p></I>Speech Acts <p><p>Carl Sandburg, <I>Grass <p><p></I>Outer Form <p><p>Line Width <p><p>Rhythm <p><p>Poem Length <p><p>Combinatorial Form Names <p><p>Inner Structural Form <p><p>Sentences <p><p>Robert Herrick, <I>The Argument of His Book <p><p></I>Person <p><p>Agency <p><p>Randall Jarrell, <I>The Death of the Ball Turret Gunner <p><p></I>Tenses <p><p>William Wordsworth, <I>A Slumber Did My Spirit Seal <p><p></I>Images, or Sensuous Words <p><p>Sylvia Plath, <I>Metaphors <p><p></I>Exploring a Poem <p><p>John Keats, <I>Upon First Looking into Chapman's Homer <p><p></I>In Brief&#58; Describing Poems <p><p>Reading Other Poems <p><p>William Shakespeare, <I>Sonnet 129 (Th' expense of spirit in a waste of shame) <p><p></I>George Herbert, <I>Easter Wings <p><p></I>Andrew Marvell, <I>The Garden <p><p></I>John Milton, <I>When I Consider How My Light is Spent <p><p></I>Anne Bradstreet, <I>To My Dear and Loving Husband <p><p></I>John Keats, <I>Ode to a Nightingale <p><p></I>Matthew Arnold, <I>Dover Beach <p><p></I>Robert Frost, <I>Mending Wall <p><p></I>Ezra Pound, <I>The River Merchant's Wife&#58; A Letter <p><p></I>Mark Strand, <I>Courtship <p><p></I>Seamus Heaney, <I>From the Frontier of Writing <p><p></I>Jorie Graham, <I>San Sepolcro <p><p></I>Sherman Alexie, <I>Evolution <p><p></I><p><p><B>5. The Play of Language <p><p></B>Sound Units <p><p>Word Roots <p><p>Words <p><p>Sentences <p><p>Robert Frost, <I>Stopping by Woods on a Snowy Evening <p><p></I>Emily Dickinson, <I>The Heart asks Pleasure--first-- <p><p></I>Implication <p><p>The Ordering of Language <p><p>George Herbert, <I>Prayer (I) <p><p></I>William Shakespeare, <I>Sonnet 66 (Tired with all these, for restful death I cry) <p><p></I>Michael Drayton, <I>Since there's no help <p><p></I>In Brief&#58; The Play of Language <p><p>Reading Other Poems <p><p>John Donne, <I>Holy Sonnet 14 (Batter my heart, three-personed God; for You) <p><p></I>John Keats, <I>To Autumn <p><p></I>Robert Browning, <I>My Last Duchess <p><p></I>Henry Reed, <I>Naming of Parts <p><p></I>William Butler Yeats, <I>The Wild Swans at Coole <p><p></I>Wallace Stevens, <I>The Emperor of Ice-Cream <p><p></I>H.D., <I>Oread <p><p></I>E.E. Cummings, <I>r-p-o-p-h-e-s-s-a-g-r <p><p></I>Elizabeth Bishop, <I>One Art <p><p></I>Joy Harjo,<I> Song for Deer and Myself to Return On <p><p></I>Lorna Dee Cervantes, <I>Poema para los Californios Muertos <p><p></I><p><p><B>6. Constructing a Self <p><p></B>Multiple Aspects <p><p>William Shakespeare, <I>Sonnet 30 (When to the sessions of sweet silent thought) <p><p></I>Change of Discourse <p><p>Space and Time <p><p>Seamus Heaney, <I>Mid-Term Break <p><p></I>Testimony <p><p>Motivations <p><p>Typicality <p><p>Tone as a Marker of Selfhood <p><p>Gerard Manley Hopkins, <I>Spring and Fall <p><p></I>Imagination <p><p>Emily Dickinson, <I>I heard a Fly buzz--when I died-- <p><p></I>Persona <p><p>William Butler Yeats, <I>Crazy Jane Talks with the Bishop <p><p></I>In Brief&#58; Constructing a Self <p><p>Reading Other Poems <p><p>John Dryden, <I>Sylvia the Fair <p><p></I>Walt Whitman, <I>I Saw in Louisiana a Live-Oak Growing <p><p></I>Emily Dickinson, <I>I'm Nobody! Who are you? <p><p></I>William Butler Yeats, <I>An Irish Airman Foresees His Death <p><p></I>Thomas Hardy, <I>The Ruined Maid <p><p></I>T. S. Eliot, <I>The Love Song of J. Alfred Prufrock <p><p></I>William Carlos Williams, <I>To Elsie <p><p></I>Countee Cullen, <I>Heritage <p><p></I>Anne Sexton, <I>Her Kind <p><p></I>Charles Wright, <I>Self-Portrait <p><p></I>Jane Kenyon, <I>Otherwise <p><p></I>Carl Phillips, <I>Africa Says <p><p></I><p><p><B>7. Poetry and Social Identity <p><p></B>Adrienne Rich, <I>Mother-in-Law <p><p></I>Adrienne Rich, <I>Prospective Immigrants Please Note <p><p></I>Langston Hughes, <I>Genius Child <p><p></I>Langston Hughes, <I>Me and the Mule <p><p></I>Langston Hughes, <I>High to Low <p><p></I>Seamus Heaney, <I>Terminus <p><p></I>In Brief&#58; Poetry and Social Identity <p><p>Reading Other Poems <p><p>Robert Southwell, <I>The Burning Babe <p><p></I>Thomas Nashe, <I>A Litany in Time of Plague <p><p></I>Anne Bradstreet, <I>A Letter to Her Husband Absent Upon Public Employment <p><p></I>William Blake, <I>The Little Black Boy <p><p></I>Edward Lear, <I>How Pleasant to Know Mr. Lear <p><p></I>Gerard Manley Hopkins, <I>Felix Randal <p><p></I>Sylvia Plath, <I>The Applicant <p><p></I>David Mura, <I>An Argument&#58; On 1942 <p><p></I>Rita Dove, <I>Wingfoot Lake <p><p></I>Sheila Ortiz Taylor, <I>The Way Back <p><p></I><p><p><B>8. History and Regionality <p><p></B>History <p><p>William Wordsworth, <I>A slumber did my spirit seal <p><p></I>Robert Lowell, <I>The March 1 <p><p></I>Langston Hughes, <I>World War II <p><p></I>Wilfred Owen, <I>Dulce et Decorum Est <p><p></I>Regionality <p><p>Sherman Alexie, <I>On the Amtrak from Boston to New York City <p><p></I>William Wordsworth, <I>Composed upon Westminster Bridge, September 3, 1802</I> <p><p>In Brief&#58; History and Regionality <p><p>Reading Other Poems <p><p>Samuel Taylor Coleridge, <I>Kubla Khan <p><p></I>William Wordsworth, <I>Lines Composed a Few Miles above Tintern Abbey <p><p></I>John Keats, <I>Ode on a Grecian Urn <p><p></I>William Butler Yeats, <I>Easter 1916 <p><p></I>Wallace Stevens, <I>Anecdote of the Jar <p><p></I>Robert Lowell, <I>For the Union Dead <p><p></I>Robert Hayden, <I>Night, Death, Mississippi <p><p></I>W.S. Merwin, <I>The Asians Dying <p><p></I>Derek Walcott, <I>The Gulf <p><p></I>Simon J. Ortiz, <I>Bend in the River <p><p></I>Jorie Graham, <I>What the End Is For <p><p></I>Gary Soto, <I>History <p><p></I>Silvia Curbelo, <I>Balsero Singing <p><p></I>Dionisio Martinez, <I>History as a Second Language <p><p></I><p><p><B>9. Attitudes, Values, Judgments <p><p></B>William Shakespeare, <I>Sonnet 76 (Why is my verse so barren of new pride?) <p><p></I>Robert Lowell, <I>Epilogue <p><p></I>In Brief&#58; Attitudes, Values, Judgments <p><p>Reading Other Poems <p><p>John Milton, <I>Lycidas <p><p></I>Ben Jonson, <I>Still to Be Neat <p><p></I>Richard Lovelace, <I>To Lucasta, Going to the Wars <p><p></I>Phillis Wheatley, <I>On Being Brought from Africa to America <p><p></I>Elizabeth Barrett Browning, <I>How Do I Love Thee? <p><p></I>Walt Whitman, <I>When I Heard the Learn'd Astronomer <p><p></I>William Butler Yeats, <I>Meru <p><p></I>Robert Frost, <I>The Gift Outright <p><p></I>Allen Ginsberg, <I>Sunflower Sutra <p><p></I>Louise Gl&#252;ck, <I>Mock Orange <p><p></I>Rita Dove, <I>Parsley <p><p></I>Heidy Steidlmayer, <I>Knife-Sharpener&#8217;s Song </I><p><I></I> <p><p><B>New 10. Poets on Poetry </B><p>Poetry as Imagination <p>Art&#8217;s Fiction, Truth&#8217;s Claims <p>Poetry as Song <p>Poetry as Words <p>Poetry as an Evolving Structure <p>Poetry as a Destructive Force <p>The Idea of Lyric <p>Why Poetry at All? <p>Emily Dickinson,<I> This is my letter to the World</I> <p>Poetry Over Time <p>The Poet&#8217;s Audience <p>Poetry and Style <p><p><p><B>PART II. WRITING ABOUT POETRY <p><p></B><p><p><B>11. Writing about Poems <p><p></B>Basic Principles <p><p>A Brief Example <p><p>Robert Herrick, <I>Divination by a Daffodil <p><p></I>A Longer Example&#58; <p><p>William Wordsworth, <I>I Wandered Lonely as a Cloud <p><p></I>Getting it Down on Paper <p><p>Begin with a Question <p><p>Present Your Case <p><p>Draw Your Conclusions <p><p>Keeping Your Readers in Mind <p><p>A Note on Writing about Unrhymed Poems <p><p>Organizing Your Paper <p><p>A Note on Well-Ordered Paragraphs <p><p>Checking Your Work <p><p><p><B>12. Studying Groups of Poems <p><p></B>Walt Whitman&#58; Poems on Lincoln <p><p>Walt Whitman, <I>Hush'd Be the Camps To-Day <p><p></I>Walt Whitman, <I>O Captain! My Captain! <p><p></I>Walt Whitman, <I>When Lilacs Last in the Dooryard Bloom'd <p><p></I>Walt Whitman, <I>This dust was once a man <p><p></I>Emily Dickinson&#58; Poems on Time <p><p>Emily Dickinson, <I>I like to see it lap the Miles&#8212; <p><p></I>Emily Dickinson, <I>Because I could not stop for Death&#8212; <p><p></I>Emily Dickinson, <I>The Heart asks Pleasure&#8212;first&#8212; <p><p></I>Emily Dickinson, <I>I felt a Cleaving in my Mind <p><p></I>Emily Dickinson, <I>The first Day's Night had come&#8212; <p><p></I>Emily Dickinson, <I>After great pain, a formal feeling comes <p><p></I>Emily Dickinson, <I>There's a certain Slant of light <p><p></I>Emily Dickinson, <I>Pain-expands the Time <p><p></I>Writing Your Paper <p><p><p><p><B>PART III. ANTHOLOGY <p><p></B>Sherman Alexie, <I>Reservation Love Song <p><p></I>Paula Gunn Allen, <I>Zen Americana <p><p></I><B>New</B> Julia Alvarez, <I>from</I> 33 <p><p>A. R. Ammons, <I>The City Limits <p><p></I>A. R. Ammons, <I>Easter Morning <p><p></I>Anonymous, <I>Sir Patrick Spens <p><p></I>Anonymous, <I>Western Wind <p><p></I>Matthew Arnold, <I>Shakespeare <p><p></I>Matthew Arnold, <I>To Marguerite <p><p></I>John Ashbery, <I>Paradoxes and Oxymorons <p><p></I>John Ashbery, <I>Street Musicians</I> <p><p><B>New</B> Margaret Atwood, <I>Habitation <p><p></I>Margaret Atwood, <I>This is a Photograph of Me <p><p></I>Margaret Atwood, <I>Up <p><p></I>W. H. Auden, <I>As I Walked Out One Evening <p><p></I>W.H. Auden,<I> Mus&#233;e des Beaux Arts <p><p></I>John Berryman, from <I>Dream Songs <p><p></I><I>4 (Filling her compact & delicious body) <p><p></I><I>45 (He stared at ruin. Ruin stared straight back) <p><p></I><I>384 (The marker slants, flowerless, day's almost done) <p><p></I><B>New</B> Frank Bidart, <I>An American in Hollywood <p><p></I><B>New </B>Frank Bidart, <I>If See No End In Is <p><p></I>Frank Bidart, <I>To My Father <p><p></I>Elizabeth Bishop, <I>At the Fishhouses <p><p></I>Elizabeth Bishop, <I>Poem</I> <p><p>Elizabeth Bishop, <I>Sestina</I> <p><p>William Blake, <I>Ah! Sun-flower</I> <p><p>William Blake, <I>The Garden of Love <p><p></I>William Blake, <I>The Lamb <p><p></I><B>New</B> William Blake, <I>The Mental Traveller <p><p></I>William Blake, <I>The Tyger <p><p></I>Richard Blanco,<I> Letters for Mam&#225; <p><p></I>Michael Blumenthal, <I>A Marriage</I> <p><p><B>New</B> Michael Blumenthal, <I>Early Childhood Education <p><p></I>Anne Bradstreet, <I>Before the Birth of One of Her Children <p><p></I>Lucy Brock-Broido, <I>Carrowmore <p><p></I>Lucy Brock-Broido, <I>Domestic Mysticism</I> <p><p><B>New</B> Lucy Brock-Broido, <I>Self-Deliverance by Lion <p><p></I>Emily Bronte, <I>No Coward Soul Is Mine <p><p></I>Emily Bronte, <I>Remembrance <p><p></I>Gwendolyn Brooks, <I>The Bean Eaters <p><p></I><B>New</B> Gwendolyn Brooks, <I>Beverly Hills, Chicago <p><p></I>Elizabeth Barrett Browning, <I>A Musical Instrument <p><p></I>Robert Browning, <I>Childe Roland to the Dark Tower Came <p><p></I>Robert Burns, <I>O, Wert Thou in the Cauld Blast <p><p></I>Robert Burns, <I>A Red, Red Rose <p><p></I>George Gordon, <I>Lord Byron, When We Two Parted <p><p></I>Lorna Dee Cervantes, <I>Freeway 280 <p><p></I>Marilyn Chin, <I>Autumn Leaves <p><p></I><B>New</B> Victoria Chang, <I>$4.99 All You Can Eat Sunday Brunch <p><p></I>John Clare, <I>Badger <p><p></I>John Clare, <I>First Love <p><p></I>John Clare, <I>I Am <p><p></I><B>New</B> Lucille Clifton, <I>the lost baby poem <p><p></I><B>New</B> Henry Cole, <I>Car Wash <p><p></I>Henri Cole, <I>40 Days and 40 Nights <p><p></I>Samuel Taylor Coleridge, <I>Dejection&#58; An Ode <p><p></I>Samuel Taylor Coleridge, <I>The Rime of the Ancient Mariner <p><p></I><B>New</B> Eduardo C. Corral, <I>Monologue of a Vulture&#8217;s Shadow <p><p></I>William Cowper, <I>The Castaway <p><p></I>William Cowper, <I>Epitaph on a Hare</I> <p><p>Hart Crane, <I>The Broken Tower <p><p></I>Hart Crane, <I>To Brooklyn Bridge <p><p></I><B>New</B> Robert Creeley, <I>When I think <p><p></I>Countee Cullen, <I>Incident <p><p></I>E.E. Cummings, <I>may I feel he said he <p><p></I><B>New</B> E.E. Cummings, <I>next to of course god america i <p><p></I>Emily Dickinson, <I>The Brain--is wider than the Sky-- <p><p></I>Emily Dickinson, <I>I like a look of Agony <p><p></I>Emily Dickinson, <I>Much Madness is divinest Sense-- <p><p></I>Emily Dickinson, <I>Safe in their Alabaster Chambers (1859) <p><p></I>Emily Dickinson, <I>Safe in their Alabaster Chambers (1861) <p><p></I>Emily Dickinson, <I>The Soul selects her own Society&#8212; <p><p></I>Emily Dickinson, <I>There's a certain Slant of light <p><p></I>Emily Dickinson, <I>Wild Nights--Wild Nights! <p><p></I><B>New</B> John Donne, <I>Breake of day <p><p></I>John Donne, <I>Death, be not proud <p><p></I>John Donne, <I>The Sun Rising <p><p></I><B>New</B> Timothy Donnelly, <I>Reading of Medieval Life, I Wonder Who I Am <p><p></I>Rita Dove, <I>Adolescence--II <p><p></I>Rita Dove, <I>Dusting <p><p></I>Paul Laurence Dunbar, <I>Harriet Beecher Stowe <p><p></I>Paul Laurence Dunbar, <I>Robert Gould Shaw</I> <p><p>Paul Laurence Dunbar, <I>We Wear the Mask <p><p></I><B>New</B> Roberto Dur&#225;n, <I>Protest <p><p></I>T. S. Eliot, <I>Preludes <p><p></I>Thomas Sayers Ellis, <I>View of the Library of Congress from Paul Laurence Dunbar High</I> <I>School <p><p></I>Ralph Waldo Emerson, <I>Concord Hymn <p><p></I>Louise Erdrich, <I>The Strange People <p><p></I><B>New</B> Rhina Espaillat, <I>Translation <p><p></I><B>New</B> Gustavo P&#233;rez Firmat, <I>Turning the Times Tables <p><p></I><B>New</B> Mark Ford, <I>The Long Man <p><p></I>Robert Frost, <I>Birches <p><p></I>Robert Frost, <I>Design <p><p></I>Allen Ginsberg, <I>America <p><p></I>Louise Gl&#252;ck, <I>All Hallows <p><p></I>Louise Gl&#252;ck, <I>The Balcony <p><p></I><B>New</B> Louise Gl&#252;ck, <I>Midsummer <p><p></I><B>New</B> Albert Goldbarth, <I>The Novel That Asks to Erase Itself <p><p></I><B>New</B> Albert Goldbarth, <I>Unforeseeables <p><p></I>Jorie Graham, <I>Of Forced Sightes and Trusty Ferefulness <p><p></I>Jorie Graham, <I>Soul Says <p><p></I><B>New </B>Jorie Graham, <I>The Strangers <p><p></I>Thomas Gray, <I>Elegy Written in a Country Churchyard <p><p></I>Thom Gunn, <I>The Man with Night Sweats <p><p></I>Thom Gunn, <I>My Sad Captains <p><p></I>H.D., <I>Helen <p><p></I>Thomas Hardy, <I>Afterwards <p><p></I>Michael S. Harper, <I>Nightmare Begins Responsibility <p><p></I>Michael S. Harper, <I>We Assume&#58; On the Death of Our Son, Reuben Masai Harper <p><p></I>Robert Hayden, <I>Frederick Douglass <p><p></I>Robert Hayden, <I>Mourning Poem for the Queen of Sunday <p><p></I><B>New</B> Terrance Hayes, <I>WOOFER (When I Consider the African-American) <p><p></I><B>New </B>Terrance Hayes, <I>A Small Novel <p><p></I>Seamus Heaney, <I>Bogland <p><p></I>Seamus Heaney, <I>Punishment <p><p></I>George Herbert, <I>The Collar <p><p></I>George Herbert, <I>Redemption <p><p></I>Robert Herrick, <I>Corinna's Going A-Maying <p><p></I>Gerard Manley Hopkins, <I>God's Grandeur</I> <p><p>Gerard Manley Hopkins, <I>No worst, there is none. Pitched past pitch of grief <p><p></I><B>New</B> John Hollander, <I>By Nature <p><p></I>A.E. Housman, <I>Loveliest of Trees, the Cherry Now <p><p></I>A.E. Housman, <I>With Rue My Heart Is Laden <p><p></I><B>New</B> Langston Hughes, <I>Dream Variation <p><p></I>Langston Hughes, <I>Harlem</I> <p><p>Langston Hughes, <I>I, Too <p><p></I>Langston Hughes, <I>The Weary Blues <p><p></I>Ben Jonson, <I>Come,</I> <I>My Celia <p><p></I><B>New</B> Laura Kasischke, <I>Miss Consolation for Emotional Damages <p><p></I>John Keats, <I>In drear nighted December <p><p></I>John Keats, <I>La Belle Dame Sans Merci <p><p></I>John Keats, <I>On Sitting Down to Read King Lear Once Again <p><p></I>John Keats, <I>This Living Hand <p><p></I><B>New</B> Jane Kenyon, <I>Back <p><p></I><B>New</B> Jane Kenyon, <I>Otherwise <p><p></I>Jane Kenyon, <I>Surprise <p><p></I>Etheridge Knight, <I>A Poem for Myself (Or Blues for a Mississippi Black Boy) <p><p></I>Kenneth Koch, <I>Variations on a Theme by William Carlos Williams <p><p></I>Yusef Komunyakaa, <I>Boat People <p><p></I>Yusef Komunyakaa, <I>My Father's Loveletters <p><p></I><B>New</B> Yusef Komunyakaa, <I>The Towers <p><p></I>Stanley Kunitz, <I>The Portrait <p><p></I>Philip Larkin, <I>High Windows <p><p></I>Philip Larkin, <I>Reasons for Attendance <p><p></I>Philip Larkin, <I>This Be the Verse <p><p></I>D.H. Lawrence, <I>The English Are So Nice! <p><p></I><B>New </B>Inada Lawson, <I>XI. Japs <p><p></I><B>New</B> Li-Young Lee, <I>Mother Deluxe <p><p></I>Denise Levertov, <I>The Ache of Marriage <p><p></I>Harold Littlebird, <I>White-Washing the Walls <p><p></I>Henry Wadsworth Longfellow, <I>Aftermath <p><p></I>Henry Wadsworth Longfellow, <I>The Jewish Cemetery at Newport <p><p></I>Audre Lorde, <I>Hanging Fire <p><p></I>Robert Lowell, <I>Sailing Home from Rapallo <p><p></I>Archibald MacLeish, <I>Ars Poetica <p><p></I><B>New</B> Victor Mart&#237;nez, <I>The Ledger <p><p></I><B>New</B> Andrew Marvell, <I>The Definition of Love <p><p></I>Andrew Marvell, <I>The Mower&#8217;s Song <p><p></I>Andrew Marvell, <I>The Mower to the Glowworms <p><p></I>Andrew Marvell, <I>To His Coy Mistress <p><p></I><B>New</B> Shara McCallum, <I>The Incident <p><p></I>Herman Melville, <I>The Berg <p><p></I>Herman Melville, <I>Monody <p><p></I><B>New </B>James Merrill, <I>The Christmas Tree <p><p></I>W.S. Merwin,<I> For a Coming Extinction <p><p></I>W.S. Merwin, <I>For the Anniversary of My Death <p><p></I>John Milton, <I>L'Allegro <p><p></I>John Milton, <I>Methought I Saw My Late Espous&#232;d Saint <p><p></I>John Milton, <I>On Shakespeare <p><p></I><B>New</B> Marianne Moore, <I>A Grave <p><p></I><B>New</B> Marianne Moore, <I>England <p><p></I>Marianne Moore, <I>Poetry <p><p></I>Marianne Moore, <I>The Steeple-Jack <p><p></I>Pat Mora, <I>La Migra <p><p></I><B>New</B> Pat Mora, <I>Rituals <p><p></I><B>New</B> Thylias Moss, <I>One for All Newborns <p><p></I><B>New</B> Harryette Mullen, <I>Omnivore <p><p></I>Frank O'Hara, <I>Ave Maria <p><p></I>Frank O'Hara, <I>Why I Am Not a Painter <p><p></I>Wilfred Owen, <I>Anthem for Doomed Youth <p><p></I>Wilfred Owen, <I>Disabled <p><p></I><B>New</B> Grace Paley, from <I>Detour <p><p></I><B>New</B> Carl Phillips, <I>Blue <p><p></I>Carl Phillips, <I>The Kill <p><p></I>Carl Phillips, <I>Passing</I> <p><p>Sylvia Plath, <I>Edge <p><p></I>Sylvia Plath, <I>Lady Lazarus <p><p></I>Sylvia Plath, <I>Morning</I> <I>Song <p><p></I>Edgar Allan Poe, <I>Annabel Lee <p><p></I>Alexander Pope, <I>from</I> An Essay on Man (Epistle 1) <p><p>Ezra Pound, <I>In a Station of the Metro <p><p></I><B>New</B> D.A. Powell, <I>[autumn set us heavily to task&#58; unrooted the dahlias] <p><p></I><B>New</B> D.A. Powell, <I>[cherry elixir&#58; the first medication. so mary poppins] <p><p></I>Sir Walter Ralegh, <I>The Lie <p><p></I><B>New</B> Srikanth Reddy, <I>Fourth Circle <p><p></I>Adrienne Rich, <I>Diving into the Wreck <p><p></I><B>New</B> Adrienne Rich, <I>I Am in Danger&#8212;Sir-- <p><p></I>Adrienne Rich, <I>The Middle-Aged <p><p></I>Alberto R&#237;os,<I> Teodoro Luna's Two Kisses <p><p></I>Edwin Arlington Robinson, <I>Richard Cory <p><p></I>Theodore Roethke, <I>Elegy for Jane <p><p></I>Theodore Roethke, <I>The Waking <p><p></I><B>New</B> Aleida Rodr&#237;quez, <I>Lexicon of Exile <p><p></I><B>New</B> Noelle Brynn Saito, <I>Turkey People <p><p></I>William Shakespeare, <I>Fear No More the Heat o' the Sun <p><p></I>William Shakespeare, <I>Full Fathom Five <p><p></I>William Shakespeare, <I>Sonnet 18 (Shall I compare thee to a summer's day?) <p><p></I>William Shakespeare, <I>Sonnet 116 (Let me not to the marriage of true minds) <p><p></I>Percy Bysshe Shelley, <I>Ode to the West Wind <p><p></I>Percy Bysshe Shelley, <I>Ozymandias <p><p></I>Sir Philip Sidney, from <I>Astrophel and Stella <p><p></I><I>1 (Loving in Truth) <p><p></I><I>31 (With how sad steps) <p><p></I>Charles Simic, <I>Charon's Cosmology <p><p></I>Charles Simic, <I>Fork</I> <p><p><B>New</B> Charles Simic, <I>A Suitcase Strapped with a Rope <p><p></I>Christopher Smart, <I>From Jubilate Agno <p><p></I>Christopher Smart, <I>On a Bed of Guernsey Lilies <p><p></I>Dave Smith, <I>On a Field Trip at Fredericksburg <p><p></I><B>New</B> Ron Smith, <I>The Teachers Pass the Popcorn <p><p></I>Stevie Smith, <I>Not Waving But Drowning</I> <p><p><B>New</B> Tracy K. Smith, <I>El Mar <p><p></I><B>New</B> Tracy K. Smith, <I>Credulity <p><p></I>Gary Snyder, <I>Axe Handles <p><p></I>Gary Snyder, <I>How Poetry Comes to Me <p><p></I><B>New</B> Edmund Spenser, <I>A Hymne in Honour of Love <p><p></I>Edmund Spenser, <I>Sonnet 75 (One day I wrote her name upon the strand) <p><p></I>Wallace Stevens, <I>The Idea of Order at Key West <p><p></I>Wallace Stevens, <I>The Planet on the Table <p><p></I>Wallace Stevens, <I>The Snow Man <p><p></I>Wallace Stevens, <I>Sunday Morning <p><p></I>Wallace Stevens, <I>Thirteen Ways of Looking at a Blackbird <p><p></I>Mark Strand, <I>Keeping Things Whole <p><p></I><B>New</B> Adrienne Su, <I>The English Canon <p><p></I><B>New</B> May Swenson, <I>Untitled <p><p></I><B>New</B> May Swenson, <I>I Look at My Hand <p><p></I><B>New</B> May Swenson, <I>How Everything Happens <p><p></I>Alfred, Lord Tennyson, from <I>In Memoriam A.H.H. <p><p></I><I>7 (Dark house) <p><p>99 (Risest thou thus) <p><p>106 (Ring out, wild bells) <p><p>12 (Sad Hesper o'er the buried sun) <p><p></I>Alfred, Lord Tennyson, <I>Tears, Idle Tears <p><p></I>Alfred, Lord Tennyson, <I>Ulysses <p><p></I>Dylan Thomas, <I>Fern Hill <p><p></I>Dylan Thomas, <I>In My Craft or Sullen Art <p><p></I><B>New</B> Natasha Trethewey, <I>What is Evidence <p><p></I>Henry Vaughan, <I>They Are All Gone into the World of Light! <p><p></I>Derek Walcott, <I>Blues <p><p></I>Derek Walcott, <I>God Rest Ye Merry, Gentlemen <p><p></I><B>New</B> Derek Walcott, <I>Perhaps it exists&#8230;. <p><p></I>Rosanna Warren, <I>In</I> <I>Creve Coeur, Missouri <p><p></I><B>New </B>Joshua Weiner, <I>The Yonder Tree <p><p></I><B>New</B> James Welch, <I>Getting Things Straight <p><p></I>James Welch, <I>Harlem, Montana&#58; Just Off the Reservation <p><p></I><B>New</B> Phillis Wheatley, <I>To S.M. a young African Painter, on seeing his Works <p><p></I>Walt Whitman, <I>A Hand-Mirror <p><p></I>Walt Whitman, from <I>Song of Myself <p><p></I><I>1. (I celebrate myself) <p><p>6 (A child said, What is the grass?) <p><p>52 (The spotted hawk) <p><p></I>Walt Whitman, <I>Vigil Strange I Kept on the Field One Night <p><p></I>Richard Wilbur, <I>Cottage Street, 1953 <p><p></I>Richard Wilbur, <I>The Writer <p><p></I>William Carlos Williams, <I>Landscape with the Fall of Icarus <p><p></I>William Carlos Williams, <I>The</I> <I>Raper from Passenack <p><p></I>William Carlos Williams, <I>Spring and All <p><p></I>William Carlos Williams, <I>This Is Just to Say <p><p></I>William Wordsworth, <I>My Heart Leaps Up <p><p></I>William Wordsworth, <I>Ode&#58; Intimations of Immortality <p><p></I>William Wordsworth, <I>The Solitary Reaper <p><p></I>James Wright, <I>A Blessing <p><p></I>James Wright, <I>Small Frogs Killed on the Highway <p><p></I>Sir Thomas Wyatt, <I>Forget Not Yet <p><p></I><B>New</B> John Yau, <I>Autobiography in Red and Yello <p><p></I>William Butler Yeats, <I>Among School Children <p><p></I><B>New</B> William Butler Yeats, <I>A Dialogue Between Self and Soul <p><p></I>William Butler Yeats, <I>Down by the Salley Gardens <p><p></I>William Butler Yeats, <I>The Lake Isle of Innisfree</I> <p><p>William Butler Yeats, <I>Leda and the Swan <p><p></I>William Butler Yeats, <I>Sailing to Byzantium <p><p></I>William Butler Yeats, <I>The Second Coming <p><p></I><p><p>Appendices <p><p>On Prosody <p><p>On Grammar <p><p>On Speech Acts <p><p>On Rhetorical Devices <p><p>On Lyric Subgenres <p><p><p>Index of Authors, Titles, and First Lines <p><p>Index of Terms [Endpapers]<p>
57The Poets Laureate AnthologyElizabeth Hun Schmidt0<p><b>Elizabeth Hun Schmidt</b>, a former poetry editor at the <b>New York Times Book Review</b>, is the editor of the acclaimed anthology <b>Poems of New York</b> and <b>The Poets Laureate Anthology</b>. She lives in New York City and currently teaches American literature at Sarah Lawrence College.<P><b>Billy Collins</b> was a Poet Laureate of the United States.</p>Elizabeth Hun Schmidt, Library of Congress Staff (With), Billy Collinsthe-poets-laureate-anthologyelizabeth-hun-schmidt97803930618190393061817$38.52HardcoverNorton, W. W. & Company, Inc.October 2010New EditionPoetry, American Literature Anthologies, Anthologies8166.50 (w) x 9.30 (h) x 1.70 (d)<p class="null1">The first anthology to gather poems by the forty-three poets laureate of the United States.</p> <p>As a record of poetry, <b>The Poets Laureate Anthology</b> is groundbreaking, charting the course of American poetry over the last seventy-five years, while being, at the same time, a pleasure to read, full of some of the world’s best-known poems and many new surprises. Elizabeth Hun Schmidt has gathered and introduced poems by each of the forty-three poets who have been named our nation’s poets laureate since the post (originally called Consultant in Poetry to the Library of Congress) was established in 1937. Poets range from Robert Pinsky, William Carlos Williams, and Elizabeth Bishop to Charles Simic, Billy Collins, and Rita Dove. Schmidt’s spirited introductions place the poets and their poems in historical and literary context and shine light on the interesting and often uneasy relationship between politics and art. This is an inviting, monumental collection for everyone’s library, containing much of the best poetry written in America over the last century.</p><p>The first anthology to gather poems by the forty-three poets laureate of the United States.</p><h3>Publishers Weekly</h3><p>The United States has a long tradition of choosing a national poet, though the term poet laureate only came to be used here after 1985. Before that, since its inception in 1935, the post was called consultant in poetry to the Library of Congress. So far we've had 43 of them, including some of America's most famous and best-loved poets, such as Robert Frost, Elizabeth Bishop, and, of course, Billy Collins, perhaps the most popular poet to hold the title (2001 2003), and also the author of the foreword to this enjoyable anthology, which offers a sampling of work from all 43 laureates, plus short introductions about each one. Former New York Times Book Review poetry editor Schmidt calls the laureates "the gatekeepers of the American idiom," and above all, that's what a reader will find here&#58; a good sampling of what the mainstream of American poetry has to offer--the careful descriptions of Bishop, the powerful critiques of Brooks, the surreal landscapes of Simic, Merwin's deep images, Bogan's careful stanzas, Lowell's blustery lines. There are a few occasional poems, but mostly, it's a gathering of great poets hanging together because they held an important job. This will be a wonderful holiday gift for poetry lovers. (Oct.)</p><article> <h4>Publishers Weekly</h4>The United States has a long tradition of choosing a national poet, though the term poet laureate only came to be used here after 1985. Before that, since its inception in 1935, the post was called consultant in poetry to the Library of Congress. So far we've had 43 of them, including some of America's most famous and best-loved poets, such as Robert Frost, Elizabeth Bishop, and, of course, Billy Collins, perhaps the most popular poet to hold the title (2001–2003), and also the author of the foreword to this enjoyable anthology, which offers a sampling of work from all 43 laureates, plus short introductions about each one. Former New York Times Book Review poetry editor Schmidt calls the laureates "the gatekeepers of the American idiom," and above all, that's what a reader will find here: a good sampling of what the mainstream of American poetry has to offer--the careful descriptions of Bishop, the powerful critiques of Brooks, the surreal landscapes of Simic, Merwin's deep images, Bogan's careful stanzas, Lowell's blustery lines. There are a few occasional poems, but mostly, it's a gathering of great poets hanging together because they held an important job. This will be a wonderful holiday gift for poetry lovers. (Oct.) </article> <article> <h4>Library Journal</h4>"Be careful what you say to us now./ The street-lamp is smashed, the window is jagged,/ There is a man dead in his blood by the base of the fountain./ If you speak/ You cannot be delicate or sad or clever." With these lines, Josephine Jacobsen reminds readers that despite all the hardship in the world, poetry is there to report. With this sweeping behemoth of an anthology, Norton and the Library of Congress have given readers and libraries an excellent excuse to own another book. Schmidt, former poetry editor for the New York Times Book Review, has included all of the Poet Laureate Consultants (commonly known as U.S. Poet Laureates) from Joseph Auslander (1937–41) to Kay Ryan (2007–10). Even newly named Poet Laureate W.S. Merwin is included because he served as Special Bicentennial Consultant with Rita Dove and Louise Glück (1999–2000). Schmidt gives readers a fine selection of poems for each poet, some expected and some surprises. In addition, she includes introductions that place poets in social and literary context and elaborates their contributions to the office of Consultant. For example, William Carlos Williams's term was mired in Communist controversy and health problems, and while appointed, he never served. VERDICT A hefty and worthy read that everyone will want to savor. Essential for all contemporary poetry collections.—Karla Huston, Appleton Arts Ctr., WI </article>
58The Portable Beat ReaderVarious0<p><P>Ann Charters is the editor of <i>The Portable Sixties Reader</i>, <i>The Portable Jack Kerouac</i>, two volumes of Jack Kerouac's <i>Selected Letters</i>, and <i>Beat Down to Your Soul</i>. She teaches at the University of Connecticut.</p>Various, Ann Chartersthe-portable-beat-readervarious97801424375370142437530$18.00PaperbackPenguin Group (USA)July 2003ReissueLiterary Collections, American<p><P>Through poetry, fiction, essays, song lyrics, letters, and memoirs, this authoritative single-volume collection of Beat literature captures the triumphant energy of a movement that swept through American letters with hurricane force. <P>Featuring&#58; Jack Kerouac, Allen Ginsberg, William Burroughs, Gary Snyder, Neal Cassady, Gregory Corso, Diane Di Prima, Bob Dylan, Ken Kesey, Charles Bukowski, Michael McClure, and more.</p><h3>Publishers Weekly</h3><p>Cutting through bohemian posturing and excess, Charters here reprints much of the most vital, readable and relevant material produced by the Beat generation, primarily in the 1950s and '60s, with some selections from the '70s and '80s. The novels of such leading figures as Jack Kerouac and William S. Burroughs lend themselves well to excerpting, giving this volume creditable ballast. Representative works of Allen Ginsberg, Lawrence Ferlinghetti and Gary Snyder are included along with those of lesser-known Beats (e.g., John Clellon Holmes), fellow travelers like Frank O'Hara and Amiri Baraka, and wives and girlfriends often overlooked at the time, including Hettie Jones, Carolyn Cassady and Joyce Johnson. Charters ( Kerouac ) offers a broad perspective on this seminal literary movement: she links East Coast Beats to the San Francisco Renaissance poets; pays attention to such latter-day Beats as Ed Sanders and Tuli Kupferberg; and explains the position of non-Beat but related writers--Alan Watts, Anne Waldman, Diane DiPrima and the young Norman Mailer--in her helpful introductory essay and notes preceeding each entry. Her energizing, liberating anthology makes it clear that such Beat preoccupations as the bomb, the meaninglessness of modern existence and ecological destruction remain current. ( Jan. )</p>
59The Best American Short Plays 2008-2009Barbara Parisi0Barbara Parisithe-best-american-short-plays-2008-2009barbara-parisi97815578376081557837600$14.85PaperbackApplause Theatre Book PublishersOctober 2010Drama Anthologies, American Drama, American Literature Anthologies3565.50 (w) x 8.40 (h) x 1.10 (d)<p>This edition of the highly esteemed and long-enduring Best American Short Plays series contains fresh-voiced, cutting-edge plays by nineteen playwrights, both established and among the most promising of the new millennium. Each of these plays reflects the enormous diversity of contemporary American theatre.</p><p><P>Applause is proud to continue the series that for over 70 years has been the standard of excellence for one-act plays in America. From its inception, The Best American Short Plays has identified new, cutting-edge playwrights who have gone on to establish award-winning careers, including Tennessee Williams, Edward Albee, Wendy Wasserstein, Terrence McNally, and David Mamet. The complex and diverse plays that make up this collection reflect both personal concerns and social issues. The 2008-2009 edition includes A Second of Pleasure, by Neil LaBute; St. Francis Preaches to the Birds, by David Ives; The Stormy Waters, The Long Way Home, by Carey Lovelace; Early Morning, by Eric Lane; Sisters, by Adam Kraar, Maria Filimon, and Tasnim Mansur; Little Duck, by Billy Aronson; A Portrait of the Woman as a Young Artist, by Meg Miroshnik; Slapped Actress, by Emily Conbere; The Last Artist in NYC, by Polly Frost and Ray Sawhill; THE TRUE AUTHOR of the plays formerly attributed to Mister William Shakespeare REVEALED to the world for the first time by Miss Delia Bacon, by James Armstrong; The Lovers and Others of Eugene O'Neill, by Marla Del Collins; III, by Joe Salvatore; Pete and Joe at the Dew Drop Inn, by Lewis Gardner; This Is Your Lifetime, by Jill Elaine Hughes; Decades Apart, by Rick Pulos; Never Spoke Again, by Barbara Parisi-Pasternack; 508, by Amy Herzog; Ella, by Dano Madden; and Naked Old Man, by Murray Schisgal.</p><p>Foreword: A Simple, Brilliant Idea David Ives ix</p> <p>Introduction Barbara Parisi xiii</p> <p>A Second of Pleasure Neil LaBute 1</p> <p>St. Francis Preaches to the Birds David Ives 17</p> <p>The Stormy Waters, the Long Way Home Carey Lovelace 41</p> <p>Early Morning Eric Lane 49</p> <p>Sisters Adam Kraar Maria Filimon Tasnim Mansur 81</p> <p>Little Duck Billy Aronson 89</p> <p>A Portrait of the Woman as a Young Artist Meg Miroshnik 113</p> <p>Slapped Actress Emily Conbere 153</p> <p>The Last Artist in New York City Polly Frost Ray Sawhill 163</p> <p>The True Author of the Plays Formerly Attributed to Mister William Shakespeare Revealed to the World for the First Time by Miss Delia Bacon James Armstrong 179</p> <p>The Lovers and Others of Eugene O'Neill Maria Del Collins 191</p> <p>III Joe Salvatore 217</p> <p>Pete and Joe at the Dew Drop Inn Lewis Gardner 271</p> <p>Decades Apart: Reflections of Three Gay Men Rick Pulos 285</p> <p>508 Amy Herzog 313</p> <p>Naked Old Man Murray Schisgal 325</p> <p>Acknowledgments 351</p>
60The Gift of LoveLori Foster0<p><P><b>Lori Foster</b> is the <i>New York Times</i> and <i>USA Today</i> bestselling author of many contemporary romances, including <i>My Man Michael</i> (2/09). She lives in Ohio.</p>Lori Foster, Gia Dawn, Ann Christopher, Lisa Cooke, Heidi Bettsthe-gift-of-lovelori-foster97804252342800425234282$14.43PaperbackPenguin Group (USA)June 2010Short Story Anthologies, Family & Friendship - Fiction, American Literature Anthologies3685.10 (w) x 7.90 (h) x 1.00 (d)<p><b>Edited by <i>New York Times</i> bestselling author Lori Foster-a heartwarming anthology of all-new stories that celebrate family love.</b></p> <p>Families come in many configurations, and every one is unique, made up of the personalities of each member. But the love that connects families is universal. Whether it is the love of parents for their children, the love between a husband and wife, the love between siblings, a love that transcends generations, or even the love for a family member never met, the family ties that bind us are the strongest and deepest emotional connections we experience. Families influence a person's development, how they treat others, and how they view life. In <i>The Gift of Love</i>, eight exceptional writers offer a variety of unique perspectives on what family love means and how it impacts our lives in ways profound and often surprising.</p> <p>Featuring:</p> <p>Lori Foster ? Heidi Betts ? Jules Bennett ? Ann Christopher ? Lisa Cooke ? Paige Cuccaro ? Gia Dawn ? Helen Kay Dimon</p><p><P><b>Edited by <i>New York Times</i> bestselling author Lori Foster-a heartwarming anthology of all-new stories that celebrate family love. </b> <P>Families come in many configurations, and every one is unique, made up of the personalities of each member. But the love that connects families is universal. Whether it is the love of parents for their children, the love between a husband and wife, the love between siblings, a love that transcends generations, or even the love for a family member never met, the family ties that bind us are the strongest and deepest emotional connections we experience. Families influence a person's development, how they treat others, and how they view life. In <i>The Gift of Love</i>, eight exceptional writers offer a variety of unique perspectives on what family love means and how it impacts our lives in ways profound and often surprising.<P>Featuring&#58; <P>Lori Foster &bull; Heidi Betts &bull; Jules Bennett &bull; Ann Christopher &bull; Lisa Cooke &bull; Paige Cuccaro &bull; Gia Dawn &bull; Helen Kay Dimon</p>
61One Hundred and One Famous Poems (Barnes &amp; Noble Library of Essential Reading)Roy J. Cook0Roy J. Cookone-hundred-and-one-famous-poemsroy-j-cook97814351147601435114760$8.95PaperbackBarnes & NobleFebruary 2009Literary Collections<p>This treasury of beloved poems collects all your favorite poets in one book. Whether you&#8217;re looking for a love poem or something to mend a broken heart, perhaps you&#8217;re feeling patriotic or struggling to understand the nature of man, the timeless words of Shakespeare, Emily Dickinson, John Milton, and Dante Gabriel Rossetti are at your fingertips. <p>From the Romantic poets like Percy Bysshe Shelley and John Keats to the Transcendentalists like Ralph Waldo Emerson, this comprehensive collection contains examples of the many periods of writing from England to Scotland and on to the United States.<p>Included are such favorites as&#58;<p>Walt Whitman&#8217;s <I>O Captain! My Captain!</I><p>Eugene Field&#8217;s <I>Little Boy Blue</I><p>Percy Bysshe Shelley&#8217;s <I>To a Skylark</I><p>Joyce Kilmer&#8217;s <I>Trees</I><p>Robert Burns&#8217; <I>Letter to a Young Friend</I><p>Henry Wadsworth Longfellow&#8217;s <I>Paul Revere&#8217;s Ride</I><p>Edgar Allan Poe&#8217;s <I>The Raven</I><p>Three indices let you find your favorite poems by title, author, and first line. <p></p>
62The Vintage Book of Contemporary American PoetryJ. D. McClatchy0<p><P>J. D. McClatchy is the author of five collections of poems&#58; <b>Scenes From Another Life, Stars Principal, The Rest of the Way, Ten Commandments,</b> and <b>Hazmat</b><i>.</i> He has also written two books of essays&#58; <b>White Paper</b> and <b>Twenty Questions</b>. He has edited many other books, including <b>The Vintage Book of Contemporary World Poetry, Poets on Painters</b><i>,</i> and <b>Horace&#58; The Odes</b>. In addition, he edits The Voice of the Poet series for Random House AudioBooks, and has written seven opera libretti. He is a Chancellor of the Academy of American Poets and a member of the American Academy of Arts and Letters. He has taught at Princeton, UCLA, and Johns Hopkins, and is now a professor at Yale, where since 1991 he has edited The Yale Review. He lives in Stonington, Connecticut.</p>J. D. McClatchythe-vintage-book-of-contemporary-american-poetryj-d-mcclatchy97814000309341400030935$13.65PaperbackKnopf Doubleday Publishing GroupApril 2003RevisedPoetry Anthologies, American Poetry, American Literature Anthologies6565.20 (w) x 7.99 (h) x 1.16 (d)<p>Dazzling in its range, exhilarating in its immediacy and grace, this collection gathers together, from every region of the country and from the past forty years, the poems that continue to shape our imaginations. From Robert Lowell and Elizabeth Bishop, John Ashbery and Adrienne Rich, to Robert Haas and Louise Gluck, this anthology takes the full measure of our poetry's daring energies and its tender understandings.</p><p><P>Dazzling in its range, exhilarating in its immediacy and grace, this collection gathers together, from every region of the country and from the past forty years, the poems that continue to shape our imaginations. From Robert Lowell and Elizabeth Bishop, John Ashbery and Adrienne Rich, to Robert Haas and Louise Gluck, this anthology takes the full measure of our poetry's daring energies and its tender understandings.</p><h3>Publishers Weekly</h3><p>Poetry devotees will be familiar with much of the work in this fine collection, which focuses on the period from WW II until the present. Sixty-five poets, including such well-known writers as Robert Lowell, Allen Ginsberg, Theodore Roethke, Anne Sexton, James Dickey, Denise Levertov and Gary Snyder, are represented by anywhere from one to a dozen poems each, as well as a brief biography that touches on the writer's aesthetic ideas. McClatchy, himself a poet and critic, has done an exceptional job of selecting works that typify the poets' styles and beliefs. Standouts are Elizabeth Bishop's ``In the Waiting Room,'' about the poet's first perception of herself in relation to others; Randall Jarrell's ``The Woman at the Washington Zoo,'' which deals with the dull, emotionless routine of modern life; Frank O'Hara's ``Having a Coke with You,'' a dizzy declaration of love during a visit to a New York museum; and Mark Strand's ``Keeping Things Whole,'' in which the poet sees his presence in the world as subtracting from the whole of reality. Unfortunately, the poems are not dated, giving the reader no sense of the writers' chronological development. (Nov.)</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Note on the Second Edition, 2003</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Quaker Graveyard in Nantucket</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memories of West Street and Lepke</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Man and Wife</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Skunk Hour</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mouth of the Hudson</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For the Union Dead</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Waking Early Sunday Morning</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">History</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Nihilist as Hero</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reading Myself</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Obit</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fishnet</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dolphin</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epilogue</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bight</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Over 2,000 Illustrations and a Complete Concordance</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the Fishhouses</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Shampoo</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brazil, January 1, 1502</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Under the Window: Ouro Preto</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Armadillo</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Filling Station</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Waiting Room</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Art</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cuttings</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Root Cellar</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Shape of the Fire</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Waking</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Knew a Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In a Dark Time</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Moon and the Night and the Men</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the Dream Songs (1, 4, 5, 14, 29, 46, 76, 77, 143, 257, 384)</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">90 North</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eighth Air Force</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Death of the Ball Turret Gunner</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Woman at the Washington Zoo</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cinderella</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Next Day</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Well Water</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Masts at Dawn</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Birth of Love</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rattlesnake Country</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Evening Hawk</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Kingfishers</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For My Contemporaries</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To My Wife</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From a Century of Epigrams 9 (29, 53, 55, 62, 76)</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Night, Death, Mississippi</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Frederick Douglass</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Middle Passage</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amsterdam Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cracked Looking Glass</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After Reading The Country of the Pointed Firs</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Teleology</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Unconscious Came a Beauty</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stone Gullets</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Staying at Ed's Place</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strawberrying</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Poem Beginning With a Line by Pindar</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Styx</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Illiterate</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thoughts on One's Head</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Consequences</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Country Stars</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Jain Bird Hospital in Delhi</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Storm Windows</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Writing</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Money</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dependencies</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Learning the Trees</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Because You Asked About the Line Between Prose and Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The War in the Air</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Baroque Wall-Foundation in the Villa Sciarra</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Looking Into History</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Calls Us to the Things of This World</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mind</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Advice to a Prophet</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Walking to Sleep</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hamlen Brook</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homework</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Into Mexico</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Twins</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A View</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stream</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pruned Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wars</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Menage a Trois</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy for My Sister</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rules of Sleep</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Einstein's Bathrobe</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Heaven of Animals</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hospital Window</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sheep Child</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Strength of Fields</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Hill</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Third Avenue in Sunlight</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"More Light! More Light!"</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Peripeteia</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Feast of Stephen</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Crystal Lithium</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shimmer</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Korean Mums</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Clouds</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ache of Marriage</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Intrusion</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seeing for a Moment</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prisoners</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Graves at Elkhorn</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lady in Kicking Horse Reservoir</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Degrees of Gray in Philipsburg</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The River Now</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Afternoon at the Beach</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amor Vincit Omnia</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Autumn Shade (3, 6, 8, 9)</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Muse of Water</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amusing Our Daughters</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Pro Feminia (I, II)</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Evening of the Mind</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Men at Forty</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tourist from Syracuse</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Variations on a Text by Vallejo</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Assassination</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mule Team and Poster</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To the Harbormaster</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Step Away from Them</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meditations in an Emergency</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Am Not a Painter</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Day Lady Died</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Having a Coke With You</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ave Maria</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Best Slow Dancer</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Naval Trainees Learn How to Jump Overboard</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Excursion of the Speech and Hearing Class</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Five Dawn Skies in November</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Making Camp</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Source</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Know a Man</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rescue</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Air: "The Love of a Woman"</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Friendship</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Love</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Again</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The World</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Howl (I)</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sunflower Sutra</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Sad Self</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wales Visitation</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">April Inventory</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Heart's Needle (2, 6)</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mementos, 1</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Locked House</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Renewal</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Voices from the Other World</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Days of 1964</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Willowware Cup</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lost in Translation</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Animals</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some Last Questions</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The River of Bees</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For the Anniversary of My Death</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Asians Dying</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For a Coming Extinction</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Night of the Shirts</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bread</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">St. Vincent's</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Held Radical Light</TD><TD WIDTH="10%" ALIGN="RIGHT">265</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gravelly Run</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Corsons Inlet</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflective</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Terrain</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The City Limits</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glazunoviana</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Soonest Mended</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">As One Put Drunk Into the Packet-Boat</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pyrography</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">And Ut Pictura Poesis Is Her Name</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Syringa</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Erotic Double</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the Executed Murderer's Grave</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autumn Begins in Martins Ferry, Ohio</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beginning</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Blessing</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Response to a Rumor That the Oldest Whorehouse in Wheeling, West Virginia, Has Been Condemned</TD><TD WIDTH="10%" ALIGN="RIGHT">292</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Winter Daybreak Above Vence</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vapor Trail Reflected in the Frog Pond</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Last Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bear</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After Making Love We Hear Footsteps</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Man Splitting Wood in the Daybreak</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Vow</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Man on the Hotel Room Bed</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Her Kind</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Music Swims Back to Me</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Truth the Dead Know</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Starry Night</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">With Mercy for the Greedy</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wanting to Die</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Room of My Life</TD><TD WIDTH="10%" ALIGN="RIGHT">310</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Horse</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">They Feed They Lion</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Belle Isle, 1949</TD><TD WIDTH="10%" ALIGN="RIGHT">314</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You Can Have It</TD><TD WIDTH="10%" ALIGN="RIGHT">314</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rain Downriver</TD><TD WIDTH="10%" ALIGN="RIGHT">316</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sweet Will</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Family History</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dream</TD><TD WIDTH="10%" ALIGN="RIGHT">324</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From All of Us Here</TD><TD WIDTH="10%" ALIGN="RIGHT">325</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Night Mirror</TD><TD WIDTH="10%" ALIGN="RIGHT">328</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Powers of Thirteen (3, 29, 69, 82, 87, 130)</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Swan and Shadow</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mad Potter</TD><TD WIDTH="10%" ALIGN="RIGHT">334</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Venetian Interior, 1889</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the Monument to Pierre Louys</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snapshots of a Daughter-in-Law</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Planetarium</TD><TD WIDTH="10%" ALIGN="RIGHT">349</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Burning of Paper Instead of Children</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paula Becker to Clara Westhoff</TD><TD WIDTH="10%" ALIGN="RIGHT">354</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For the Record</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For an Album</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mid-August at Sourdough Mountain Lookout</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Riprap</TD><TD WIDTH="10%" ALIGN="RIGHT">360</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Burning Island</TD><TD WIDTH="10%" ALIGN="RIGHT">361</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bath</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Went Into the Maverick Bar</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Axe Handles</TD><TD WIDTH="10%" ALIGN="RIGHT">366</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Colossus</TD><TD WIDTH="10%" ALIGN="RIGHT">368</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hanging Man</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Morning Song</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Daddy</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fever 103[degree]</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ariel</TD><TD WIDTH="10%" ALIGN="RIGHT">375</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lady Lazarus</TD><TD WIDTH="10%" ALIGN="RIGHT">376</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Edge</TD><TD WIDTH="10%" ALIGN="RIGHT">378</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Words</TD><TD WIDTH="10%" ALIGN="RIGHT">379</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Keeping Things Whole</TD><TD WIDTH="10%" ALIGN="RIGHT">381</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coming to This</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Prediction</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Dreadful Has Already Happened"</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD></TABLE><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Poetry devotees will be familiar with much of the work in this fine collection, which focuses on the period from WW II until the present. Sixty-five poets, including such well-known writers as Robert Lowell, Allen Ginsberg, Theodore Roethke, Anne Sexton, James Dickey, Denise Levertov and Gary Snyder, are represented by anywhere from one to a dozen poems each, as well as a brief biography that touches on the writer's aesthetic ideas. McClatchy, himself a poet and critic, has done an exceptional job of selecting works that typify the poets' styles and beliefs. Standouts are Elizabeth Bishop's ``In the Waiting Room,'' about the poet's first perception of herself in relation to others; Randall Jarrell's ``The Woman at the Washington Zoo,'' which deals with the dull, emotionless routine of modern life; Frank O'Hara's ``Having a Coke with You,'' a dizzy declaration of love during a visit to a New York museum; and Mark Strand's ``Keeping Things Whole,'' in which the poet sees his presence in the world as subtracting from the whole of reality. Unfortunately, the poems are not dated, giving the reader no sense of the writers' chronological development. (Nov.) </article> <article> <h4>Library Journal</h4>Alluding to the anthology wars of a generation ago, McClatchy writes in his introduction that his choices are strictly nonpartisan (neither ``Paleface or Redskin, or Academic and Avant-Garde''). But from the 65 poets he has selected to represent the course of American poetry over the last half century--beginning with Robert Lowell and ending with Jorie Graham--it is clear his preferences are formalistic and academic. The typical poem a reader will encounter in these pages is urbane, finely honed, and smoothly accomplished. As in all anthologies, the omissions and inclusions are telling. Where are Rexroth, Kees, and Rukeyser? Why Cunningham, Bowers, Feldman, and Garrigue and not Ignatow, Brooks, Blackburn, and Bly? While it is a delight to have many of the poets McClatchy has chosen collected together in a reasonably priced edition, a greater variety of voice and aesthetic would have made this anthology a livelier survey of the state of contemporary American poetry. Still, it is a useful addition to most collections. For the 100 most anthologized poems in English, see review of The Concise Columbia Book of Poetry, p. 74.--Ed.-- Christine Sten strom, New York Law Sch. Lib. </article>
63Literature: A Pocket AnthologyR. S. Gwynn0R. S. Gwynnliteraturer-s-gwynn97802056551060205655106$46.67PaperbackLongmanJanuary 20094th EditionLiterary Collections<p><P>Always a good price with quality selections, the Fourth Edition of Gwynn&#39;s Literature&#58; A Pocket Anthology continues that tradition. Organized chronologically with a thematic appendix and streamlined apparatus, this anthology can be taylored to however the course is taught. Individual Fiction, Poetry, and Drama introductions provide an overview for reading and analyzing each genre, defining key terms in context. More than a third of the selections overall represent voices of women, people of color, and writers from cultures outside the United States, and a strong effort has been made to include work that reflects contemporary social questions and will stimulate classroom discussion. New poems, stories, and plays are among the changes to the Fourth Edition.</p><P>Introduction<p>Experience, Experiment, Expand&#58; Three Reasons to Study Literature<p>Fiction<p>Introduction to Fiction<p>The Telling of the Tale<p>The Short Story Genre<p>Reading and Analyzing Short Fiction<p>Nathanel Hawthorne (1804-1864)<p>* The Minister&rsquo;s Black Veil<p>Edgar Allan Poe (1809-1849)<p>&bull; Ligeia<p>Sarah Orne Jewett (1849-1909)<p>A White Heron<p>Guy de Maupassant (1850-1893)<p>Mother Savage<p>Kate Chopin (1851-1904)<p>The Story of an Hour<p>Charlotte Perkins Gilman (1860-1935)<p>The Yellow Wallpaper<p>Edith Wharton (1862-1937)<p>Roman Fever<p>Willa Cather (1876-1947)<p>Paul&rsquo;s Case<p>James Joyce (1882-1941)<p>Araby<p>Zora Neale Hurston (1891-1960)<p>Sweat<p>William Faulkner (1897-1962)<p>A Rose for Emily<p>Ernest Hemingway (1899-1961)<p>&bull; Up in Michigan<p>John Steinbeck (1902-1968)<p>The Chrysanthemums<p>Richard Wright (1908-1960)<p>The Man Who Was Almost a Man<p>John Cheever (1912-1982)<p>Reunion<p>Ralph Ellison (1914-1995)<p>A Party Down at the Square<p>Shirley Jackson (1919-1965)<p>The Lottery<p>* Hisaye Yamamoto (b. 1921)<p>Seventeen Syllables<p>Flannery O&#39;Connor (1925-1964)<p>&bull; Everything That Rises Must Converge<p>Gabriel Garc&iacute;a M&aacute;rquez (b. 1928)<p>A Very Old Man with Enormous Wings<p>Chinua Achebe (b. 1930)<p>Dead Men&rsquo;s Path<p>Alice Munro (b. 1931)<p>&bull; The Bear Came Over the Mountain<p>Joyce Carol Oates (b. 1938)<p>Where Are You Going, Where Have You Been?<p>Raymond Carver (1938-1988)<p>Cathedral<p>Margaret Atwood (b. 1939)<p>Happy Endings<p>Bobbie Ann Mason (b. 1940)<p>Shiloh<p>Alice Walker (b. 1944)<p>Everyday Use<p>* Tim O&rsquo;Brien<p>The Things They Carried<p>Tim Gautreaux (b. 1947)<p>Died and Gone to Vegas<p>Sandra Cisneros (b. 1954)<p>Woman Hollering Creek<p>Louise Erdrich (b. 1954)<p>The Red Convertible<p>Gish Jen (b. 1955)<p>In the American Society<p>Daniel Orozco (b. 1957)<p>Orientation<p>* Sherman Alexie<p>This Is What It Means to Say Phoenix, Arizona<p>Poetry<p>Introduction to Poetry<p>An Anecdote&#58; Where Poetry Starts<p>Speaker, Listener, and Context<p>&ldquo;The Star-Spangled Banner&rdquo;<p>Lyric, Narrative, Dramatic<p>The Language of Poetry<p>Figurative Language<p>Allegory and Symbol<p>Tone of Voice<p>Repetition&#58; Sounds and Schemes<p>Meter and Rhythm<p>Free Verse and Open Form<p>Stanza Forms<p>Fixed Forms<p>Literary History and Poetic Conventions<p>Anonymous<p>Western Wind<p>Bonny Barbara Allan<p>Sir Patrick Spens<p>Sir Thomas Wyatt (1503?-1542)<p>They Flee from Me<p>Whoso List to Hunt<p>Edmund Spenser (1552-1599)<p>Amoretti&#58; Sonnet 75<p>Sir Philip Sidney (1554-1586)<p>Astrophel and Stella&#58; Sonnet 1<p>Robert Southwell (1561?-1595)<p>The Burning Babe<p>Michael Drayton (1563-1631)<p>Idea&#58; Sonnet 61<p>William Shakespeare (1564-1616)<p>Sonnet 18<p>Sonnet 20<p>Sonnet 29<p>Sonnet 73<p>Sonnet 116<p>Sonnet 130<p>When Daisies Pied (Spring and Winter)<p>Thomas Campion (1567-1620)<p>There Is a Garden in Her Face<p>John Donne (1572-1631)<p>The Flea<p>Holy Sonnet 10<p>Holy Sonnet 14<p>&bull; The Sun Rising<p>A Valediction&#58; Forbidding Mourning<p>Ben Jonson (1573-1637)<p>On My First Son<p>Slow, Slow, Fresh Fount<p>Mary Wroth (1587?-1651?)<p>In this Strange Labyrinth How Shall I Turn<p>Robert Herrick (1591-1674)<p>To the Virgins, to Make Much of Time<p>George Herbert (1593-1633)<p>Easter Wings<p>Love (III)<p>The Pulley<p>Redemption<p>Edmund Waller (1606-1687)<p>Song<p>John Milton (1608-1674)<p>How Soon Hath Time<p>On the Late Massacre in Piedmont<p>When I Consider How My Light Is Spent<p>Anne Bradstreet (1612-1672)<p>The Author to Her Book<p>Richard Lovelace (1618-1658)<p>To Lucasta, Going to the Wars<p>Andrew Marvell (1621-1678)<p>To His Coy Mistress<p>John Dryden (1631-1700)<p>To the Memory of Mr. Oldham<p>Edward Taylor (1642-1729)<p>Huswifery<p>Jonathan Swift (1667-1745)<p>A Description of a City Shower<p>Alexander Pope (1688-1744)<p>from An Essay on Criticism<p>Ode on Solitude<p>Thomas Gray (1716-1771)<p>Elegy Written in a Country Churchyard<p>William Blake (1757-1827)<p>The Chimney Sweeper<p>The Little Black Boy<p>A Poison Tree<p>The Tyger<p>Robert Burns (1759-1796)<p>A Red, Red Rose<p>John Barleycorn<p>William Wordsworth (1770-1850)<p>I Wandered Lonely as a Cloud<p>It Is a Beauteous Evening<p>Ode&#58; Intimations of Immortality<p>Samuel Taylor Coleridge (1772-1834)<p>Frost at Midnight<p>Kubla Khan<p>Work Without Hope<p>George Gordon, Lord Byron (1788-1824)<p>She Walks in Beauty<p>Stanzas<p>When We Two Parted<p>Percy Bysshe Shelley (1792-1822)<p>Ode to the West Wind<p>Ozymandias<p>William Cullen Bryant (1794-1878)<p>To the Fringed Gentian<p>John Keats (1795-1821)<p>La Belle Dame sans Merci<p>Ode to a Nightingale<p>On First Looking into Chapman&#39;s Homer<p>When I Have Fears<p>Elizabeth Barrett Browning (1806-1861)<p>Sonnets from the Portuguese, 18<p>Sonnets from the Portuguese, 43<p>Henry Wadsworth Longfellow (1807-1882)<p>The Arsenal at Springfield<p>The Cross of Snow<p>Edgar Allan Poe (1809-1849)<p>The Haunted Palace<p>The Raven<p>* Sonnet to Science<p>Alfred, Lord Tennyson (1809-1892)<p>The Lady of Shallot<p>Tears, Idle Tears<p>Ulysses<p>Robert Browning (1812-1889)<p>My Last Duchess<p>Porphyria&#39;s Lover<p>&bull; Prospice<p>Walt Whitman (1819-1892)<p>A Noiseless Patient Spider<p>O Captain, My Captain<p>&bull; A Sight in Camp in the Daybreak Grey and Dim<p>Song of Myself, 6<p>Song of Myself, 11<p>When I Heard the Learn&#39;d Astronomer<p>Matthew Arnold (1822-1888)<p>Dover Beach<p>Emily Dickinson (1830-1886)<p>After Great Pain, a Formal Feeling Comes<p>Because I Could Not Stop for Death<p>The Brain Is Wider than the Sky<p>A Narrow Fellow in the Grass<p>Some Keep the Sabbath Going to Church<p>The Soul Selects Her Own Society<p>Tell All the Truth but Tell It Slant<p>Wild Nights&#151;Wild Nights<p>Christina Rossetti (1830-1894)<p>Up-Hill<p>Thomas Hardy (1840-1928)<p>Ah, Are You Digging on My Grave?<p>* Chanel Firing<p>&bull; The Man He Killed<p>Neutral Tones<p>The Ruined Maid<p>Gerard Manley Hopkins (1844-1889)<p>God&#39;s Grandeur<p>Pied Beauty<p>Spring and Fall&#58; To a Young Child<p>Emma Lazarus (1849-1887)<p>The New Colossus<p>A. E. Housman (1859-1936)<p>Eight O&#39;Clock<p>Loveliest of Trees, the Cherry Now<p>Stars, I Have Seen Them Fall<p>&ldquo;Terence, This Is Stupid Stuff . . .&rdquo;<p>William Butler Yeats (1865-1939)<p>The Lake Isle of Innisfree<p>Leda and the Swan<p>Sailing to Byzantium<p>The Second Coming<p>The Song of Wandering Aengus<p>Edwin Arlington Robinson (1869-1935)<p>Firelight<p>The Mill<p>Richard Cory<p>Stephen Crane (1871-1900)<p>The Trees in the Garden Rained Flowers<p>The Wayfarer<p>Paul Laurence Dunbar (1872-1906)<p>We Wear the Mask<p>Robert Frost (1874-1963)<p>Acquainted with the Night<p>After Apple-Picking<p>Design<p>Home Burial<p>The Road Not Taken<p>Stopping by Woods on a Snowy Evening<p>Adelaide Crapsey (1878-1034)<p>Amaze<p>Languor after Pain<p>Trapped<p>Wallace Stevens (1879-1955)<p>Anecdote of the Jar<p>Disillusionment of Ten O&#39;Clock<p>The Emperor of Ice-Cream<p>The Snow Man<p>Sunday Morning<p>&bull; The Worms at Heaven&rsquo;s Gate<p>William Carlos Williams (1883-1963)<p>The Last Words of My English Grandmother<p>The Red Wheelbarrow<p>Spring and All<p>Ezra Pound (1885-1972)<p>In a Station of the Metro<p>Portrait d&#39;une Femme<p>The River-Merchant&#39;s Wife&#58; A Letter<p>Elinor Wylie (1885-1928)<p>Let No Charitable Hope<p>Ophelia<p>H. D. (Hilda Doolittle) (1886-1961)<p>Pear Tree<p>Sea Rose<p>Siegfried Sassoon (1886-1967)<p>Dreamers<p>Robinson Jeffers (1887-1962)<p>The Purse-Seine<p>Marianne Moore (1887-1972)<p>The Fish<p>Silence<p>T. S. Eliot (1888-1965)<p>Journey of the Magi<p>The Love Song of J. Alfred Prufrock<p>John Crowe Ransom (1888-1974)<p>Piazza Piece<p>Edna St. Vincent Millay (1892-1950)<p>If I Should Learn, in Some Quite Casual Way<p>Oh, Oh, You Will Be Sorry for that Word<p>What Lips My Lips Have Kissed, and Where, and Why<p>Wilfred Owen (1893-1918)<p>Dulce et Decorum Est<p>e. e. cummings (1894-1962)<p>nobody loses all the time<p>pity this busy monster,manunkind<p>* plato told<p>r-p-o-p-h-e-s-s-a-g-r<p>Jean Toomer (1894-1967)<p>Georgia Dusk<p>Louise Bogan (1897-1970)<p>Women<p>Hart Crane (1899-1933)<p>Chaplinesque<p>Langston Hughes (1902-1967)<p>Dream Boogie<p>Theme for English B<p>The Weary Blues<p>Countee Cullen (1903-1946)<p>Incident<p>Yet Do I Marvel<p>A. D. Hope (1907-2000)<p>Imperial Adam<p>W. H. Auden (1907-1973)<p>As I Walked Out One Evening<p>Mus&eacute;e des Beaux Arts<p>The Unknown Citizen<p>Theodore Roethke (1908-1963)<p>Dolor<p>My Papa&#39;s Waltz<p>Root Cellar<p>Elizabeth Bishop (1911-1979)<p>The Fish<p>One Art<p>Sestina<p>Robert Hayden (1913-1980)<p>Those Winter Sundays<p>Dudley Randall (b. 1914)<p>Ballad of Birmingham<p>William Stafford (1914-1993)<p>Traveling through the Dark<p>Dylan Thomas (1914-1953)<p>Do Not Go Gentle into That Good Night<p>Poem in October<p>Weldon Kees (1914-1955)<p>For My Daughter<p>Randall Jarrell (1914-1965)<p>&bull; 8<sup>th</sup> Air Force<p>The Death of the Ball Turret Gunner<p>Margaret Walker (b. 1915)<p>For Malcolm X<p>Gwendolyn Brooks (1917-2000)<p>the ballad of chocolate Mabbie<p>the mother<p>We Real Cool<p>Robert Lowell (1917-1977)<p>For the Union Dead<p>Lawrence Ferlinghetti (b. 1919)<p>A Coney Island of the Mind, #15<p>May Swenson (1919-1989)<p>How Everything Happens<p>Howard Nemerov (1920-1991)<p>A Primer of the Daily Round<p>Richard Wilbur (b. 1921)<p>&bull; Altitudes<p>The Writer<p>Year&#39;s End<p>Philip Larkin (1922-1985)<p>Next, Please<p>This Be the Verse<p>&bull; The Whitsun Weddings<p>James Dickey (1923-1997)<p>The Heaven of Animals<p>Alan Dugan (b. 1923)<p>Love Song&#58; I and Thou<p>Anthony Hecht (b. 1923)<p>&bull; The Dover Bitch<p>Third Avenue in Sunlight<p>Denise Levertov (1923-1999)<p>The Ache of Marriage<p>Louis Simpson (b. 1923)<p>American Classic<p>My Father in the Night Commanding No<p>Vassar Miller (1924-1997)<p>Subterfuge<p>Donald Justice (b. 1925)<p>Counting the Mad<p>Carolyn Kizer (b. 1925)<p>The Ungrateful Garden<p>Maxine Kumin (b. 1925)<p>Noted in the New York Times<p>Allen Ginsberg (1926-1997)<p>A Supermarket in California<p>James Merrill (1926-1995)<p>Casual Wear<p>W. D. Snodgrass (b. 1926)<p>Mementos, I<p>Frank O&#39;Hara (1926-1966)<p>The Day Lady Died<p>John Ashbery (b. 1927)<p>Farm Implements and Rutabagas in a Landscape<p>Paradoxes and Oxymorons<p>W. S. Merwin (b. 1927)<p>For the Anniversary of My Death<p>The Last One<p>James Wright (1927-1980)<p>Autumn Begins in Martins Ferry, Ohio<p>Saint Judas<p>Philip Levine (b. 1928)<p>You Can Have It<p>Anne Sexton (1928-1974)<p>Cinderella<p>Thom Gunn (b. 1929)<p>From the Wave<p>Terminal<p>X. J. Kennedy (b. 1929)<p>In a Prominent Bar in Secaucus One Day<p>&bull; Little Elegy<p>Adrienne Rich (b. 1929)<p>Aunt Jennifer&#39;s Tigers<p>Diving into the Wreck<p>Rape<p>Ted Hughes (b. 1930)<p>Pike<p>Gary Snyder (b. 1930)<p>A Walk<p>Derek Walcott (b. 1930)<p>Central America<p>Miller Williams (b. 1930)<p>The Book<p>Linda Pastan (b. 1932)<p>Ethics<p>Sylvia Plath (1932-1963)<p>Daddy<p>Edge<p>Metaphors<p>Gerald Barrax (b. 1933)<p>Strangers like Us&#58; Pittsburgh, Raleigh, 1945-1985<p>Mark Strand (b. 1934)<p>The Tunnel<p>Russel Edson (b. 1935)<p>Ape<p>Mary Oliver (b. 1935)<p>The Black Walnut Tree<p>Fred Chappell (b. 1936)<p>Narcissus and Echo<p>Lucille Clifton (b. 1936)<p>homage to my hips<p>wishes for sons<p>Marge Piercy (b. 1936)<p>What&rsquo;s That Smell in the Kitchen?<p>Betty Adcock (b. 1938)<p>Voyages<p>Gary Gildner (b. 1938)<p>First Practice<p>Robert Phillips (b. 1938)<p>&bull; The Stone Crab&#58; A Love Poem<p>Dabney Stuart (b. 1938)<p>Discovering My Daughter<p>Margaret Atwood (b. 1939)<p>Siren Song<p>Stephen Dunn (b. 1939)<p>The Sacred<p>Seamus Heaney (b. 1939)<p>Punishment<p>* Clive James (b. 1959)<p>After the Storm<p>Ted Kooser (b. 1939)<p>Abandoned Farmhouse<p>Tom Disch (b. 1940)<p>Ballade of the New God<p>Florence Cassen Mayers (b. 1940)<p>All American Sestina<p>Pattiann Rogers (b. 1940)<p>Foreplay<p>Billy Collins (b. 1941)<p>Litany<p>Robert Hass (b. 1941)<p>&bull; Meditation at Lagunitas<p>Simon J. Ortiz (b. 1941)<p>The Serenity in Stones<p>Gibbons Ruark (b. 1941)<p>The Visitor<p>Gladys Cardiff (b. 1942)<p>Combing<p>B.H. Fairchild (b. 1942)<p>Body and Soul<p>Charles Martin (b. 1942)<p>E.S.L.<p>Sharon Olds (b. 1942)<p>The One Girl at the Boys Party<p>Diane Lockward (b. 1943)<p>My Husband Discovers Poetry<p>Ellen Bryant Voight (b. 1943)<p>Daughter<p>Robert Morgan (b. 1944)<p>Mountain Bride<p>Craig Raine (b. 1944)<p>A Martian Sends a Postcard Home<p>Enid Shomer (b. 1944)<p>Women Bathing at Bergen-Belsen<p>Wendy Cope (b. 1944)<p>Rondeau Redoubl&eacute;<p>Dick Davis (b. 1945)<p>A Monorhyme for the Shower<p>Kay Ryan (b. 1945)<p>Bestiary<p>Leon Stokesbury (b. 1945)<p>The Day Kennedy Died<p>* John Whitworth (b. 1945)<p>The Examiners<p>Marilyn Nelson (b. 1946)<p>The Ballad of Aunt Geneva<p>Ai (b. 1947)<p>Child Beater<p>Jim Hall (b. 1947)<p>Maybe Dats Your Pwoblem Too<p>Yusef Komunyakaa (b. 1947)<p>Facing It<p>Timothy Steele (b. 1948)<p>Sapphics Against Anger<p>James Fenton (b. 1949)<p>God, a Poem<p>Sarah Cortez (b. 1950)<p> Tu Negrito<p>Carolyn Forch&eacute; (b. 1950)<p>The Colonel<p>Dana Gioia (b. 1950)<p>Planting a Sequoia<p>Rodney Jones (b. 1950)<p>Winter Retreat&#58; Homage to Martin Luther King, Jr.<p>Timothy Murphy (b. 1950)<p>Case Notes<p>Joy Harjo (b. 1951)<p>She Had Some Horses<p>Andrew Hudgins (b. 1951)<p>Air View of an Industrial Scene<p>Judith Ortiz Cofer (b. 1952)<p>The Latin Deli&#58; An Ars Poetica<p>Rita Dove (b. 1952)<p>&bull; American Smooth<p>Mark Jarman (b. 1952)<p>After Disappointment<p>Julie Kane (b. 1952)<p>Alan Doll Rap<p>Naomi Shihab Nye (b. 1952)<p>The Traveling Onion<p>Alberto R&iacute;os (b. 1952)<p>The Purpose of Altar Boys<p>Julia Alvarez (b. 1953)<p>Bilingual Sestina<p>Harryette Mullen (b. 1953)<p>Dim Lady<p>Kim Addonizio (b. 1954)<p>* Sonnenizio on a Line from Michael Drayton<p>David Mason (b. 1954)<p>&bull; Fog Horns<p>Mary Jo Salter (b. 1954)<p>Welcome to Hiroshima<p>Cathy Song (b. 1955)<p>Stamp Collecting<p>Ginger Andrews (b. 1956)<p>Primping in the Rearview Mirror<p>* Joseph Harrison (b. 1957)<p>Air Larry<p>Catherine Tufariello (b. 1963)<p>Useful Advice<p>Sherman Alexie (b. 1966)<p>The Exaggeration of Despair<p>Natasha Trethewey (b. 1966)<p>Domestic Work, 1937<p>* Brian Turner (b. 1967)<p>Here, Bullet<p>Suji Kwock Kim (b. 1968)<p>Occupation<p>* Allison Joseph (b. 1967)<p>The Athlete<p>A. E. Stallings (b. 1968)<p>&bull; First Love&#58; A Quiz<p>Beth Ann Fennelly (b. 1971)<p>Asked for a Happy Memory of Her Father, She Recalls Wrigley Field<p>* Sophie Hannah (b. 1971)<p>The Guest Speaker<p>* Emily Moore (b. 1977)<p>Auld Lang Syne<p>Drama<p>Introduction to Drama<p>The Play&rsquo;s the Thing<p>Origins of Drama<p>Aristotle on Tragedy<p>Brief History and Description of Dramatic Conventions<p>Sophocles (496?-406 B.C.)<p>&bull; Antigone<p>William Shakespeare (1564-1616)<p>Othello<p>Henrik Ibsen (1828-1906)<p>&bull; An Enemy of the People<p>Susan Glaspell (1882-1948)<p>Trifles<p>Tennessee Williams (1911-1983)<p>The Glass Menagerie<p>Athold Fugard (b. 1932)<p>&ldquo;Master Harold&rdquo; . . . and the boys<p>August Wilson (b. 1945)<p>The Piano Lesson<p>David Ives (b. 1950)<p>&bull; Sure Thing<p>* Milcha Sanchez-Scott (b. 1953)<p>The Cuban Swimmer<p>* Arlene Hutton (b. 1958)<p>A Dream Before I Take the Stand<p>Appendix A&#58; Writing about Literature
64I'll Fly Away: Further Testimonies from the Women of York PrisonWally Lamb2<p>Wally Lamb's books are neither short nor simple; but like a James Patterson of emotions, he pulls readers in and doesn't let go. His affecting novels are marvels of imagination and empathy.</p>Wally Lamb, I'll Fly Away Contributorsill-fly-awaywally-lamb97800616263950061626392$10.99PaperbackHarperCollins PublishersOctober 2008Penology & Correctional Studies - General & Miscellaneous, Prisons & Prison Life, American Literature Anthologies2885.30 (w) x 7.90 (h) x 0.80 (d)<p>For several years, Wally Lamb, the author of two of the most beloved novels of our time, has run a writing workshop at the York Correctional Institution, Connecticut's only maximum-security prison for women. Writing, Lamb discovered, was a way for these women to face their fears and failures and begin to imagine better lives. <b>Couldn't Keep It to Myself</b>, a collection of their essays, was published in 2003 to great critical acclaim. With <b>I'll Fly Away</b>, Lamb offers readers a new volume of intimate pieces from the York workshop. Startling, heartbreaking, and inspiring, these stories are as varied as the individuals who wrote them, but each illuminates an important core truth: that a life <b>can</b> be altered through self-awareness and the power of the written word.</p><b>I'll Fly Away</b><br> Further Testimonies from the Women of York Prison <p><b>Chapter One</b></p> <p class="null1">Florida Memories</p> <p>By Bonnie Jean Foreshaw</p> <p>It's Thursday morning at 6:00 <small>A.M.</small>, and we two have just arrived at the open-air flea market, the largest in south Florida. I'm an apprentice shopper and my teacher is my Aunt Mandy. Later this morning, the market will be hot and crowded—alive with music, laughter, gossip, and bartering about the price of everything from necklaces to nectarines. But at the moment, it's cool and quiet. Our focus is fish.</p> <p>"Pay close attention to the <i>eyes</i> of the fish," Aunt Mandy instructs as we walk from stall to stall. "If the eyes are clear, not cloudy, and the color of the skin's not fading, then the fish is fresh." Auntie's dressed for shopping in a pink sleeveless blouse, burgundy pedal pushers, Italian sandals, and a white sun visor. I'm wearing shorts, a T-shirt, and rubber flip-flops. I am tall for my age, and starting to get the kind of shape men take a second look at. My glasses take up half my face. "But you have to shop with your finger and your nose, too, not just your eyes," Auntie instructs. "Poke the fish gently near its fin. If it leaves a dent, then you don't want it. If it doesn't, it's probably part of the morning's catch. And listen to me, Jeannie. Fresh fish never smells foul."</p> <p>We stop at one of the stalls where the fish are lined up, one against the other, on a bed of ice. The fish man approaches us. He's handsome—black hair, hazel eyes, tank top and cut-off jeans. "May I help you, ma'am?" I watch him take in Aunt Mandy's curves, her green eyes andhoney-colored complexion. I might as well be invisible.</p> <p>"Well, maybe you can," Auntie says. "Oh, by the way, I'm Mandy and this is my niece, Jeannie. Now what's your name?"</p> <p>"I'm Ricardo," the fish man says. He's sucking in his stomach, and his feet are moving up and down like he's trying to stretch his height. "It's nice to meet you, Mandy."</p> <p>"Nice to meet you, too. Now tell me, Ricardo, how much you want for these five yellowtails?"</p> <p>"Well, let's see. They're seventy-five cents apiece, so that's a total of . . ."</p> <p>He stops to watch Auntie pass her fingers through her shoulder-length hair. It's salt-and-pepper-colored, but Mandy's still got it. "Uh, three seventy-five." "Oh," Auntie says, half-shocked and half-disappointed. "That fellow three stalls down says he's selling his yellowtails for <i>fifty</i> cents each. So unless we can work out a deal . . ."</p> <p>The smile drops off of Mr. Ricardo's face, but Auntie's smile returns. Her gold tooth is glimmering. She shifts her weight, puts her hand on her hip.</p> <p>"Mandy, it's a deal," Ricardo says. "Five yellowtails for two-fifty. That's a dollar twenty-five cut I'm giving you."</p> <p>"Which I appreciate," Auntie says. "And look at it this way: you've just gained yourself a faithful customer. Now, tell me. How much you selling those red snappers for? If I can get them for the same price as the yellowtails, I'll buy some of them, too. And conch."</p> <p>I stand there looking from one to the other. Auntie touches the small gold cross at her throat. She fingers her earring. I can tell Mr. Ricardo is only pretending to do the math in his head. "Okay," he finally says. "Sold."</p> <p>Auntie pays for the fish and conch, thanks him, and we walk away. A few stalls down from Mr. Ricardo's, she turns to me. "Okay, now," she says. "Show me a fresh fish."</p> <p>I go up and down the row, looking each fish in the eye, then pick one up by its tail. I turn it, look at its other eye, study its coloration. When I press my finger against its head, near the fin, there's no indentation. "This one."</p> <p>Her look is serious. "You think this fish is fresh?"</p> <p>I hesitate. "Yes."</p> <p>Aunt Mandy flashes me her gold-toothed smile. "Well, Jeannie, now you know how to pick fresh fish."</p> <p>I'm excited to have passed the test, but I've been wondering something. "Auntie?" I say. "I don't remember going to any other fish stalls before we went to Mr. Ricardo's."</p> <p>She laughs. "You and I knew that, but Ricardo didn't. It's one of the tricks of the trade when you shop at the flea market. But bear in mind, Ricardo would rather make a sale than not sell. If he has fish left at the end of the day, that's a loss and a waste for him. So we were doing him a favor. Now, come on. Let's cross the street and I'll teach you how to pick out vegetables and fruit."</p> <p>We meander among the tomatoes and squashes, the potatoes and mangoes and plums. Shopping for fresh produce is a matter of looking and smelling, but mostly of <i>feeling</i>, Auntie says. "Fruits and vegetables can get damaged by cold weather, the way they're packed, or how far they've traveled to get to the market. If the skin is firm, that means it's fresh. If it's loose, then it isn't. And always check for bruises."</p> <p>Although I'm listening to my aunt, it's the peaches in the stall to my right that have my attention. They're big and beautiful, golden yellow with blushes of pink, and their aroma makes my mouth juice up. I'm thinking about how I might get myself one of those peaches.</p> <p>"Pick us out some bananas," Auntie says. It's test number two.</p> <p>My eyes pass over several bunches before I pick one up. I check each banana, one by one, then walk over to Auntie, who is examining pears. "These are nice, firm, and yellow," I say, handing her the bunch I've chosen. "Tight skin, no bruises."</p> <p>She twists the bunch back and forth, then nods her approval. "Good job," she says. Smiling all over myself, I decide to seize the moment. "Auntie, may I get a few peaches?"</p> <i><b>I'll Fly Away</b><br> Further Testimonies from the Women of York Prison</i>. Copyright © by Wally Lamb. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.<p><P>For several years, Wally Lamb, the author of two of the most beloved novels of our time, has run a writing workshop at the York Correctional Institution, Connecticut's only maximum-security prison for women. Writing, Lamb discovered, was a way for these women to face their fears and failures and begin to imagine better lives. <i>Couldn't Keep It to Myself</i>, a collection of their essays, was published in 2003 to great critical acclaim. With <i>I'll Fly Away</i>, Lamb offers readers a new volume of intimate pieces from the York workshop. Startling, heartbreaking, and inspiring, these stories are as varied as the individuals who wrote them, but each illuminates an important core truth&#58; that a life <i>can</i> be altered through self-awareness and the power of the written word.</p><h3>Booklist</h3><p>&ldquo;Lamb . . . continues to offer readers an intimate look at women struggling to maintain their humanity.&rdquo;</p><br>In Remembrance&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;vii<br>Acknowledgments&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;ix<br>Revisions and Corrections&nbsp;&nbsp;&nbsp;Wally Lamb&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1<br>When I Was a Child...<br>Florida Memories&nbsp;&nbsp;&nbsp;Bonnie Jean Foreshaw&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;13<br>Kidnapped!&nbsp;&nbsp;&nbsp;Robin Ledbetter&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;19<br>Shhh, Don't Tell&nbsp;&nbsp;&nbsp;Deborah Ranger&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;26<br>In the Mood "Savannah"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;37<br>Tinker Bell&nbsp;&nbsp;&nbsp;Brendalis Medina&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;39<br>One Saturday Morning&nbsp;&nbsp;&nbsp;Chasity C. West&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;47<br>Gifts My Family Gave Me<br>The Captain&nbsp;&nbsp;&nbsp;Kathleen Wyatt&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;57<br>A Brother's Gift&nbsp;&nbsp;&nbsp;Jennifer Rich&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;63<br>The Rainbow Ring&nbsp;&nbsp;&nbsp;Carmen Ramos&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;64<br>Pictures of a Daughter, Viewed in Prison&nbsp;&nbsp;&nbsp;Christina MacNaughton&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;67<br>Under-Where?&nbsp;&nbsp;&nbsp;Lynne M. Friend&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;68<br>Why I Write&nbsp;&nbsp;&nbsp;Careen Jennings&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;75<br>Lavender and Vanilla&nbsp;&nbsp;&nbsp;Kimberly Walker&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;77<br>A Gift&nbsp;&nbsp;&nbsp;Robin Ledbetter&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;78<br>Broken Dolls and Marionettes<br>Broken Doll&nbsp;&nbsp;&nbsp;Lynda Gardner&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;85<br>"No" Is Not Just a Word&nbsp;&nbsp;&nbsp;Christina MacNaughton&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;89<br>Wishes&nbsp;&nbsp;&nbsp;Charissa Willette&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;92<br>The Marionette&nbsp;&nbsp;&nbsp;Lynne M. Friend&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;104<br>Falling&nbsp;&nbsp;&nbsp;Robin Ledbetter&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;114<br>Crime and Punishment<br>Lost and Found&nbsp;&nbsp;&nbsp;Roberta Schwartz&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;119<br>The Chase&nbsp;&nbsp;&nbsp;Brendalis Medina&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;151<br>Prom Queen&nbsp;&nbsp;&nbsp;Jennifer Rich&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;159<br>Down on the Farm&nbsp;&nbsp;&nbsp;Kelly Donnelly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;166<br>Big Girl Jail&nbsp;&nbsp;&nbsp;Robin Ledbetter&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;168<br>Wasted Time&nbsp;&nbsp;&nbsp;Lisa White&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;176<br>Serpents&nbsp;&nbsp;&nbsp;Robin Ledbetter&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;177<br>The Lights Are Flickering, Again&nbsp;&nbsp;&nbsp;Susan Budlong Cole&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;179<br>Just Another Death&nbsp;&nbsp;&nbsp;Christina MacNaughton&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;182<br>I'll Fly Away<br>My Three Fates&nbsp;&nbsp;&nbsp;Chasity C. West&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;191<br>Dance of the Willow&nbsp;&nbsp;&nbsp;Kelly Donnelly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;202<br>I Won't Burn Alone&nbsp;&nbsp;&nbsp;Brendalis Medina&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;203<br>Seasons' Rhythms&nbsp;&nbsp;&nbsp;Kelly Donnelly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;211<br>Flight of the Bumblebee&nbsp;&nbsp;&nbsp;Kathleen Wyatt&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;213<br>Reawakening Through Nature: A Prison Reflection&nbsp;&nbsp;&nbsp;Barbara Parsons&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;215<br>Contributors&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;241<br>Facilitators' Biographical Statements&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;253<article> <h4>From Barnes & Noble</h4>In 1998, Wally Lamb began teaching writing to female convicts at Connecticut's York Correctional Institute. It was not for lack of a résumé; he was already an acclaimed novelist (<i>I Know This Much Is True; She's Come Undone</i>) and had been teaching high school for a quarter century. York was something different. After adjusting to his new constituency, Lamb realized that his students had disarming, often frightening stories to tell. In 2003, he published an anthology of these testimonies, the PEN/Newman's Own First Amendment Award-winning <i>Couldn't Keep It to Myself</i>. This follow-up collection is just as bracing and profound. </article> <article> <h4>Booklist</h4>"Lamb . . . continues to offer readers an intimate look at women struggling to maintain their humanity." </article><article> <h4>Library Journal</h4><p>Novelist Lamb's (<i>I Know This Much Is True</i>) second collection of writing by the students in his writing workshop at the maximum-security York Correctional Institution in Connecticut, after <i>Couldn't Keep It to Myself</i>(2003), also focuses on the inspiring and raw emotions of women sharing the good and bad memories that shaped them. The 20 women whose work is featured here-18 inmates and two of Lamb's cofacilitators-show that writing is not just a way of capturing their most private thoughts and gripping emotions (e.g., hope, despair, courage), but also a powerful tool to foster hope and healing. They write from the heart in works ranging from poems to essays to short stories; each vignette is more compelling than the one before it. Highly recommended for academic and public libraries.<br> —Susan McClellan</p> </article> <article> <h4>Kirkus Reviews</h4>The second accomplished collection of writings from women incarcerated in Connecticut's York Correctional Institution, edited again by bestselling novelist Lamb (Couldn't Keep It to Myself: Testimonies from Our Imprisoned Sisters, 2003, etc.). One would have thought the first volume, with its probing examinations of lives run amok, would have convinced prison authorities of the value of a writing program in which prisoners focus and take account. But the prison bureaucracy tried to shut it down, writes an incredulous and furious Lamb, and they confiscated the prisoners' material. That particular draconian administration was replaced with a more enlightened group, Lamb reports, one that allowed for the rehabilitative value of writing. These works radiate what Lamb saw as the program's critical mission: to give the women wings "to hover above the confounding maze of their lives, and from that perspective . . . to see the patterns and dead ends of their past, and a way out." Some of the stories are rueful, others bitter, but all bite, even-perhaps especially-when they are gentle. None are self-pitying, but none shy away from speaking directly to the gross cruelties so often inflicted on their early years or young marriages. Each story, no matter how grim or gritty, shows polish, and the women display a wide array of emotions: unbridled anger, innocence, hope, resigned acceptance. While a few of the stories speak of angels who touched the women's lives, most display open wounds that are continuing to be healed by the cathartic power of words. Writing as an act of self-realization and liberation and, not incidentally, an indictment of the penal system. </article>
65American Earth: Environmental Writing Since ThoreauBill McKibben4<p><B>Bill McKibben</B> is the author of ten books, including <I>The End of Nature</I>, <I>The Age of Missing Information</I>, and <I>Enough&#58; Staying Human in an Engineered Age</I>. A former staff writer for <I>The New Yorker</I>, he writes regularly for <I>Harper&#8217;s</I>, <I>The Atlantic Monthly</I>, and <I>The New York Review of Books</I>, among other publications. He is a scholar in residence at Middlebury College and lives in Vermont with his wife, the writer Sue Halpern, and their daughter.</p>Bill McKibben (Editor), Al Goreamerican-earthbill-mckibben97815985302091598530208$29.13HardcoverLibrary of AmericaApril 2008Natural Literature & History, Literature Anthologies - General & Miscellaneous, American Literature Anthologies9005.12 (w) x 8.18 (h) x 2.10 (d)<p>As America and the world grapple with the consequences of global environmental change, writer and activist Bill McKibben offers this unprecedented, provocative, and timely anthology, gathering the best and most significant American environmental writing from the last two centuries.</p> <p>Classics of the environmental imagination-the essays of Henry David Thoreau, John Muir, and John Burroughs; Aldo Leopold's <i>A Sand County Almanac</i>; Rachel Carson's <i>Silent Spring</i>'are set against the inspiring story of an emerging activist movement, as revealed by newly uncovered reports of pioneering campaigns for conservation, passages from landmark legal opinions and legislation, and searing protest speeches. Here are some of America's greatest and most impassioned writers, taking a turn toward nature and recognizing the fragility of our situation on earth and the urgency of the search for a sustainable way of life. Thought-provoking essays on overpopulation, consumerism, energy policy, and the nature of 'nature' join ecologists' memoirs and intimate sketches of the habitats of endangered species. The anthology includes a detailed chronology of the environmental movement and American environmental history, as well as an 80-page color portfolio of illustrations.</p><b>AMERICAN EARTH</b> <b>Environmental Writing Since Thoreau</b> <br> <b>By Bill McKibben</b> <br> <b>THE LIBRARY OF AMERICA</b> <b>Copyright © 2008</b> <b>Literary Classics of the United States, New York, NY.<br> All right reserved.</b><br> <b>ISBN: 978-1-59853-020-9</b> <br> <br> <br> <br> <b>Chapter One</b> <b>HENRY DAVID THOREAU</b> <p>Henry David Thoreau (1817-1862) was born, grew up, lived out his life, and died in Concord, Massachusetts. He studied at Harvard from 1833 to 1837, then signed on as a teacher at Concord Academy but was dismissed for refusing to whip students. He and his brother John opened an elementary school in 1838, where, according to some authorities, they invented the idea of the field trip. John became sick in 1841 and the brothers closed the school; Henry went to live with Ralph Waldo Emerson, beginning a long friendship with him and with the other members of the Transcendental Club, among them Bronson Alcott and Margaret Fuller. The other transcendentalists experimented with communes like Brook Farm, but Thoreau was more solitary, and the most important years in his life began in 1845 when he took up residence in a small cabin he'd built on the shore of Walden Pond a short walk from town. He spent two years, two months, and two days there, experimenting with simplifying his life. Thorean's isolation at Walden wasn't absolute or deliberately ascetic-he often returned to town to see friends and eat meals, had a steady stream of visitors (often too steady for his taste), and at one point engaged in a political protest, spending a night in Concord jail for his refusal to pay his poll tax. But it was notably productive: he returned to town with the draft of one book (<i>A Week on the Concord and Merrimack Rivers</i>) and the notes that he would spend the next six years turning into <i>Walden</i> (1854), perhaps the most remarkable book in the American canon. As dense as scripture, crowded with aphorism, <i>Walden</i> is full of enough ideas for a score of ordinary books. But it has lived as long and as fully as any other writing of its vintage and inspired all the best kinds of people: both Mahatma Gandhi and Martin Luther King Jr. claimed him as a major influence. Thoreau suffered from tuberculosis contracted during his college years: his condition worsened beginning in 1859, and he spent his last years revising his accounts of the Maine woods and other works. As he neared death his aunt Louisa asked him if he had made his peace with God. "I did not know we had ever quarreled," he said. He died at the age of 44.</p> <p>Picking a few fragments from his writings is an impossible task: an anthology of American environmental writing might well be one-third Thoreau. Here are a few entries from his copious journals, and then the description from <i>Walden</i> of the building of the famous cabin. "Huckleberries," a late essay or lecture-text, shows the modern nature essay being born, with a small root giving way to a luxuriant growth of thought and speculation.</p> <p><b><i>from Journals</i></b></p> <p>Oct. 24th 1837.</p> <p>The Mould our Deeds Leave.</p> <p>Every part of nature teaches that the passing away of one life is the making room for another. The oak dies down to the ground, leaving within its rind a rich virgin mould, which will impart a vigorous life to an infant forest - - The pine leaves a sandy and sterile soil-the harder woods a strong and fruitful mould. - -</p> <p>So this constant abrasion and decay makes the soil of my future growth. As I live now so shall I reap. If I grow pines and birches, my virgin mould will not sustain the oak, but pines and birches, or, perchance, weeds and brambles, will constitute my second growth. - -</p> <p>March 6th 1838</p> <p>- - How can a man sit down and quietly pare his nails, while the earth goes gyrating ahead amid such a din of sphere music, whirling him along about her axis some twenty four thousand miles between sun and sun? but mainly in a circle some two millions of miles actual progress. And then such a hurly-burly on the surface-wind always blowing-now a zephyr, now a hurricane-tides never idle, ever fluctuating, no rest for Niagara, but perpetual ran-tan on those limestone rocks-and then that summer simmering which our ears are used to-which would otherwise be christened confusion worse confounded, but is now ironically called "silence audible"-and above all the incessant tinkering named hum of industry-the hurrying to and fro and confused jabbering of men-Can man do less than get up and shake himself?</p> <p>April 24th 1838.</p> <p>Steam ships</p> <p>-Men have been contriving new means and modes of motion-Steam ships have been westering during these late days and nights on the Atlantic waves-the fuglers of a new evolution to this generation - - Meanwhile plants spring silently by the brook sides-and the grim woods wave indifferent-the earth emits no howl pot on fire simmers and seethes and men go about their business. - -</p> <p>Saturday March 19th 1842</p> <p>When I walk in the fields of Concord and meditate on the destiny of this prosperous slip of the Saxon <i>family</i>-the unexhausted energies of this new country-I forget that this which is now Concord was once Musketaquid and that the <i>American race</i> has had its destiny also. Everywhere in the fields-in the corn and grain land-the earth is strewn with the relics of a race which has vanished as completely as if trodden in with the earth.</p> <p>I find it good to remember the eternity behind me as well as the eternity before. Where ever I go I tread in the tracks of the Indian-I pick up the bolt which he has but just dropped at my feet. And if I consider destiny I am on his trail. I scatter his hearth stones with my feet, and pick out of the embers of his fire the simple but enduring implements of the wigwam and the chace-In planting my corn in the same furrow which yielded its increase to his support so long-I displace some memorial of him.</p> <p>I have been walking this afternoon over a pleasant field planted with winter rye-near the house. Where this strange people once had their dwelling place. Another species of mortal men but little less wild to me than the musquash they hunted-Strange spirits-daemons-whose eyes could never meet mine. With another nature-and another fate than mine- The crows flew over the edge of the woods, and wheeling over my head seemed to rebuke-as dark winged spirits more akin to the Indian than I. Perhaps only the present disguise of the Indian- If the new has a meaning so has the old.</p> <p>Nature has her russet hues as well as green-Indeed our eye splits on every object, and we can as well take one path as the other-If I consider its history it is old-if its destiny it is new-I may see a part of an object or the whole-I will not be imposed on and think nature is old, because the season is advanced I will study the botany of the mosses and fungi on the decayed-and remember that decayed wood is not old, but has just begun to be what it is. I need not think of the pine almond or the acorn and sapling when I meet the fallen pine or oak-more than of the generations of pines and oaks which have fed the young tree.</p> <p>The new blade of the corn-the third leaf of the melon-these are not green but gray with time, but sere in respect of time.</p> <p>September 12, 1851</p> <p>2 PM To the Three Friends' Hill beyond Flints Pond-via RR. RWEs Wood Path S side Walden-Geo Heywood's Cleared Lot &amp; Smith's orchards-return via E of Flints' P via Goose P &amp; my old home to RR-</p> <p>I go to Flints P. for the sake of the <i>Mt</i> view from the hill beyond looking over Concord. I have thought it the best especially in the winter which I can get in this neighborhood. It is worth the while to see the <i>Mts</i> in the horizon once a day. I have thus seen some earth which corresponds to my least earthly &amp; trivial-to my most heaven-ward looking thoughts-The earth seen through an azure an etherial veil. They are the natural <i>temples</i> elevated brows of the earth-looking at which the thoughts of the beholder are naturally elevated and etherialized. I wish to see the earth through the medium of much air or heaven-for there is no paint like the air. <i>Mts</i> thus seen are worthy of worship. I go to Flints' Pond also to see a rippling lake &amp; a reedy-island in its midst-Reed Island.</p> <p>A man should feed his senses with the best that the land affords</p> <p>At the entrance to the Deep Cut I heard the telegraph wire vibrating like an AÆolian Harp. It reminded me suddenly-reservedly with a beautiful paucity of communication-even silently, such was its effect on my thoughts-It reminded me, I say, with a certain pathetic moderation-of what finer &amp; deeper stirrings I was susceptible-which grandly set all argument &amp; dispute aside- -a triumphant though transient exhibition of the truth. It told me by the faintest imaginable strain-it told me by the finest strain that a human ear can hear-yet conclusively &amp; past all refutation-that there were higher infinitely higher plains of life-which it behoved me never to forget. As I was entering the Deep Cut the wind which was conveying a message to me from heaven dropt it on the wire of the telegraph which it vibrated as it past. I instantly sat down on a stone at the foot of the telegraph pole-&amp; attended to the communication. It merely said "Bear in mind, Child &amp; never for an instant forget-that there are higher plains infinitely higher plains of life than this thou art now travelling on. Know that the goal is distant &amp; is upward and is worthy all your life's efforts to attain to." And then it ceased and though I sat some minutes longer I heard nothing more.</p> <p>There is every variety &amp; degree of inspiration from mere fullness of life to the most rapt mood. A human soul is played on even as this wire-which now vibrates slowly &amp; gently so that the passer can hardly hear it &amp; anon the sound swells &amp; vibrates with such intensity as if it would rend the wire-as far as the elasticity &amp; tension of the wire permits-and now it dies away and is silent-&amp; though the breeze continues to sweep over it, no strain comes from it-&amp; the traveller hearkens in vain. It is no small gain to have this wire stretched through Concord though there may be no Office here. Thus I make my own use of the telegraph-without consulting the Directors-like the sparrows which I perceive use it extensively for a perch.</p> <p>Shall I not go to this office to hear if there is any communication for me-as steadily as to the Post office in the village?</p> <p>Tuesday Dec 30th</p> <p>Mem. Go to the Deep Cut. The flies now crawl forth from the crevices all covered with dust, dreaming of summer-without life or energy enough to clean their wings</p> <p>This afternoon being on fair Haven Hill I heard the sound of a saw-and soon after from the cliff saw two men sawing down a noble pine beneath about 40 rods off. I resolved to watch it till it fell-the last of a dozen or more which were left when the forest was cut and for 15 years have waved in solitary majesty over the sproutland. I saw them like beavers or insects gnawing at the trunk of this noble tree, the diminutive mannikins with their crosscut saw which could scarcely span it. It towered up a hundred feet as I afterward found by measurement-one of the tallest probably now in the township &amp; straight as an arrow, but slanting a little toward the hill side.-its top seen against the frozen river &amp; the hills of Conantum. I watch closely to see when it begins to move. Now the sawers stop-and with an axe open it a little on the side toward which it leans that it may break the faster. And now their saw goes again-Now surely it is going-it is inclined one quarter of the quadrant, and breathless I expect its crashing fall-But no I was mistaken it has not moved an inch, it stands at the same angle as at first. It is 15 minutes yet to its fall. Still its branches wave in the wind as if it were destined to stand for a century, and the wind soughs through its needles as of yore; it is still a forest tree-the most majestic tree that waves over Musketaquid.-The silvery sheen of the sunlight is reflected from its needles-it still affords an inaccessible crotch for the squirrel's nest not a lichen has forsaken its mastlike stem- -its raking mast-the hill is the hull. Now's the moment the mannikins at its base are fleeing from their crime-they have dropped the guilty saw &amp; axe. How slowly &amp; majestically it starts-as if it were only swayed by a summer breeze and would return without a sigh to its location in the air-&amp; now it fans the hill side with its fall and it lies down to its bed in the valley from which it is never to rise, as softly as a feather, folding its green mantle about it like a warrior-as if tired of standing it embraced the earth with silent joy.-returning its elements to the dust again-but hark! there you only saw-but did not hear-There now comes up a deafening crash to these rocks-advertising you that even trees do not die without a groan. It rushes to embrace the earth, &amp; mingle its elements with the dust. And now all is still once more &amp; forever both to eye &amp; ear.</p> <p>I went down and measured it. It was about 4 feet in diameter where it was sawed-about 100 feet long. Before I had reached it-the axe-men had already half divested it of its branches. Its gracefully spreading top was a perfect wreck on the hill side as if it had been made of glass-&amp; the tender cones of one years growth upon its summit appealed in vain &amp; too late to the mercy of the chopper. Already he has measured it with his axe-and marked out the mill logs it will make. And the space it occupied in upper air is vacant for the next 2 centuries. It is lumber He has laid waste the air. When the fish hawk in the spring revisits the banks of the Musketaquid, he will circle in vain to find his accustomed perch.-&amp; the henhawk will mourn for the pines lofty enough to protect her brood. A plant which it has taken two centuries to perfect rising by slow stages into the heavens-has this afternoon ceased to exist. Its sapling top had expanded to this January thaw as the forerunner of summers to come. Why does not the village bell sound a knell. I hear no knell tolled-I see no procession of mourners in the streets-or the woodland aisles-The squirrel has leapt to another tree-the hawk has circled further off-&amp; has now settled upon a new eyre but the woodman is preparing to lay his axe at the root of that also.</p> <p>Dec 31st</p> <p>The 3d warm day. now overcast and beginning to drizzle. Still it is inspiriting as the brightest weather though the sun surely is not agoing to shine. There is a latent light in the mist-as if there were more electricity than usual in the air. These are warm foggy days in winter which excite us.</p> <p>It reminds me this thick spring like weather, that 1 have not enough valued and attended to the pure clarity &amp; brilliancy of the winter skies-Consider in what respects the winter sunsets differ from the summer ones. Shall I ever in summer evenings see so celestial a reach of blue sky contrasting with amber as I have seen a few days since-The day sky in winter corresponds for clarity to the night sky in which the stars shine &amp; twinkle so brightly in this latitude.</p> <p>I am too late perhaps, to see the sand foliage in the deep cut-should have been there day before yesterday-it is now too wet &amp; soft.</p> <p><i>(Continues...)</i></p> <p><br> </p> <blockquote><br> Excerpted from <b>AMERICAN EARTH</b> by <b>Bill McKibben</b> Copyright © 2008 by Literary Classics of the United States, New York, NY.. Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br> Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.<br> </blockquote><p><P>As America and the world grapple with the consequences of global environmental change, writer and activist Bill McKibben offers this unprecedented, provocative, and timely anthology, gathering the best and most significant American environmental writing from the last two centuries. <P>Classics of the environmental imagination&#151;the essays of Henry David Thoreau, John Muir, and John Burroughs; Aldo Leopold's <i>A Sand County Almanac</i>; Rachel Carson's <i>Silent Spring</i>&#151;are set against the inspiring story of an emerging activist movement, as revealed by newly uncovered reports of pioneering campaigns for conservation, passages from landmark legal opinions and legislation, and searing protest speeches. Here are some of America's greatest and most impassioned writers, taking a turn toward nature and recognizing the fragility of our situation on earth and the urgency of the search for a sustainable way of life. Thought-provoking essays on overpopulation, consumerism, energy policy, and the nature of &ldquo;nature&rdquo; join ecologists' memoirs and intimate sketches of the habitats of endangered species. The anthology includes a detailed chronology of the environmental movement and American environmental history, as well as an 80-page color portfolio of illustrations.</p><h3>The Washington Post - Gregory McNamee</h3><p>What truly sets the anthology apart is not the mix of the obscure and the familiar but McKibben's habit of enlisting voices whom we are not accustomed to thinking of as environmentalists or ecologists. I'd be willing to bet that this is the first work of nature writing to feature the drawings of R. Crumb, of Zap Comix fame, alongside lyrics by Marvin Gaye&#8230;Well selected, full of surprises and informed by McKibben's thoughtful commentary, <i>American Earth</i> is the first anthology of American nature writing to come close to the standard Thomas Lyon set two decades ago with <i>"This Incomperable Lande": A Book of American Nature Writing.</i> Ours is an incomparable land indeed, and McKibben's collection is a welcome reminder.</p><b>Contents</b> Foreword, by Al Gore....................xvii<br>Introduction....................xxi<br>Henry David Thoreau from Journals....................2<br>from Walden; or, Life in the Woods....................9<br>from Huckleberries....................26<br>George Catlin from Letters and Notes on the Manners, Customs, and Condition of the North American Indians....................37<br>Lydia Huntley Sigourney Fallen Forests....................46<br>Susan Fenimore Cooper from Rural Hours....................48<br>Table Rock Album....................59<br>Walt Whitman from Leaves of Grass George Perkins Marsh from Man and Nature....................71<br>P. T. Barnum from The Humbugs of the World....................81<br>John Muir from A Thousand-Mile Walk to the Gulf....................85<br>A Wind-Storm in the Forests....................89<br>from My First Summer in the Sierra....................98<br>Hetch Hetchy Valley....................104<br>W.H.H. Murray from Adventures in the Wilderness....................113<br>Frederick Law Olmsted from A Review of Recent Changes, and Changes Which Have Been Projected, in the Plans of the Central Park....................120<br>J. Sterling Morton About Trees....................126<br>Theodore Roosevelt To Frank Michler Chapman....................130<br>To John Burroughs....................131<br>Speech at Grand Canyon, Arizona, May 6, 1903....................132<br>Mary Austin The Scavengers....................134<br>Nathaniel Southgate Shaler from Man and the Earth....................140<br>John Burroughs The Art of Seeing Things....................146<br>The Grist of the Gods....................159<br>Nature NearHome....................168<br>Gifford Pinchot Prosperity....................173<br>William T. Hornaday The Bird Tragedy on Laysan Island....................181<br>Theodore Dreiser A Certain Oil Refinery....................186<br>Gene Stratton-Porter The Last Passenger Pigeon....................192<br>Henry Beston Orion Rises on the Dunes....................205<br>Benton MacKaye The Indigenous and the Metropolitan....................209<br>J. N. "Ding" Darling "What a few more seasons will do to the ducks"....................224<br>Robert Marshall from Wintertrip into New Country....................225<br>Don Marquis what the ants are saying....................235<br>Caroline Henderson Letter from the Dust Bowl....................239<br>Donald Culross Peattie Birds That Are New Yorkers....................245<br>Robinson Jeffers The Answer....................251<br>Carmel Point....................252<br>John Steinbeck from The Grapes of Wrath....................254<br>Woody Guthrie This Land Is Your Land....................958<br>Marjory Stoneman Douglas from The Everglades&#58; River of Grass....................260<br>Aldo Leopold from A Sand County Almanac....................266<br>Berton Rouech&eacute; The Fog....................295<br>Edwin Way Teale The Longest Day....................313<br>Helen and Scott Nearing from Living the Good Life....................318<br>Sigurd F. Olson Northern Lights....................323<br>E. B. White Sootfall and Fallout....................327<br>Loren Eiseley How Flowers Changed the World....................337<br>William O. Douglas from My Wilderness&#58; The Pacific West....................348<br>Dissent in Sierra Club v. Morton....................355<br>Jane Jacobs from The Death and Life of Great America Cities....................359<br>Rachel Carson from Silent Spring....................366<br>Russell Baker The Great Paver....................377<br>Eliot Porter The Living Canyon....................380<br>Howard Zahniser from The Wilderness Act of 1964....................392<br>Lyndon B. Johnson Remarks at the Signing of the Highway Beautification Act of 1965....................395<br>Kenneth E. Boulding from The Economics of the Coming Spaceship Earth....................399<br>Lynn White Jr. On the Historical Roots of Our Ecologic Crisis....................405<br>Edward Abbey Polemic&#58; Industrial Tourism and the National Parks....................413<br>Paul R. Ehrlich from The Population Bomb....................434<br>Garrett Hardin from The Tragedy of the Commons....................438<br>Philip K. Dick from Do Androids Dream of Electric Sheep?....................451<br>Colin Fletcher A Sample Day in the Kitchen....................454<br>R. Buckminster Fuller Spaceship Earth....................464<br>Stephanie Mills Mills College Valedictory Address....................469<br>Gary Snyder Smokey the Bear Sutra....................473<br>Covers the Ground....................477<br>Denis Hayes The Beginning....................480<br>Joseph Lelyveld Millions Join Earth Day Observances Across the Nation....................484<br>Joni Mitchell & Marvin Gage Big Yellow Taxi....................490<br>Mercy Mercy Me (The Ecology)....................491<br>John McPhee from Encounters with the Archdruid....................493<br>Friends of the Earth from Only One Earth....................500<br>Wendell Berry Manifesto&#58; The Mad Farmer Liberation Front....................505<br>The Making of a Marginal Farm....................507<br>Preserving Wildness....................516<br>Annie Dillard Fecundity....................531<br>Lewis Thomas The World's Biggest Membrane....................550<br>David R. Brower The Third Planet&#58; Operating Instructions....................555<br>Amory B. Lovins from Energy Strategy&#58; The Road Not Taken?....................559<br>N. Scott Momaday A First American Views His Land....................570<br>Leslie Marmon Silko from Ceremony....................582<br>R. Crumb A Short History of America....................591<br>Wes Jackson Outside the Solar Village&#58; One Utopian Farm....................595<br>Lois Marie Gibbs from Love Canal&#58; My Story....................609<br>Jonathan Schell from The Fate of the Earth....................622<br>William Cronon Seasons of Want and Plenty....................632<br>Alice Walker Everything Is a Human Being....................659<br>E. O. Wilson Bernhardsdorp....................671<br>C&eacute;sar Ch&aacute;vez Wrath of Grapes Boycott Speech....................690<br>Barry Lopez A Presentation of Whales....................696<br>W. S. Merwin Place....................716<br>Bill McKibben from The End of Nature....................718<br>Robert D. Bullard from Dumping in Dixie....................725<br>Mary Oliver The Summer Day....................737<br>Terry Tempest Williams from Refuge&#58; An Unnatural History of Family and Place....................739<br>Rick Bass from The Ninemile Wolves....................760<br>Alan Durning The Dubious Rewards of Consumption....................770<br>Scott Russell Sanders After the Flood....................781<br>George B. Schaller from The Last Panda....................790<br>Ellen Meloy The Flora and Fauna of Las Vegas....................793<br>Linda Hogan Dwellings....................809<br>David Abram from The Ecology of Magic....................815<br>Jack Turner The Song of the White Pelican....................835<br>Carl Anthony & Ren&eacute;e Soule A Multicultural Approach to Ecopsychology....................849<br>Al Gore Speech at the Kyoto Climate Change Conference....................855<br>Richard Nelson from Heart and Blood&#58; Living with Deer in America....................860<br>David Quammen Planet of Weeds....................874<br>Janisse Ray from Ecology of a Cracker Childhood....................898<br>Julia Butterfly Hill from The Legacy of Luna....................907<br>Calvin B. DeWitt from Inspirations for Sustaining Life on Earth&#58; Greeting Friends in Their Andean Gardens....................920<br>Sandra Steingraber from Having Faith....................929<br>Barbara Kingsolver Knowing Our Place....................939<br>Michael Pollan from The Omnivore's Dilemma....................948<br>Paul Hawken from Blessed Unrest....................961<br>Rebecca Solnit The Thoreau Problem....................971<br>Chronology....................997<br>Note on the Illustrations....................1005<br>Sources and Acknowledgments....................1015<br>Index....................1025<br><article> <h4>Gregory McNamee</h4>What truly sets the anthology apart is not the mix of the obscure and the familiar but McKibben's habit of enlisting voices whom we are not accustomed to thinking of as environmentalists or ecologists. I'd be willing to bet that this is the first work of nature writing to feature the drawings of R. Crumb, of Zap Comix fame, alongside lyrics by Marvin Gaye…Well selected, full of surprises and informed by McKibben's thoughtful commentary, <i>American Earth</i> is the first anthology of American nature writing to come close to the standard Thomas Lyon set two decades ago with <i>"This Incomperable Lande": A Book of American Nature Writing.</i> Ours is an incomparable land indeed, and McKibben's collection is a welcome reminder.<br> —The Washington Post </article> <article> <h4>Publishers Weekly</h4><p>In his introduction to this superb anthology, McKibben (<i>The End of Nature</i>) proposes that "environmental writing is America's most distinctive contribution to the world's literature." The collected pieces amply prove the point. Arranged chronologically, McKibben's selection of more than 100 writers includes some of the great early conservationists, such as Henry David Thoreau, John Muir and John Burroughs, and many other eloquent nature writers, including Donald Cultross Peattie, Edwin Way Teale and Henry Beston. The early exponents of national parks and wilderness areas have their say, as do writers who have borne witness to environmental degradation-John Steinbeck and Caroline Henderson on the dust bowl, for example, and Berton Roueché and others who have reported on the effects of toxic pollution. Visionaries like Buckminster Fuller and Amory Lovins are represented, as are a wealth of contemporary activist/writers, among them Barry Lopez, Terry Tempest Williams, Barbara Kingsolver, Michael Pollan, Paul Hawken, and Calvin deWitt, cofounder of the Evangelical Environmental Network. McKibben's trenchant introductions to the pieces sum up each writer's thoughts and form a running commentary on the progress of the conservation movement. The book, being published on Earth Day, can be read as a survey of the literature of American environmentalism, but above all, it should be enjoyed for the sheer beauty of the writing. 80-page color illus, not seen by <i>PW</i>. <i>(Apr. 22 [Earth Day])</i></p> Copyright 2007 Reed Business Information </article><article> <h4>School Library Journal</h4><p>Adult/High School- There have been some excellent collections of nature writing published in recent years (<i>The Norton Anthology of Nature Writing</i> is one fine example), but not until now has there been a definitive anthology of American environmental writing. In this superbly edited volume, McKibben draws a clear distinction between the two. The best of the latter often celebrates nature, but also asks searching questions about the impact of human life on the planet. After a poignant foreword by Al Gore, as well as his own illuminating introduction, McKibben begins with the work of a writer, thinker, and activist ahead of his time, Henry David Thoreau, and ends the volume with Rebecca Solnit's essay, "The Thoreau Problem." She notes that many people think of Thoreau only as a man alone observing nature, but the author of "Civil Disobedience," before enjoying his day of huckleberry picking, spent a night in jail rather than pay taxes to a government guilty of ignoring the higher laws of nature. This vast and varied collection, arranged chronologically, includes many seminal names, such as John Muir, Rachel Carson, and Wendell Berry, and some that are less well known or unexpected, like Benton MacKaye, Caroline Henderson, P. T. Barnum, and Philip K. Dick. Most of the selections derive from longer prose works, but there is also a smattering of poems, song lyrics, and cartoons. Although the heft of the volume might scare away some teens, others may realize that they could easily read bits and pieces, and that they would benefit greatly by any amount of time spent in these pages. Numerous photographs, many in full color, are included.-<i>Robert Saunderson, Berkeley Public Library,CA</i></p> </article>
66Best Poems of the English Language: From Chaucer Through Robert FrostHarold Bloom5<p>One of our most popular, respected, and controversial literary critics, Yale University professor Harold Bloom s books about, variously, Shakespeare, the Bible, and the classic literature are as erudite as they are accessible.</p>Harold Bloombest-poems-of-the-english-languageharold-bloom97800605404250060540427$15.79PaperbackHarperCollins PublishersAugust 2007ReprintPoetry, American Literature Anthologies, Anthologies, English, Irish, & Scottish Poetry10086.10 (w) x 9.20 (h) x 1.80 (d)<p>This comprehensive anthology attempts to give the common reader possession of six centuries of great British and American poetry. The book features a large introductory essay by Harold Bloom called "The Art of Reading Poetry," which presents his critical reflections of more than half a century devoted to the reading, teaching, and writing about the literary achievement he loves most. In the case of all major poets in the language, this volume offers either the entire range of what is most valuable in their work, or vital selections that illuminate each figure's contribution. There are also headnotes by Harold Bloom to every poet in the volume as well as to the most important individual poems. Much more than any other anthology ever gathered, this book provides readers who desire the pleasures of a sublime art with very nearly everything they need in a single volume. It also is regarded as his final meditation upon all those who have formed his mind.</p><b>The Best Poems of the English Language</b><br> From Chaucer Through Robert Frost <h3>Chapter One</h3> <h4>The Art of Reading Poetry</h4> <p>Poetry essentially is figurative language, concentrated so that its form is both expressive and evocative. Figuration is a departure from the literal, and the form of a great poem itself can be a trope ("turning") or figure. A common dictionary equivalent for "figurative language" is "metaphorical," but a metaphor actually is a highly specific figure, or turning from the literal. Kenneth Burke, a profound student of rhetoric, or the language of figures, distinguished four fundamental tropes: irony, synecdoche, metonymy, and metaphor. As Burke tells us, irony commits those who employ it to issues of presence and absence, since they are saying one thing while meaning something so different that it can be the precise opposite. We learn to wince when Hamlet says: "I humbly thank you" or its equivalent, since the prince generally is neither humble nor grateful.</p> <p>We now commonly call synecdoche "symbol," since the figurative substitution of a part for a whole also suggests that incompletion in which something within the poem stands for something outside it. Poets frequently identify more with one trope than with the others. Among major American poets, Robert Frost (despite his mass reputation) favors irony, while Walt Whitman is the great master of synecdoche.</p> <p>In metonymy, contiguity replaces resemblance, since the name or prime aspect of anything is sufficient to indicate it, provided it is near in space to what serves as substitute. Childe Roland, in Browning's remarkable monologue, is represented at the very end by the "slug-horn" ortrumpet upon which he dauntlessly blows: "Childe Roland to the Dark Tower came."</p> <p>Metaphor proper transfers the ordinary associations of one word to another, as when Hart Crane beautifully writes "peonies with pony manes," enhancing his metaphor by the pun between "peonies" and "pony." Or again Crane, most intensely metaphorical of poets, refers to the Brooklyn Bridge's curve as its "leap," and then goes on to call the bridge both harp and altar.</p> <p>Figurations or tropes create meaning, which could not exist without them, and this making of meaning is largest in authentic poetry, where an excess or overflow emanates from figurative language, and brings about a condition of newness. Owen Barfield's <i>Poetic Diction: A Study in Meaning</i> is one of the best guides to this process, when he traces part of the poetic history of the English word "ruin."</p> <p>The Latin verb <i>ruo</i>, meaning "rush" or "collapse," led to the substantive <i>ruina</i> for what had fallen. Chaucer, equally at home in French and English, helped to domesticate "ruin" as "a falling":</p> <blockquote>Min is the ruine of the highe halles,<br> The falling of the towers and of the walles.</blockquote> <p>One feels the chill of that, the voice being Saturn's or time's in "The Knight's Tale." Chaucer's disciple Edmund Spenser, has the haunting line:</p> <blockquote>The old ruines of a broken tower</blockquote> <p>My last selection in this book is Hart Crane's magnificent death ode, "The Broken Tower," in which Spenser's line reverberates. Barfield emphasizes Shakespeare's magnificence in the employment of "ruin," citing "Bare ruin'd choirs where late the sweet birds sang" from Sonnet 73, and the description of Cleopatra's effect upon her lover: "The noble ruin of her magic, Antony." I myself find even stronger the blind Gloucester's piercing outcry when he confronts the mad King Lear (IV, VI, 134–135):</p> <blockquote>O ruin'd piece of nature! This great world<br> Shall so wear out to nought.</blockquote> <p>Once Barfield sets one searching, the figurative power of "ruined" seems endless. Worthy of Shakespeare himself is John Donne, in his "A Nocturnal upon St. Lucy's Day," where love resurrects the poet to his ruin:</p> <blockquote>Study me then, you who shall lovers be<br> At the next world, that is, at the next spring:<br> For I am every dead thing,<br> In whom love wrought new alchemy.<br> For his art did express<br> A quintessence even from nothingness,<br> From dull privations, and lean emptiness<br> He ruined me, and I am re-begot<br> Of absence, darkness, death; things which are not.</blockquote> <p>Barfield invokes what he rightly calls Milton's "terrific phrase": "Hell saw / Heaven ruining from Heaven," and then traces Wordsworth's allusive return to Milton. Rather than add further instances, I note Barfield's insight, that the figurative power of "ruin" depends upon restoring its original sense of <i>movement</i>, of rushing toward a collapse. One of the secrets of poetic rhetoric in English is to romance the etonym (as it were), to renew what Walter Pater called the "finer edges" of words.</p> <i><b>The Best Poems of the English Language</b><br> From Chaucer Through Robert Frost</i>. Copyright © by Harold Bloom. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.<p><P>This comprehensive anthology attempts to give the common reader possession of six centuries of great British and American poetry. The book features a large introductory essay by Harold Bloom called "The Art of Reading Poetry," which presents his critical reflections of more than half a century devoted to the reading, teaching, and writing about the literary achievement he loves most. In the case of all major poets in the language, this volume offers either the entire range of what is most valuable in their work, or vital selections that illuminate each figure's contribution. There are also headnotes by Harold Bloom to every poet in the volume as well as to the most important individual poems. Much more than any other anthology ever gathered, this book provides readers who desire the pleasures of a sublime art with very nearly everything they need in a single volume. It also is regarded as his final meditation upon all those who have formed his mind.</p>
67Humor Me: An Anthology of Funny Contemporary Writing (Plus Some Great Old Stuff Too)Ian Frazier0<p><P>Ian Frazier is the author of many books, including <i>Great Plains</i>, <i>On the Rez</i>, <i>Coyote v. Acme</i>, <i>Dating Your Mom</i>, and, most recently, <i>Travels in Siberia</i>. A frequent contributor to <i>The New Yorker</i>, he has twice won the Thurber Prize for American Humor. He lives in Montclair, New Jersey.</p>Ian Frazierhumor-meian-frazier97800617289450061728942$25.99HardcoverHarperCollins PublishersMay 2010Humor, General<p><P><i>Humor Me</i> is a literary cavalcade of contemporary American funnymen&#151;and funnywomen&#151;of the page. Selected by the renowned humor-ist Ian Frazier and featuring more than fifty pieces of the greatest comic writing of our time, the book includes such masters of the form as Roy Blount, Jr., Bruce Jay Friedman, Veronica Geng, Jack Handey, Garrison Keillor, Steve Martin, and Calvin Trillin, as well as work by newer comic stars like Andy Borowitz, Larry Doyle, Simon Rich, George Saunders, and David Sedaris. <P>The pieces were published in the past thirty years in such popular magazines as <i>The New Yorker</i>, <i>McSweeney's</i>, <i>The Atlantic</i>, <i>National Lampoon</i>, and <i>Outside</i>. But the book also includes a handful of older comic masterpieces that nobody in need of a laugh should ever be without, among them classics by Bret Harte, Elizabeth Bishop, Donald Barthelme, and Mark Twain.</p>
68Coming of Age in America: A Multicultural AnthologyMary Frosch0<p><B>Mary Frosch</B> is also the editor of <I>Coming of Age Around the World</I> (The New Press). As a teacher at The Spence School she designed a world literature curriculum and helped implement the multicultural literature program. She divides her time between New York City and Santa Monica, California. <B>Gary Soto</B> is the author of over a dozen works of fiction and poetry. Winner of numerous prizes, including the 1985 National Book Award and a prize from the Academy of American Poets, Soto lives in Northern California.</p>Mary Frosch, Gary Sotocoming-of-age-in-americamary-frosch97815658414751565841476$16.41PaperbackNew Press, TheSeptember 2007ReprintPeoples & Cultures - American Anthologies, Ethnic & Minority Studies - United States2885.58 (w) x 8.28 (h) x 0.73 (d)<b>The acne and ecstasy of adolescence, a multicultural collection of short stories and fiction excerpts that <i>Library Journal</i> calls "wonderfully diverse from the standard fare."</b><br> <br> By turns touching and hilarious, the classic <i>Coming of Age in America</i> gathers together writers from fifteen different ethnic groups who, through their fiction, explore the terrain we all traverse as we come of age, no matter our race, ethnicity, gender, or class.<br> <br> With over twenty short stories and fiction excerpts by noted authors such as Julia Alvarez and Frank Chin, Dorothy Allison and Adam Schwartz, Reginald McNight and Tobias Wolff, <i>Coming of Age in America</i> shows that our common experiences are more binding than our differences are divisive. Since its initial publication in 1994, <i>Coming of Age in America</i> has evolved from a groundbreaking collection of underrepresented voices into a timeless album of unforgettable literature. Its editor, Mary Frosch, has since created a series of celebrated anthologies, including <i>Coming of Age Around the World</i> and the forthcoming <i>Coming of Age in the 21st Century</i>. A wonderfully readable collection, this is a marvelous resource for those looking for stories that illustrate the convergence of cultural experience and literature.<p><B>The acne and ecstasy of adolescence, a multicultural collection of short stories and fiction excerpts that <I>Library Journal</I> calls "wonderfully diverse from the standard fare."</B><BR><BR>By turns touching and hilarious, the classic <I>Coming of Age in America</I> gathers together writers from fifteen different ethnic groups who, through their fiction, explore the terrain we all traverse as we come of age, no matter our race, ethnicity, gender, or class.<BR><BR>With over twenty short stories and fiction excerpts by noted authors such as Julia Alvarez and Frank Chin, Dorothy Allison and Adam Schwartz, Reginald McNight and Tobias Wolff, <I>Coming of Age in America</I> shows that our common experiences are more binding than our differences are divisive. Since its initial publication in 1994, <I>Coming of Age in America</I> has evolved from a groundbreaking collection of underrepresented voices into a timeless album of unforgettable literature. Its editor, Mary Frosch, has since created a series of celebrated anthologies, including <I>Coming of Age Around the World</I> and the forthcoming <I>Coming of Age in the 21st Century</I>. A wonderfully readable collection, this is a marvelous resource for those looking for stories that illustrate the convergence of cultural experience and literature.</p><h3>Library Journal</h3><p>The 20-odd short stories and novel excerpts comprising this book are all previously published works, several from critically acclaimed authors like Tobias Wolff, Paule Marshall, and National Book Award finalist Dorothy Allison. Evocative of triumphs and tribulations we all experience during adolescence, this anthology shares needed perspectives that are wonderfully diverse from the standard fare that young adults are most often encouraged to digest. For a tiny, tempting sampling, try this beautiful description from ``Marigolds,'' Eugenia Collier's award-winning story: ``Memory is an abstract painting-it does not present things as they are but rather as they feel.'' This collection goes one better on Collier's metaphor for memory, presenting the coming-of-age years as they are and as they feel.-Faye A. Chadwell, Univ. of South Carolina Lib., Columbia</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Jacket</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Neighborhood</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Kind of Light That Shines on Texas</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Body Politic</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wrong Lunch Line</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jump or Dive</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Bastard Out of Carolina</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where Is It Written?</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer Water and Shirley</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Judgment Day</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Floating World</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yes, Young Daddy</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Going to School</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Spell of Kona Weather</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Means Switch</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from This Boy's Life</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eyes and Teeth</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Bag of Oranges</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from How the Garcia Girls Lost Their Accents</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Davita's Harp</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marigolds</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Suggestions for Further Reading</TD><TD WIDTH="10%" ALIGN="RIGHT">265</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Biographical Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD></table><article> <h4>Library Journal</h4>The 20-odd short stories and novel excerpts comprising this book are all previously published works, several from critically acclaimed authors like Tobias Wolff, Paule Marshall, and National Book Award finalist Dorothy Allison. Evocative of triumphs and tribulations we all experience during adolescence, this anthology shares needed perspectives that are wonderfully diverse from the standard fare that young adults are most often encouraged to digest. For a tiny, tempting sampling, try this beautiful description from ``Marigolds,'' Eugenia Collier's award-winning story: ``Memory is an abstract painting-it does not present things as they are but rather as they feel.'' This collection goes one better on Collier's metaphor for memory, presenting the coming-of-age years as they are and as they feel.-Faye A. Chadwell, Univ. of South Carolina Lib., Columbia </article>
69Three African-American Classics: Up from Slavery, The Souls of Black Folk and Narrative of the Life of Frederick DouglassBooker T. Washington0Booker T. Washington, Frederick Douglass, W.E.B. Du Bois, W. E. Du Boisthree-african-american-classicsbooker-t-washington97804864575740486457575$6.63PaperbackDover PublicationsFebruary 2007Teachers - General & Miscellaneous - Biography, Slavery - Social Sciences, Civil Rights - Movements & Figures, Historical Biography - United States - 19th Century, Civil Rights - African American History, Abolitionists - Biography, Slavery & Abolitionism4485.20 (w) x 8.20 (h) x 1.00 (d)Essential reading for students of African-American history, this collection represents&nbsp;three highly influential leaders. Washington and Douglass, both&nbsp;born into slavery, recount their rise from bondage to international recognition. Du Bois' landmark essays counsel a more aggressive approach to the civil rights movement.<p><p>Essential reading for students of African-American history, this collection represents&#160;three highly influential leaders. Washington and Douglass, both&#160;born into slavery, recount their rise from bondage to international recognition. Du Bois' landmark essays counsel a more aggressive approach to the civil rights movement.<p></p>
70100 Best African American Poems with CDNikki Giovanni6<p><P> Poet, activist, mother, and professor, Nikki Giovanni is a three-time NAACP Image Award winner and the first recipient of the Rosa Parks Woman of Courage Award, and holds the Langston Hughes Medal for Outstanding Poetry. The author of twenty-seven books and a Grammy nominee for <i>The Nikki Giovanni Poetry Collection</i>, she is the University Distinguished Professor/English at Virginia Tech in Blacksburg, Virginia, and an Oprah Living Legend.<P></i></p>Nikki Giovanni100-best-african-american-poems-with-cdnikki-giovanni97814022211181402221118$18.39Other FormatSourcebooks, IncorporatedNovember 2010Poetry Anthologies, American Poetry, American Literature Anthologies2568.40 (w) x 11.66 (h) x 0.94 (d)<p><b><i>Hear voices contemporary and classic as selected by</i></b> <b><i>New York Times</i></b> <b><i>bestselling author Nikki Giovanni</i></b></p> <p>Award-winning poet and writer Nikki Giovanni takes on the impossible task of selecting the 100 best African American works from classic and contemporary poets. Out of necessity, Giovanni admits she cheats a little, selecting a larger, less round number.</p> <p>The result is this startlingly vibrant collection that spans from historic to modern, from structured to freeform, and reflects the rich roots and visionary future of African American verse. These magnetic poems are an exciting mix of most-loved classics and daring new writing. From Gwendolyn Brooks and Langston Hughes to Tupac Shakur, Natasha Trethewey, and many others, the voice of a culture comes through in this collection, one that is as talented, diverse, and varied as its people.</p> <p>African American poems are like all other poems: beautiful, loving, provocative, thoughtful, and all those other adjectives I can think of. <i>Poems know no boundaries</i>. They, like all Earth citizens, were born in some country, grew up on some culture, then in their blooming became citizens of the Universe. <i>Poems fly from heart to heart</i>, head to head, to whisper a dream, to share a condolence, to congratulate, and to vow forever. The poems are true. They are translated and they are celebrated. They are sung, they are recited, they are <i>delightful</i>. They are neglected. They are forgotten. They are put away. Even in their fallow periods they sprout images. And fight to be revived. And spring back to life with a bit of sunshine and caring.<br> -Nikki Giovanni</p> <p class="null1"><u>Read</u></p> <ul> <li>Gwendolyn Brooks</li> <li>Kwame Alexander</li> <li>Tupac Shakur</li> <li>Langston Hughes</li> <li>Mari Evans</li> <li>Kevin Young</li> <li>Asha Bandele</li> <li>Amiri Baraka</li> </ul> <p class="null1"><u>Hear</u></p> <ul> <li>Ruby Dee</li> <li>Novella Nelson</li> <li>Nikki Giovanni</li> <li>Elizabeth Alexander</li> <li>Marilyn Nelson</li> <li>Sonia Sanchez</li> </ul> <p class="null2">And many, many, more</p> <p><b>Nikki Giovanni</b> is an award-winning poet, writer, and activist. She is the author of more than two dozen books for adults and children, including <i>Bicycles</i>, <i>Quilting the Black-Eyed Pea</i>, <i>Racism 101</i>, <i>Blues: For All the Changes</i>, and <i>Love Poems</i>. Her children's book-plus-audio compilation <i>Hip Hop Speaks to Children</i> was awarded the NAACP Image Award. Her children's book <i>Rosa</i>, a picture-book retelling of the Rosa Parks story, was a Caldecott Honor Book and winner of the Coretta Scott King Award. Both books were <i>New York Times</i> bestsellers. Nikki is a Grammy nominee for her spoken-word album <i>The Nikki Giovanni Poetry Collection</i> and has been nominated for the National Book Award. She has been voted Woman of the Year by <i>Essence</i>, <i>Mademoiselle</i>, and <i>Ladies' Home Journal</i>. She is a University Distinguished Professor at Virginia Tech, where she teaches writing and literature.</p><p>From the Introduction:</p> <p>Poems are like clouds on a June morning or two scoops of chocolate ice cream on a sugar cone in August...something everyone can enjoy. Or maybe poems are your cold feet in December on your lover's back...he is in agony but he lets your feet stay...something like that requires a bit of love. Or could it be that poems are exactly like Santa Claus...the promise, the hope, the excitement of a reward, no matter how small, for a good deed done...or a mean deed from which we refrained. The promise of tomorrow. I don't know. It seems that poems are essential. Like football to Fall, baseball to Spring, tennis to Summer, love Anytime. Something you don't think too much about until it is in Season. Then you deliciously anticipate the perfection. African American poems are like all other poems: beautiful, loving, provocative, thoughtful, and all those other adjectives I can think of.</p> <p>Poems know no boundaries. They, like all Earth citizens, were born in some country, grew up on some culture, then in their blooming became citizens of the Universe. Poems fly from heart to heart, head to head, to whisper a dream, to share a condolence, to congratulate, and to vow forever. The poems are true. They are translated and they are celebrated. They are sung, they are recited, they are delightful. They are neglected. They are forgotten. They are put away. Even in their fallow periods they sprout images. And fight to be revived. And spring back to life with a bit of sunshine and caring.</p> <p>These poems, this book, admit I cheated. The idea of <i>this</i> and no more would simply not work for me. I needed <i>these</i> plus <i>those</i>. My mother's favorite poem by Robert Hayden, plus James Weldon Johnson beginning a world that included the longing of the unfree for a loving God. My own fun "Ego Tripping" reaching to embrace Margaret Walker's "For My People." "Train Rides" and "Nikki-Rosa" read by old and loving friends. But also the newness: Novella Nelson lending that sultry voice to the youngsters; Ruby Dee bringing her brilliance to the Gwendolyn Brooks cycle. My Virginia Tech Family wanted to participate: our president Dr. Charles Steger reading "The Negro Speaks of Rivers," recognizing all our souls "have grown deep like the rivers." We celebrate our Hips; we See A Negro Lady at a birthday celebration. Our friends from James Madison University and West Virginia University came to celebrate poetry with us, too. I love these poems so much. The only other thing I would have loved is Caroline Kennedy reading "A Clean Slate."</p> <p>At the end of a loving day of laughter in Jeff Dalton's studio, when Clinton's makeup had taken forty years off some of us and twenty-five off others, we all came together with one last great cry: the Dean of our College; the Director of Honors; young, old, professional, professor, and recited in one great voice "We Real Cool." Yeah. We are. This book says Poetry Is For Everyone. What a Treat to be Snowbound with <i>The 100* Best African American Poems (*but I cheated)</i>.</p> <p>I did cheat.<br> It's true.<br> But I did not lie.</p> <p>Nikki Giovanni Poet<br> 12 December 2009</p><p>Award-winning poet and writer Nikki Giovanni takes on the difficult task of selecting the 100 best African-American works from classic and contemporary poets.</p><p>Dedication&#58; The Aunt&#58; xxi &#151; <b>Track 1</b><br> Mari Evans<p>1. For My People&#58; 1 &#151;<b> Track 2</b><br> Margaret Walker<p>2. Leroy&#58; 3<br> Amiri Baraka (LeRoi Jones)<p>3. Ars Poetica&#58; Nov. 7, 2008&#58; 4<br> L. Lamar Wilson<p>4. Ka'Ba&#58; 8<br> Amiri Baraka (LeRoi Jones)<p>5. When You Have Forgotten Sunday&#58; The Love Story&#58; 9 &#151; <b>Track 3</b><br> Gwendolyn Brooks<p>6. <br> The Sermon on the Warpland&#58; 11 &#151; <b>Track 4</b><br> Gwendolyn Brooks We Real Cool&#58; 12 &#151; <b>Track 5</b><br> Gwendolyn Brooks<p>7. <br> Jazz Baby Is It In You&#58; 13<br> Antoine Harris<br> "I Fade Into the Night"&#58; 14<br> Adam Daniel<p>8. Old Lem&#58; 15 &#151; <b>Track 6</b><br> Sterling A. Brown<p>9. I Am Accuse of Tending to the Past&#58; 17 &#151; <b>Track 7</b><br> Lucille Clifton<p>10. I Am A Black Woman&#58; 18 &#151;<b> Track 8</b><br> Mari Evans<p>11. Who Can Be Born Black?&#58; 20 &#151; <b>Track 9</b><br> Mari Evans<p>12. Nikka-Rosa&#58;21 &#151; <b>Track 10</b><br> Nikki Giovanni<p>13. Knoxville, Tennessee&#58; 23 &#151; <b>Track 11</b><br> Nikki Giovanni<p>14. The Dry Spell&#58; 24 &#151; <b>Track 12</b><br> Kevin Young<p>15. Those Winter Sundays&#58; 26 &#151; <b>Tracks 13 & 14</b><br> Robert Hayden<p>16. Frederic Douglass&#58; 27<br> Robert Hayden<p>17. The Negro Speaks of Rivers&#58; 28 &#151; <b>Track 15</b><br> Langston Hughes<p>18. Choosing the Blues&#58; 29<br> Angela Jackson<p>19. My Father's Love Letters&#58; 30<br> Yusef Komunyakaa<p>20. The Creation&#58; 32 &#151; <b>Track 16</b><br> James Weldon Johnson<p>21. A Negro Love Song&#58; 36<br> Paul Laurence Dunbar<p>22. Lift Every Voice and Sing&#58; 37<br> James Weldon Johnson<p>23. Go Down Death&#58; 39<br> James Weldon Johnson<p>24. Between Ourselves&#58; 42<br> Audre Lorde<p>25. The Union of Two&#58; 45<br> Haki R. Madhubuti<p>26. Ballad of Birmingham&#58; 46<br> Dudley Randall<p>27. A Poem to Complement Other Poems&#58; 48<br> Haki R. Madhubuti<p>28. No Images&#58; 51<br> Waring Cuney<p>29. Between the World and Me&#58; 52<br> Richard Wright<p>30. Theme for English B&#58; 54<br> Langston Hughes<p><b><i><u>31. Harlem Suite</u></i></b><br> Easy Boogie&#58; 56<br> Langston Hughes Dream Boogie&#58; 57<br> Langston Hughes Dream Boogie&#58; Variation&#58; 58<br> Langston Hughes Harlem&#58; 58<br> Langston Hughes Good Morning&#58; 59<br> Langston Hughes Same in Blues&#58; 60<br> Langston Hughes Island&#58; 61<br> Langston Hughes<p>32. The Blue Terrance&#58; 62<br> Terrance Hayes<p>33.<br> The Mother&#58; 64 &#151; <b>Track 17</b><br> Gwendolyn Brooks A Bronzeville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon&#58; 66<br> Gwendolyn Brooks &#151; <b>Track 18</b><br> The Last Quatrain of the Ballad of Emmett Till&#58; 72<br> Gwendolyn Brooks A Sunset of the City&#58; 73 &#151; <b>Track 19</b><br> Gwendolyn Brooks<p>34. Things I Carried Coming to the World&#58; 75<br> Remica L. Bingham<p>35. Topography&#58; 77<br> Remica L. Bingham<p>36. Beneath Me&#58; 79<br> Jericho Brown<p>37. Autobiography&#58; 80<br> Jericho Brown<p>38. Parable of the Sower&#58; 82<br> Pamela Sneed<p>39. Heritage&#58; 86<br> Countee Cullen<p>40. Yet I Do Marvel&#58; 91 &#151; <b>Track 20</b><br> Countee Cullen<p>41. Incident&#58; 92 &#151; <b>Track 21</b><br> Countee Cullen<p>42. We Wear the Mask&#58; 93 &#151; <b>Track 22</b><br> Paul Laurence Dunbar<p>43. Triple&#58; 94<br> Georgia Douglas Johnson<p>44. The Heart of a Woman&#58; 95 &#151; <b>Track 23</b><br> Georgia Douglas Johnson<p>45. Woman With Flower&#58; 96<br> Naomi Long Madgett<p>46. The Idea of Ancestry&#58; 97<br> Etheridge Knight<p>47. Don't Say Goodbye to the Porkpie Hat&#58; 99<br> Larry Neal<p>48. Cleaning&#58; 105<br> Camille T. Dungy<p>49. Boston Year&#58; 106 &#151; <b>Track 24</b><br> Elizabeth Alexander<p>50. She Wears Red&#58; 107<br> Jackie Warren-Moore<p>51. Commercial Break&#58; Road-Runner, Uneasy&#58; 110<br> Tim Seibles<p>52. Before Making Love&#58; 114<br> Toi Derricotte<p>53. Be-Bop&#58; 115<br> Sterling Plumpp<p>54. Personal Letter No. 3&#58; 116 &#151; <b>Track 25</b><br> Sonia Sanchez<p>55. Poem at Thirty&#58; 117 &#151; <b>Track 26</b><br> Sonia Sanchez<p>56. A Poem for Sterling Brown&#58; 118 &#151; <b>Track 27</b><br> Sonia Sanchez<p>57. Marchers Headed for Washington, Baltimore, 1963&#58; 120<br> Remica L. Bingham<p>58. And Yeah...This is a Love Poem&#58; 123<br> Nikki Giovanni<p>59. The Carousel&#58; 123<br> Gloria C. Oden<p>60. Only Everything I Own&#58; 127<br> Patricia Smith<p>61. Lot's Daughter Dreams of Her Mother&#58; 128 &#151; <b>Track 28</b><br> Opal Moore<p>62. The Girlfriend's Train&#58; 131<br> Nikky Finney<p>63. Back from the Arms of Big Mama&#58; 136<br> Afaa Michael Weaver<p>64. Mama's Promise&#58; 139 &#151; <b>Track 29</b><br> Marilyn Nelson<p>65. Bop&#58; A Whistling Man&#58; 142<br> Lyrae Van Clief-Stefanon<p>66. Homage to My Hips&#58; 144 &#151; <b>Track 30</b><br> Lucille Clifton<p>67. Train Ride&#58; 145<br> Kwame Dawes<p>68. Train Rides&#58; 148 &#151; <b>Track 31</b><br> Nikki Giovanni<p>69. A Great Grandaddy Speaks&#58; 153<br> Lamonte B. Steptoe<p>70. Eddie Priest's Barbershop & Notary&#58; 154<br> Kevin Young<p>71. View of the Library of Congress From Paul Laurence Dunbar High School&#58; 156<br> Thomas Sayers Ellis<p>72. Drapery Factory, Gulfport, Mississippi, 1956&#58; 159 &#151; <b>Track 32</b><br> Natasha Trethewey<p>73. Some Kind of Crazy&#58; 161<br> Major Jackson<p>74. From&#58; 163<br> A. Van Jordan<p>75. Freedom Candy&#58; 165<br> E. Ethelbert Miller<p>76. The Supremes&#58; 167<br> Cornelius Eady<p><b><i><u>77. Jazz Suite</u></i></b><br> Nikki Save Me&#58; 169<br> Michael Scott<br> "Nikki, If You Were a Song..."&#58; 170 &#151; <b>Track 33</b><br> Kwame Alexander Haiku&#58; 170<br> DJ Renegade Untitled&#58; 170<br> Nadir Lasana Bomani<br> "I Wish I Could've Seen It..."&#58; 171<br> Leodis McCray<p>78. That Some Mo'&#58; 174<br> DJ Renegade<p>79. Sometime in the Summer There's October&#58; 175<br> Kwame Alexander<p>80. Dancing Naked on the Floor&#58; 178<br> Kwame Alexander<p>81. Harriet Tubman's Email 2 Master&#58; 180<br> Truth Thomas<p>82. A River That Flows Forever&#58; 181 &#151; <b>Track 34</b><br> Tupac Shakur<p>83. The Rose that Grew from Concrete&#58; 181 &#151; <b>Track 34</b><br> Tupac Shakur<p>84. Rochelle&#58; 182<br> Reuben Jackson<p>85. All Their Stanzas Look Alike&#58; 183<br> Thomas Sayers Ellis<p>86. From the Center to the Edge&#58; 185<br> Asha Bandele<p>87. The Subtle Art of Breathing&#58; 187<br> Asha Bandele<p>88. Southern University, 1963&#58; 192<br> Kevin Young<p>89. Poetry Should Ride the Bus&#58; 195<br> Ruth Forman<p>90. Blues for Spring&#58; 197<br> Colleen J. McElroy<p>91. The Bicycle Wizard&#58; 198<br> Sharon Strange<p>92. Bicycles&#58; 199<br> Nikki Giovanni<p>93. A Clean Slate&#58; 200<br> Fred D'Aguiar<p>94. Song Through the Wall&#58; 201<br> Akua Lezli Hope<p>95. A Seat Saved&#58; 203<br> Shana Yarborough<p>96. Sunday Greens&#58; 205<br> Rita Dove<p>97. The Untitled Superhero Poem&#58; 206<br> Tonya Maria Matthews<p>98. Mercy Killing&#58; 209 &#151; <b>Track 35</b><br> Remica L. Bingham<p>99. If You Saw a Negro Lady&#58; 210<br> June Jordan<p>100. Ego Tripping (There May Be a Reason Why)&#58; 212 &#151; <b>Track 36</b><br> Nikki Giovanni<p><article> <h4>From Barnes & Noble</h4><p>In this multimedia anthology, editor Nikki Giovanni brings together the words and sounds of one hundred superlative African American poems from Phillis Wheatley to the present. This book and CD package can be beginning of a lifetime's conversation with inspiring poetry.</p> </article>
71Six American Poets: An AnthologyJoel Conarroe0<p><P>The author of books and essays about American poetry and fiction and the editor <b>Six American Poets</b>, Joel Conarroe is president of the John Simon Guggenheim Memorial Foundation, which awards fellowships to artists and scholars. He has previously served as chairman of the English department and dean of arts and sciences at the University of Pennsylvania and as executive director fo the Modern Language Association. He has earned degrees from Davidson College, Cornell University, and New York University, and has been awarded honorary doctorates by several institutions.</p>Joel Conarroesix-american-poetsjoel-conarroe97806797452590679745254$12.24PaperbackKnopf Doubleday Publishing GroupDecember 19931st Vintage Books edPoetry, American Literature Anthologies, Anthologies3205.17 (w) x 7.96 (h) x 0.65 (d)<p>Here are the most enduring works of six great American poets, collected in a single authoritative volume. From the overflowing pantheism of Walt Whitman to the exquisite precision of Emily Dickinson; from the democratic clarity of William Carlos Williams to the cerebral luxuriance of Wallace Stevens; and from Robert Frost's deceptively homespun dramatic monologues to Langston Hughes's exuberant jazz-age lyrics, this anthology presents the best work of six makers of the modern American poetic tradition. <b>Six American Poets</b> includes 247 poems, among them such famous masterpieces as "I Hear America Singing," "The Idea of Order at Key West," "The Dance," and "Mending Wall," as well as lesser-known works. With perceptive introductory essays by the distinguished scholar Joel Conarroe and selections that capture the distinctive voices and visions of its authors, this volume is an invaluable addition to any poetry library.</p><p><P>Here are the most enduring works of six great American poets, collected in a single authoritative volume. From the overflowing pantheism of Walt Whitman to the exquisite precision of Emily Dickinson; from the democratic clarity of William Carlos Williams to the cerebral luxuriance of Wallace Stevens; and from Robert Frost's deceptively homespun dramatic monologues to Langston Hughes's exuberant jazz-age lyrics, this anthology presents the best work of six makers of the modern American poetic tradition. <b>Six American Poets</b> includes 247 poems, among them such famous masterpieces as &quot;I Hear America Singing,&quot; &quot;The Idea of Order at Key West,&quot; &quot;The Dance,&quot; and &quot;Mending Wall,&quot; as well as lesser-known works. With perceptive introductory essays by the distinguished scholar Joel Conarroe and selections that capture the distinctive voices and visions of its authors, this volume is an invaluable addition to any poetry library.</p><h3>Publishers Weekly</h3><p>A collection of famous and lesser-known poems by Whitman, Dickinson, Williams, Stevens, Frost and Hughes. (Dec.)</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>A collection of famous and lesser-known poems by Whitman, Dickinson, Williams, Stevens, Frost and Hughes. (Dec.) </article> <article> <h4>Library Journal</h4>Unlike most recent anthologies of American poetry--which, because they are directed largely at an audience of other poets, strive frantically to be as inclusive as possible--Conarroe's selection aims at ``the general reader interested in being introduced, in an unhurried way, to some major voices.'' Selections are from America's greatest and most representative poets: Walt Whitman, Emily Dickinson, Wallace Stevens, William Carlos Williams, Robert Frost, and Langston Hughes. Though one may cavil at particular omissions or inclusions, especially the practice of excerpting Whitman's ``Song of Myself,'' Conarroe's anthology is a superb introduction to the pleasures of poetry for the general reader. The fine introduction and prefaces provide added assistance to those who, starting here, will doubtlessly want to continue ex ploring poetry. Highly recommended. BOMC selection.-- Frank J. Lepkowski, Oakland Univ., Rochester, Mich. </article>
72Norton Anthology of Literature by Women: The Traditions in EnglishSandra M. Gilbert0<p><b>Sandra M. Gilbert</b> is the author of numerous volumes of criticism and poetry, as well as a memoir. She is coeditor (with Susan Gubar) of <i>The Norton Anthology of Literature by Women</i>. A Distinguished Professor of English emerita at the University of California, Davis, she lives in Berkeley, California.<P><b>Susan Gubar</b> (Ph.D. University of Iowa) is a Distinguished Professor at Indiana University, where she has won numerous teaching awards, most recently the Faculty Mentor Award from the Indiana University Graduate and Professional Student Organization. In addition to her critical collaboration with Sandra Gilbert, she is the author of <b>Racechanges&#58; White Skin, Black Face in American Culture</b> (1997), <b>Critical Condition&#58; Feminism at the Turn of the Century</b> (2000), <b>Poetry After Auschwitz&#58; Remembering What One Never Knew</b> (2003), and <b>Rooms of Our Own</b> (2006), and editor of the first annotated edition of Woolf's <b>A Room of One's Own</b> (2005).</p>Sandra M. Gilbert (Editor), Norton, Susan Gubar, Susan Gubarnorton-anthology-of-literature-by-womensandra-m-gilbert97803939301530393930157$70.64PaperbackNorton, W. W. & Company, Inc.February 20073rd EditionAmerican Literature Anthologies, Anthologies24526.00 (w) x 9.30 (h) x 3.30 (d)Long the standard teaching anthology, the landmark Norton Anthology of Literature by Women has introduced generations of readers to the rich variety of women’s writing in English. Now, the much-anticipated Third Edition responds to the wealth of writing by women across the globe with the inclusion of 61 new authors (219 in all) whose diverse works span six centuries. A more flexible two-volume format and a versatile new companion reader make the Third Edition an even better teaching tool.<p>Long the standard teaching anthology, the landmark <b>Norton Anthology of Literature by Women</b> has introduced generations of readers to the rich variety of women&rsquo;s writing in English.</p>
73Multicultural Children's Literature: Through the Eyes of Many ChildrenDonna E. Norton0Donna E. Nortonmulticultural-childrens-literaturedonna-e-norton97801351452890135145287$46.00PaperbackPrentice HallMarch 20083rd EditionLiterary Criticism, Children's Literature<p><P>This book includes both a large source for and section on how to use multicultural literature with students, as well as the latest in research and issues related to the topic. The materials noted in the book are both authentic and non-stereotyped. The book develops techniques that encourage higher thought processes, helping adults evaluate literature to determine authenticity and an understanding of the various cultures.</p><P><b><p>1. Introduction to Multicultural Literature<p></b>Developing a Study of Multicultural Literature<p>Availability of High Quality Multicultural Literature<p><b><p>2. African American Literature<p></b>Issues Related to African American Literature<p>Changing Availability of Quality Literature<p>Authors Who Write and Illustrate African American Literature<p>Traditional Literature<p>Historical Nonfiction and Fiction<p>African American Poetry<p>Involving Children with African American Literature<p><b><p>3. Native American Literature<p></b>Authors Who Write and Illustrate Native American Literature<p>Issues Related to Native American Literature<p>Traditional Literature<p>Historical Nonfiction and Fiction<p>Native American Poetry<p>Contemporary Realistic Fiction<p>Nonfiction Informational Books<p>Involving Children with Native American Literature<p><b><p>4. Latino Literature<p></b>Historical Perspectives<p>Authors Who Write and Illustrate Latino Literature<p>Values in Latino Culture<p>Folklore<p>Historical Nonfiction and Fiction<p>Contemporary Realistic Fiction and Nonfiction<p>Involving Children with Latino Literature<p><b><p>5. Asian Literature<p></b>Values That Are Part of the Cultures<p>Concerns Over Stereotypes in Literature from the Past<p>Asian Folklore<p>Early History of the People and the Culture<p>Poetry<p>Contemporary Literature with Asian Roots<p>Involving Children with Asian Literature<p>Visualizing Chinese Art<p>Writing Connections with Asian Literature<p><b><p>6. Jewish Literature<p></b>What Does It Mean to Be Jewish?<p>Folklore and Ancient Stories of the Jewish People<p>Early History of the Jewish People<p>Applying Knowledge Gained About Jewish Folklore<p>Years of Emigration and Immigration<p>The Holocaust in Children&#39;s and Young Adult Literature<p>Jewish Poetry<p>Contemporary Jewish Literature<p>Involving Children with Jewish Literature<p><b><p>7. Middle Eastern Literature<p></b>Historical Perspectives<p>Authors Who Write and Illustrate Middle Eastern Literature<p>Values Identified in the Culture and Literature<p>Folklore and Ancient Stories from the Middle East<p>Early History<p>Contemporary Literature with Middle Eastern Roots<p>Involving Children with Middle Eastern Literature<p>Visualizing Middle Eastern Art<p>Writing Connections with Middle Eastern Literature<p>
74The Voice That Is Great within Us: American Poetry of the Twentieth CenturyHayden Carruth0Hayden Carruth, Susan Kagen Podellthe-voice-that-is-great-within-ushayden-carruth97805532626360553262637$8.40Mass Market PaperbackRandom House Publishing GroupSeptember 1983ReprintPoetry Anthologies, American Poetry, American Literature Anthologies7684.15 (w) x 6.85 (h) x 1.25 (d)This famous anthology includes the works of more than 130 major American poets of the modern period--Robert Frost, Paul Goodman, Carl Sandburg and Gwendolyn Brooks among them--along with short biographies of each.<b>ROBERT FROST (1875-1963)</b> <p>Born in San Francisco, Frost moved to New England ten years later upon the death of his father, and in effect remained there the rest of his life, becoming the New Englander par excellence of his age. Yet his early life was not notably successful. Twice interrupted in attempts to secure a college degree, he farmed for a while in New Hampshire, worked as a mill hand, a schoolteacher, a newspaperman. His first poem was published in 1894; but during the next twenty years his work was consistently rejected by American editors.</p> <p>Finally, discouraged but still determined, Frost went to England in 1912, and there won the support of influential poets and critics, including Ezra Pound. His first two books, <b>A Boy's Will</b> (1913) and <b>North of Boston</b> (1914), were published in London. In 1915 he returned to America. Thereafter his success was unquestioned: he won many honors, including four Pulitzer Prizes for poetry, and became not only the most popular serious poet in the country but one of the most generally respected among fellow writers. Frost's poetic practice was based on what he called "sentence sounds," the natural tones and rhythms of speech cast loosely against standard poetic forms. Conventional as it may seem today, it was a new departure in its time, making Frost a distinctly modern poet. Similarly his combination of Emersonian spiritual aspiration with back-country Yankee pragmatism placed him squarely among his contemporaries, to whom his metaphysically probing Iyrics and narratives, sometimes cynical or playful but often genuinely anguished, spoke with force. These factors, together with his superb poetic gift, make him dominant in the American tradition, a figure with whom younger poets, even the most rebellious, must come to terms.</p> <p><b>Complete Poems of Robert Frost</b>. Holt, Rinehart &amp; Winston, 1949 ff.</p> <p>MENDING WALL</p> <p>Something there is that doesn't love a wall,<br> That sends the frozen-ground-swell under it,<br> And spills the upper boulders in the sun;<br> And makes gaps even two can pass abreast.<br> The work of hunters is another thing:<br> I have come after them and made repair Where they have left not one stone on a stone,<br> But they would have the rabbit out of hiding,<br> To please the yelping dogs. The gaps I mean,<br> No one has seen them made or heard them made,<br> But at spring mending-time we find them there.<br> I let my neighbor know beyond the hill;<br> And on a day we meet to walk the line And set the wall between us once again.<br> We keep the wall between us as we go.<br> To each the boulders that have fallen to each.<br> And some are loaves and some so nearly balls We have to use a spell to make them balance:<br> 'Stay where you are until our backs are turned!'<br> We wear our fingers rough with handling them.<br> Oh, just another kind of outdoor game,<br> One on a side. It comes to little more:<br> There where it is we do not need the wall:<br> He is all pine and I am apple orchard.<br> My apple trees will never get across And eat the cones under his pines, I tell him.<br> He only says, 'Good fences make good neighbors.'<br> Spring is the mischief in me, and I wonder If I could put a notion in his head:<br> <i>'Why</i> do they make good neighbors? Isn't it Where there are cows? But here there are no cows.<br> Before I built a wall I'd ask to know What I was walling in or walling out,<br> And to whom I was like to give offense.<br> Something there is that doesn't love a wall That wants it down.' I could say 'E1ves' to him,<br> But it's not elves exactly, and I'd rather He said it for himself. I see him there Bringing a stone grasped firmly by the top In each hand, like an old-stone savage armed.<br> He moves in darkness as it seems to me,<br> Not of woods only and the shade of trees.<br> He will not go behind his father's saying,<br> And he likes having thought of it so well He says again, 'Good fences make good neighbors.'</p> <p class="null1">CARL SANDBURG (1878-1967)</p> <p>The son of Swedish immigrants, Sandburg grew up in Galesburg, Ill., a railroad town, where he attended school until he was thirteen, then dropped out and wandered for years through the West and Midwest, working at varied jobs. He served in the Spanish-American War and for a while attended college. Finally he settled in Milwaukee, where he married, became a Socialist and a newspaperman, and began devoting himself seriously to poetry. In 1913 he moved to Chicago. Harriet Monroe, founder of <i>Poetry,</i> gave his work a prominent place in her magazine, where it attracted attention for its robust and Whitmanesque freedom. Two books, <b>Chicago Poetry</b> (1916) and <b>Cornhuskers</b> (1918), assured his reputation. During the twenties and thirties Sandburg toured widely, lecturing, reading his poems, singing and collecting folk songs, playing his guitar. His two collections, <b>The American Songbag</b> (1927) and <b>The New American Songbag</b> (1950), are important contributions to folklore. At the same time he became deeply interested in the life and achievement of Abraham Lincoln, and spent many years in producing a multi-volume biography. In addition his works include several first-rate books for children (the Rootabaga series), novels, autobiographies, screen plays, and much journalism. Sandburg's poetry was scorned during his middle and later life by the European-oriented critics of the time, and in part rightly so; he wrote too much and too facilely. But some of his early poems have a fresh vision and incantatory vigor that remain firm. In style, attitude, and temperament, he was closer to the young poets of today than most of them recognize.</p> <p><b>Complete Poems</b>. Harcourt, Brace, 1950.</p> <p>CHICAGO</p> <p>Hog Butcher for the World,<br> Tool Maker, Stacker of Wheat,<br> Player with Railroads and the Nation's Freight Handler; Stormy, husky, brawling,<br> City of the Big Shoulders:<br> They tell me you are wicked and I believe them, for I have seen your painted women under the gas lamps hiring the farm boys.<br> And they tell me you are crooked and I answer: Yes, it is true I have seen the gunman kill and go free to kill again.<br> And they tell me you are brutal and my reply is: On the faces of women and children I have seen the marks of wanton hunger.<br> And having answered so I turn once more to those who sneer at this my city, and I give them back the sneer and say to them:<br> Come and show me another city with lifted head singing so proud to be alive and coarse and strong and cunning.<br> Flinging magnetic curses amid the toil of piling job on job, here is a tall bold slugger set vivid against the little soft cities;<br> Fierce as a dog with tongue lapping for action, cunning as a savage pitted against the wilderness,<br> Bareheaded,<br> Shoveling,<br> Wrecking,<br> Planning,<br> Building, breaking, rebuilding,<br> Under the smoke, dust all over his mouth, laughing with white teeth,<br> Under the terrible burden of destiny laughing as a young man laughs,<br> Laughing even as an ignorant fighter laughs who has never lost a battle,<br> Bragging and laughing that under his wrist is the pulse, and under his ribs the heart of the people,<br> Laughing!<br> Laughing the stormy, husky, brawling laughter of Youth, half-naked, sweating, proud to be Hog Butcher, Tool Maker, Stacker of Wheat, Player with Railroads and Freight Handler to the Nation.</p> <p class="null1">WALLACE STEVENS (1879-1955)</p> <p>Stevens determined, early in life, to create a life-style that would accommodate his first vocation, poetry. The course he chose would have seemed paradoxical to many, but not to him. He studied law, entered the insurance business at Hartford, Conn., and spent a number of years working upward to an executive position and a life of affluence. Consequently his first book, <b>Harmonium</b> (1923), did not appear until he was forty-three years old; but then it made an immediate hit. Many of its poems became favorites: "Hibiscus on the Sleeping Shores," "Sunday Morning," "The Emperor of Ice-Cream," "Tea at the Palaz of Hoon," "Sea Surface Full of Clouds," etc. They were as exotic as their titles; full of tropical imagery and unusual diction, armored in brilliant stylized rhetoric; but despite their ornamentation they dealt with disturbing themes, particularly man's attempt to find, or create, meaning in a universe from which the spiritual rationale had apparently departed. For Stevens, the way lay through aesthetic experience; yet he was never merely willing to substitute art for reality. The real world, he insisted, was the "necessary angel" who announced to imaginative man the plenitude of hie. As his books succeeded one another, perceptive readers saw that although the famous stylization of the early poems had moderated, the new work was more exact, better integrated, and more profoundly felt. Indeed some of Stevens's most moving poems, written in his last years, were not published until after his death, in a volume which also contains bis "Adagia", brilliant prose aphorisms and philosophical aperçus. No other poetry of the twentieth century has been more consistently, flawlessly individual; none has been more attractive; none has been harder to imitate. Hence the influence of Stevens on younger poets, though pervasive, has been indirect.</p> <p><b>The Collected Poems of Wallace Stevens</b>. Knopf, 1954.<br> <b>Opus Posthumous</b>. Ed. Samuel French Morse. Knopf, 1957.<br> <b>The Necessary Angel</b>. (Essays.) Knopf, 1951.<br> <b>Selected Letters of Wallace Stevens</b>. Ed Holly Stevens. Knopf, 1966.</p> <p>THE HOUSE WAS QUIET AND THE WORLD WAS CALM</p> <p>The house was quiet and the world was calm.<br> The reader became the book; and summer night</p> <p>Was like the conscious being of the book.<br> The house was quiet and the world was calm.</p> <p>The words were spoken as if there was no book,<br> Except that the reader leaned above the page,</p> <p>Wanted to lean, wanted much most to be The scholar to whom his book is true, to whom</p> <p>The summer night is like a perfection of thought.<br> The house was quiet because it had to be.</p> <p>The quiet was part of the meaning, part of the mind:<br> The access of perfection to the page.</p> <p>And the world was calm. The truth in a calm world,<br> In which there is no other meaning, itself</p> <p>Is calm, itself is summer and night, itself Is the reader leasing late and reading there.</p> <p>"Mending Wall" by Robert Frost. From <b>Complete Poems of Robert Frost</b>. Copyright © 1916, 1923 by Holt, Rinehart &amp; Winston, Inc. Copyright © 1936, 1942 by Robert Frost. Copyright © 1964 by Leslie Frost Ballantine. Reprinted by permission of Holt, Rinehart &amp; Winston, Inc.</p> <p>"Chicago" by Carl Sandburg. From <b>Chicago Poems</b>. Copyright © by Holt, Rinehart &amp; Winston, Inc. Copyright © by Carl Sandburg. Reprinted by permission of Holt, Rinehart &amp; Winston, Inc.</p> <p>"The House Was Quiet and the World Was Calm" by Wallace Stevens. From <b>The Collected Poems of Wallace Stevens</b>. Copyright © 1942, 1947 by Wallace Stevens. Reprinted by permission of Alfred A. Knopf, Inc.</p><p>This famous anthology includes the works of more than 130 major American poets of the modern period--Robert Frost, Paul Goodman, Carl Sandburg and Gwendolyn Brooks among them--along with short biographies of each.</p>
75Poems That Touch the HeartA.L. Alexander0A.L. Alexander, A. L. Alexander (Introduction), A. L. Alexanderpoems-that-touch-the-hearta-l-alexander97803850440110385044011$14.99HardcoverKnopf Doubleday Publishing GroupOctober 1984ENLARGEDPoetry Anthologies, American Poetry, American Literature Anthologies, Inspirational & Religious Poetry - General & Miscellaneous4645.79 (w) x 8.54 (h) x 1.55 (d)<p>With over 650,000 copies in print, <i>Poems That Touch The Heart</i> is America's most popular collection of inspirational verse.</p>
76I Thought My Father Was God: And Other True Tales from NPR's National Story ProjectPaul Auster7<p>Paul Auster's unique novels are often like Chinese boxes, continually opening further to reveal new layers. He approaches his writing as he has approached his life, to an extent: as something of a nomad in a perpetually changing, mysterious landscape.</p>Paul Auster, Nelly Reifleri-thought-my-father-was-godpaul-auster97803124210070312421001$12.29PaperbackPicadorSeptember 2002REVShort Story Anthologies, Historical Biography - United States - General & Miscellaneous, World History - General & Miscellaneous, American Literature Anthologies4165.50 (w) x 8.31 (h) x 0.76 (d)<p>The true-life stories in this unique collection provide "a window into the American mind and heart" (<i>The Daily News</i>). One hundred and eighty voices - male and female, young and old, from all walks of life and all over the country - talk intimately to the reader. Combining great humor and pathos this remarkable selection of stories from the thousands submitted to NPR's <i>Weekend All Things Considered</i> National Story Project gives the reader a glimpse of America's soul in all its diversity.</p><p>I told the listeners that I was looking for stories. The stories had to be true, and they had to be short, but there would be no restrictions as to subject matter or style. What interested me most, I said, were stories that defied our expectations of the world, anecdotes that revealed the mysterious and unknowable forces at work in our lives, in our family histories, in our minds and bodies, in our souls . . . I was hoping to put together an archive of facts, a museum of American reality.</p> <p>More than ever, I have come to appreciate how deeply and passionately most of us live within ourselves. Our attachments are ferocious. Our loves overwhelm us, define us, obliterate the boundaries between ourselves and others. —from the Prologue</p> <p>So there was Mr. Bernhauser yelling at us to get the hell out of his tree, and my father asked him what the problem was. Mr. Bernhauser took a deep breath and launched into a diatribe about thieving kids, breakers of rules, takers of fruit, and monsters in general. I guess my father had had enough, for the next thing he did was shout at Mr. Bernhauser and tell him to drop dead. Mr. Bernhauser stopped screaming, looked at my father, turned bright red, then purple, grabbed his chest, turned gray, and slowly folded to the ground. I thought my father was God. That he could yell at a miserable old man and make him die on command was beyond my comprehension. —Robert Winnie Bonners Ferry, Idaho</p><p>A truly captivating collection of 180 real stories written by NPR radio listeners&#151;stories that, in editor Paul Auster's words, defy "our expectations about the world and reveal[ed] the mysterious and unknowable forces at work in our lives." <P>Annotation &copy; Book News, Inc., Portland, OR</p><h3>Book Magazine</h3><p>Two years ago, on National Public Radio's "Weekend All Things Considered," Auster introduced the National Story Project. In an attempt "to put together an archive of facts, a museum of American reality," he welcomed anyone to submit a story, following two rules: it must be true and it must be short. This book collects 179 stories-Auster calls them "reports from the frontlines of personal experience"-picked from over 4,000 entries. There is the unassuming yet beautiful portrait of a summer afternoon in a 1960s Manhattan neighborhood; the story of a man given leave after fifteen years in prison to attend his grandmother's funeral; and a homeless woman's account of her living situation. There are impossible coincidences, eerie omens and visions, and tales of love and war and family and death. <BR> Ted Waitt <BR> <BR></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Chicken</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rascal</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Yellow Butterfly</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Python</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pooh</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New York Stray</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pork Chop</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">B</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Loves</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rabbit Story</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carolina</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Andy and the Snake</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blue Skies</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Exposure</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vertigo</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Star and Chain</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Radio Gypsy</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Bicycle Story</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandmother's China</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bass</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother's Watch</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Case Closed</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Photo</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">MS. Found in an Attic</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tempo Primo</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lesson Not Learned</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Family Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Rocking Chair</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Unicycle</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moccasins</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Striped Pen</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Doll</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Videotape</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Purse</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Gift of Gold</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rainout</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Isolation</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Connections</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wednesday Before Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How My Father Lost His Job</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Danny Kowalski</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Revenge</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chris</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Put Your Little Foot</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aunt Myrtle</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">American Odyssey</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Plate of Peas</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wash Guilt</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Double Sadness</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Picture of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Margie</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Thousand Dollars</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Taking Leave</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Act of Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bicoastal</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Felt Fedora</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Man vs. coat</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">That's Entertainment</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cake</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Riding With Andy</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sophisticated Lady</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My First Day in Priest Clothes</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jewish Cowboy</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Win Friends and Influence People</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Your Father Has the Hay Fever</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lee Ann and Holly Ann</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Am Antifur</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Airport Story</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tears and Flapdoodle</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Club Car</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bronx Cheer</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Day in Higley</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dancing on Seventy-fourth Street</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Bill</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Greyhounding</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Little Story about New York</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mistake</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Forwarding Address</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The New Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Iceman of Market Street</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Me and the Babe</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lives of the Poets</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Land of the Lost</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rainbow</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rescued by God</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Story</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Small World</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Morning, 1949</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brooklyn Roberts</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">$1,380 per Night, Double Occupancy</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Shot in the Light</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snow</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fastest Man in the Union Army</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas, 1862</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mount Grappa</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Savenay</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fifty Years Later</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Was the Same Age as My Sister</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Betting on Uncle Louie</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ten-Goal Player</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Hand</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">August 1945</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Autumn Afternoon</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Thought My Father Was God</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Celebration</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas, 1945</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Trunk Full of Memories</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Walk in the Sun</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Shot in the Dark</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Confessions of a Mouseketeer</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Forever</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Utah, 1975</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What If?</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mysteries of Tortellini</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Involuntary Assistant</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Plot</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mathematical Aphrodisiac</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Table for Two</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Suzy's Choosy</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Top Button</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lace Gloves</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Susan's Greetings</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Edith</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Souls Fly Away</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Awaiting Delivery</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Day Paul and I Flew the Kite</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lesson in Love</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballerina</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fortune Cookie</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ashes</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Harrisburg</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Something to Think About</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good Night</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Charlie the Tree Killer</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dead Man's Bluff</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Best Friend</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Didn't Know</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cardiac Arrests</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandmother's Funeral</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">High Street</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Failed Execution</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ghost</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heart Surgery</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Crying Place</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lee</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">South Dakota</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Connecting with Phil</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">310</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dress Rehearsal</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Anonymous Deciding Factor</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">4:05 a.m</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Middle of the Night</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">T321 Interpretation of Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">322</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Half-Ball</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Friday Night</TD><TD WIDTH="10%" ALIGN="RIGHT">325</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Farrell</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Jill"</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">D-day</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wall</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heaven</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Father's Dream</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Parallel Lives</TD><TD WIDTH="10%" ALIGN="RIGHT">337</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Anna May</TD><TD WIDTH="10%" ALIGN="RIGHT">340</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Long Time Gone</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sewing Lessons</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sunday Drive</TD><TD WIDTH="10%" ALIGN="RIGHT">350</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mayonnaise Sandwiches</TD><TD WIDTH="10%" ALIGN="RIGHT">354</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seaside</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After a Long Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Martini with a Twist</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nowhere</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where in the World Is Era Rose Rodosta?</TD><TD WIDTH="10%" ALIGN="RIGHT">363</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Peter</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Early Arithmetic</TD><TD WIDTH="10%" ALIGN="RIGHT">368</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflections on a Hubcap</TD><TD WIDTH="10%" ALIGN="RIGHT">371</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homeless in Prescott</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Being There</TD><TD WIDTH="10%" ALIGN="RIGHT">376</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Average Sadness</TD><TD WIDTH="10%" ALIGN="RIGHT">378</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Authors</TD><TD WIDTH="10%" ALIGN="RIGHT">381</TD></TABLE><article> <h4>From Barnes & Noble</h4>Famed author Paul Auster presents 180 of the "true tales" from National Public Radio's monthly National Story Project series. The vividly personal biographies come from men and women of every conceivable background and cover more than 40 U.S. states. The accounts are short but powerful; they include everything from amusing misunderstandings to heartbreakingly tragic moments. The result is nothing less than what Auster himself describes as "an archive of facts, a museum of American reality." </article> <article> <h4>From the Publisher</h4><p>“A powerful book, one in which strangers share with you their darkest secrets, their happiest memories, their fears, their regrets. To read these essays is to look into hearts, to see life from other viewpoints, to live vicariously.” —<i>The Boston Globe</i></p> <p>“Unforgettable testimonials of human resilience. Moving and amusing dispatches from across America.” —<i>Us Weekly</i> (starred review)</p> <p>“Human foibles and frailties, laughter and tears...We are all hearing—and telling—stories all the time, especially now, in these days when life itself seems so fragile and precious. But Paul Auster’s wonderful efforts, choosing these fine stories, have given us a timely and invaluable reminder of what it means to listen—to really listen—to America talking.” —<i>The Times-Picayune</i> (New Orleans)</p> <p>“Finally, a bathroom book worthy of Pulitzer consideration: the one-to-three-page stories gathered in this astonishing, addictive collection are absolute gems.” —<i>Publishers Weekly</i> (starred review)</p> <p>“It is difficult to think of another book published this year, and probably any book to be published next year, that is so simple and so obvious, so excellent in intention and so elegant in its execution, and which displays such wisdom and such knowledge of human life in all its varieties. It is also difficult to think of a book that is so stark a reminder that human experience can be horrid and utterly unbelievable, and which therefore answers so precisely to our current needs and circumstances.”—<i>The Guardian</i> (UK)</p> <p>“As this collection ably proves, we all shape experience into stories, and Auster has done a storyteller’s job himself of grouping these pieces effectively. Highly recommended.” —<i>Library Journal</i> (starred review)</p> <p>“Like no other book I have read in years, this one restored my belief in Americans and the American experience.” —Philip Levine, <i>Ploughshares</i></p> </article><article> <h4>From The Critics</h4>Two years ago, on National Public Radio's "Weekend All Things Considered," Auster introduced the National Story Project. In an attempt "to put together an archive of facts, a museum of American reality," he welcomed anyone to submit a story, following two rules: it must be true and it must be short. This book collects 179 stories-Auster calls them "reports from the frontlines of personal experience"-picked from over 4,000 entries. There is the unassuming yet beautiful portrait of a summer afternoon in a 1960s Manhattan neighborhood; the story of a man given leave after fifteen years in prison to attend his grandmother's funeral; and a homeless woman's account of her living situation. There are impossible coincidences, eerie omens and visions, and tales of love and war and family and death. <br> —Ted Waitt <br> <br> </article> <article> <h4>Publishers Weekly</h4>This is a moving collection of stories that realizes the audio format's best possibilities. Culled from a collaboration between novelist Auster (Leviathan) and National Public Radio's All Things Considered, these slices of the American experience are real-life tales from people all over the country on a range of subjects. Since Auster himself selected the stories, it's no surprise that they echo his own approach while reading them: comfortable and emotive, with dexterous use of the power of understatement. Auster's tone is engaging, if a bit mellow, but what comes across more than anything is his genuine concern for the stories themselves and his belief in their merits. He keeps his dramatization to a minimum in order to let those merits shine through, and the recording is sure to leave listeners alternately smiling, nostalgic or melancholic. Even if a particular piece doesn't strike a chord, listeners won't be disappointed for long, as one of the production's finer points is its variety. Each tale lasts only a few minutes, but many of the images linger much longer. And because the stories were originally intended for radio, this is one instance where the audio is preferred over the print version. Based on the Holt hardcover (Forecasts, June 4, 2001). (Sept.) Copyright 2001 Cahners Business Information. </article> <article> <h4>Library Journal</h4>In 2001, when NPR asked Auster to become a regular storyteller on Weekend All Things Considered, he wasn't interested. Then his wife suggested that he ask people to send him their stories to read on the air, and a few months later the National Story Project with was born. From some 4000 stories, Auster has selected 179, grouping them in loose categories: animals, objects, families, slapstick, strangers, war, love, death, dreams, and meditations. All are short, all are true, and they can be sad, hilarious, or both at the same time. In the title piece, Robert Winnie's father tells someone to drop dead and he does! In another, a grandson who has made his grandmother furious hears his grandfather tell him, "You are my revenge." Others tell of impossible coincidences, difficult lives, and wonderful comebacks. As this collection ably proves, we all shape experience into stories, and Auster has done a storyteller's job himself of grouping the pieces effectively. Highly recommended for public libraries. [Previewed in Prepub Alert, LJ 5/1/01.] Mary Paumier Jones, Westminster P.L., Westminster, CO Copyright 2001 Cahners Business Information. </article> <article> <h4>School Library Journal</h4>Adult/High School-Auster was on the verge of saying no to an offer to tell his own stories on the air when a chance remark by his wife changed the complexion and ultimately the direction of a National Public Radio project. She suggested that listeners be invited to make submissions. With that, the remarkable National Story Project was born. The rules were relatively simple; the stories had to be true and they had to be short. Four thousand people sent in their work. After just a few months, it became evident to Auster that too many good stories were coming in and that a book would be necessary to do justice to the project. He chose what he considered to be the best-179 pieces, written by individuals ranging in age from 20 to 90, from all walks of life, and touching on everything from the amazing to the poignant. Readers will turn pages to see if the next story is just as memorable as the one before, and it is. This is a wonderful book about some incredible people, to enjoy and to share with others.-Peggy Bercher, Fairfax County Public Library, VA Copyright 2002 Cahners Business Information. </article> <article> <h4>Kirkus Reviews</h4>A collection of vignettes from the American stew pot, written for broadcast on National Public Radio by men and women from every racial, cultural, and economic stratum. Auster, who proposed the National Story Project in 1999 and has been reading the results on NPR ever since, has received more than 4,000 submissions since the project began. He culled 179 of them for this volume, few more than two or three pages long, some as brief as half a page. Placing no limits on subject matter, Auster asked his listeners only for anecdotes that "revealed the mysterious and unknowable forces at work in our lives." What he got were tales ranging from spectral apparitions in the bedroom to painful custody trials, with a preponderant emphasis on childhood memories. The collection he shaped from this material encompasses the comic and the tragic, the absurd and the surreal, the mundane and the ethereal. The title story, for instance, recounts a bizarre incident from the writer's youth, when his father in a burst of justifiable irritation told a cranky neighbor to "drop dead"-and the neighbor did. "The Chicken," which opens the collection, is a provocative six-sentence tale about a bird's adventure on the streets of Portland, Oregon. The volume is divided somewhat arbitrarily into 10 chapters, beginning with "Animals" and concluding with "Meditations"; "War," "Death," "Love," and "Slapstick" fall in between. The prose can be awkward, pretentious, or occasionally elegant, but for the most part it's simple and direct. "A Shot in the Light," for instance, relates the story of a man who was shot four times by a stranded motorist he had befriended. Victim and shooter survive, and the piece shows forgivenesson both sides, but the author makes no attempt to relate the incident to larger religious or political themes. Bedside fodder for general readers and a bonanza for fiction writers looking for core stories to launch a novel. Author tour </article> <article> <h4>Sunday Oklahoman</h4>“A wonderful story collection...and something that would make a great gift for the holidays.” </article>
77Listening For God Rdr Vol 4Paula J. Carlson0Paula J. Carlson (Editor), Peter S. Hawkinslistening-for-god-rdr-vol-4paula-j-carlson97808066457730806645776$13.43PaperbackAugsburg Fortress, PublishersJanuary 2003New EditionFaith, Literature Anthologies - General & Miscellaneous, General & Miscellaneous Christian Life, American Literature Anthologies1645.50 (w) x 8.50 (h) x 0.35 (d)This resource helps adults explore the issues of discipleship and theology through guided interaction from selections of American literature. Listening for God includes excerpts from the works of eight contemporary American authors supplemented by author profiles, and discussion and reflection questions. <p>Included are selections from:</p> <p>James Baldwin Sue Miller Robert Olen Butler Doris Betts Michael Malone Allegra Goodman Alice Elliott Dark Kent Haruf</p><p>Where do you listen for God? In this new collection of stories and essays, the challenge is to pay attention everywhere. <I>Listening for God</i> is a resource intended to help readers investigate how life and faith merge in surprising ways and places. Contemporary American literature may not be the most predictable place to listen for God, but it may well turn out to be among the most rewarding.</p><table> <tr><td>Introduction</td></tr> <tr><td>1. John Cheever</td></tr> <tr><td>The Five-Forty-Eight</td></tr> <tr><td>2. Mary Gordon</td></tr> <tr><td>Mrs. Cassidy's Last Year</td></tr> <tr><td>3. Wendell Berry</td></tr> <tr><td>Pray without Ceasing</td></tr> <tr><td>4. Oscar Hijuelos</td></tr> <tr><td>Christmas 1967</td></tr> <tr><td>5. Reynolds Price</td></tr> <tr><td>Long Night</td></tr> <tr><td>6. Louis Erdrich</td></tr> <tr><td>Satan: Hijacker of a Planet</td></tr> <tr><td>7. Tess Gallagher</td></tr> <tr><td>The Woman Who Prayed</td></tr> <tr><td>8. Tillie Olsen</td></tr> <tr><td>O Yes</td></tr> <tr><td></td></tr> </table>
78The American Tradition in Literature (concise) book aloneGeorge Perkins0<p><P>George Perkins is Professor of English at Eastern Michigan University and an Associate Editor of<P>Narrative. He holds degrees from Tufts and Duke universities and received his Ph.D. from Cornell.<P>He has been a Fulbright Lecturer at the University of Newcastle in Australia and has held a Fellowship at the Institute for Advanced Studies in the Humanities at the University of Edinburgh. In addition to Newcastle and Edinburgh, he has taught at Washington University, Baldwin-Wallace College and Fairleigh Dickinson University. His books include THE THEORY OF THE AMERICAN NOVEL, REALISTIC AMERICAN SHORT FICTION, AMERICAN POETIC THEORY, THE HARPER HANDBOOK TO LITERATURE (with Northrup Frye and Sheridan Baker), THE PRACTICAL<P>IMAGINATION (with Frye, Baker and Barbara Perkins), BENET'S READER'S ENCYCLOPEDIA OF AMERICAN LITERATURE (with Barbara Perkins), KALEIDOSCOPE&#58; Stories of the American<P>Experience (with Barbara Perkins), WOMEN'S WORK; An Anthology of American Literature (with<P>Barbara Perkins and Robyn Warhol), and THE AMERICAN TRADITION IN LITERATURE, 9TH edition <P>(with Barbara Perkins).<P>Barbara Perkins is Adjunct Professor of English at the University of Toledo and Associate Editor of Narrative. Since its founding, she has served as Secretary-Treasurer of the Society for the Study of Narrative Literature. She received her Ph.D. from the University of Pennsylvania and has taught at Baldwin-Wallace College, The University of Pennsylvania, Fairleigh Dickinson University, Eastern Michigan University, and the University of Newcastle, Australia. She has contributed essays to several reference works including CONTEMPORARY NOVELISTS, GREAT WRITERS OF THE ENLGISH LANGUAGE, and THE WORLD BOOK ENCYCLOPEDIA. Her books include CONTEMPORARY AMERICAN LITERATURE (with George Perkins), BENET'S READER'S ENCYCLOPEDIA OF<P>AMERICAN LITERATURE (with George Perkins and Phillip Leininger), KALEIDOSCIPE&#58; Stories<P>Of the American Experience (with George Perkins), WOMEN'S WORK&#58; An Anthology of American Literature (with George Perkins and Robyn Warhol) and THE AMERICAN TRADITION IN LITERATURE, 9th edition (with George Perkins).</p>George Perkins, Barbara Perkinsthe-american-tradition-in-literaturegeorge-perkins97800733848940073384895$106.79PaperbackMcGraw-Hill Companies, TheNovember 200812nd EditionAmerican Literature Anthologies23526.00 (w) x 9.10 (h) x 2.10 (d)<p>Widely known as the anthology that best unites tradition with innovation, The American Tradition in Literature is proud to enter its fifth decade of leadership among textbook anthologies of American literature.</p> <p>Each volume continues to offer a flexible organization, with literary merit as the guiding principle of selection. The new photos and illustrations illuminate the texts and literary/historical timelines help students put works in context.</p><p><P>Widely known as the anthology that best unites tradition with innovation, The American Tradition in Literature is proud to enter its fifth decade of leadership among textbook anthologies of American literature.<P>Each volume continues to offer a flexible organization, with literary merit as the guiding principle of selection. The new photos and illustrations illuminate the texts and literary/historical timelines help students put works in context.</p><P>List of Illustrations</p>Preface<br></p>EXPLORATION AND THE COLONIES, 1492&#8211;1791</p>Virginia and the South</p>New England</p>Timeline: Exploration and the Colonies<br><br></p>NATIVES AND EXPLORERS</p>NATIVE LITERATURE: THE ORAL TRADITION</p>The Chiefs Daughters</p>Coyote and Bear</p>Twelfth Song of the Thunder</p>The Corn Grows Up</p>At the Time of the White Dawn</p>Snake the Cause</p>The Weaver&#8217;s Lamentation</p>CHRISTOPHER COLUMBUS (1451-1506)</p>[Report of the First Voyage]</p>GIOVANNI DA VERRAZZANO (1485?-1528)</p>From Verrazzano&#8217;s Voyage: 1524</p>ALVAR NUEZ CABEZA DE VACA (c1490-c1557)</p>From Narrative of Cabeza de Vaca</p>Chapter 12: The Indians Bring Us Food </p>Chapter 16: The Christians Leave the Island of Malhado </p>RICHARD HAKLUYT (1552-1616)</p>The Famous Voyage of Sir Francis Drake</p>[Nova Albion]</p>SAMUEL DE CHAMPLAIN (c1567-1635)</p>From Voyages of Samuel de Champlain: The Voyage of 1604&#8211;1607<br></p>THE COLONIES</p>JOHN SMITH (1580-1631) </p>From The General History of Virginia, New England, and the Summer Isles </p>The Third Book. The Proceedings and Accidents of the English Colony in Virginia</p>Chapter II: What Happened till the First Supply </p>The Fourth Book: The Proceedings of the English after the Alteration of the Government Of Virginia </p>John Smith's Relation to Queen Anne of Pocahontas (1616)</p>WILLIAM BRADFORD (1590-1657) </p>From Of Plymouth Plantation, Book I </p>Chapter IX: Of their Voyage, and how they Passed the Sea; and of their Safe Arrival at Cape Cod</p>Chapter X: Showing How they Sought out a place of Habitation; and What Befell them Thereabout </p>From Of Plymouth Plantation, Book II </p>[The Mayflower Compact (1620)] </p>[Compact with the Indians]</p>[First Thanksgiving]</p>[Narragansett Challenge]</p>[Thomas Morton of Merrymount</p>JOHN WINTHROP (1588-1649)</p>From A Model of Christian Charity <br></p>PURITANISM</p>ANNE BRADSTREET (1612?-1672) </p>The Prologue</p>The Flesh and the Spirit </p>The Author to Her Book</p>Before the Birth of One of Her Children </p>To My Dear and Loving Husband</p>A Letter to Her Husband, Absent upon Public Employment </p>In Memory of My Dear Grandchild Elizabeth Bradstreet, Who Deceased August, 1665 Being a Year and a Half Old </p>Upon the Burning of Our House, July 10th, 1666 </p>MARY ROWLANDSON (1636?&#8211;1711?)</p>From A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson</p>EDWARD TAYLOR (1642?-1729) </p>The Preface </p>Upon Wedlock, and Death of Children </p>Huswifery </p>Meditation 8, First Series</p>Upon a Spider Catching a Fly <br></p>CROSSCURRENTS: PURITANS, INDIANS, AND WITCHCRAFT</p>COTTON MATHER (1663-1728)</p>*[Indian Powaws and Witchcraft]</p>*MARY TOWNE EASTY (1634?-1692)</p>[The Petition of Mary Towne Easty]</p>SAMUEL SEWALL (1652-1730)</p>*[A Witchcraft Judge&#8217;s Confession of Guilt]<br></p>COTTON MATHER (1663-1728)</p>From The Wonders of the Invisible World </p>Enchantments Encountered </p>The Trial of Bridget Bishop </p>A Third Curiosity<br></p>THE SOUTH AND THE MIDDLE COLONIES </p>WILLIAM BYRD (1674-1744) </p>FromThe History of the Dividing Line </p>[Indian Neighbors]</p>JOHN WOOLMAN (1720-1772) </p>From The Journal of John Woolman </p>1720-1742 [Early Years]</p>1757 [Evidence of Divine Truth], [Slavery]</p>1755-1758 [Taxes and Wars] </p>ST. JEAN DE CREV&#200;COEUR (1735-1813) </p>From Letters from an American Farmer: </p>What Is an American? <br></p>REASON AND REVOLUTION </p>The Enlightenment and the Spirit of Rationalism </p>From Neoclassical to Romantic Literature </p>Timeline: Reason and Revolution</p>JONATHAN EDWARDS (1703-1758)</p>Sarah Pierrepont </p>From A Divine and Supernatural Light</p>Sinners in the Hands of an Angry God </p>Personal Narrative </p>BENJAMIN FRANKLIN (1706-1790) </p>From The Autobiography </p>From Poor Richard's Almanack</p>Preface to Poor Richard, 1733 </p>The Way to Wealth: Preface to Poor Richard, 1758 </p>*The Speech of Polly Baker</p>THOMAS PAINE (1737-1809)</p>From Common Sense</p>Thoughts on the Present State of American Affairs</p>The American Crisis </p>THOMAS JEFFERSON (1737-1809) </p>The Declaration of Independence </p>First Inaugural Address</p>FromNotes on the State of Virginia </p>[A Southerner on Slavery]</p>[Speech of Logan]</p>Letter to John Adams </p>[The True Aristocracy]</p>OLAUDAH EQUIANO (1745?-1797?)</p>From The Interesting Narrative of the Life of Olaudah Equiano</p>Chapter II: [Horrors of a Slave Ship] </p>Chapter III: [Travels to Various Countries]</p>Chapter VII: [He Purchases his Freedom]</p>PHILLIS WHEATLEY (1754?-1784) </p>To the University of Cambridge, in New-England</p>On Being Brought from Africa to America</p>On the Death of the Reverend Mr. George Whitefield</p>An Hymn to the Evening</p>To S.M. a Young African Painter, on Seeing His Works </p>To His Excellency General Washington </p>PHILIP FRENEAU (1752-1832) </p>To the Memory of the Brave Americans </p>The Wild Honey Suckle</p>The Indian Burying Ground </p>On the Universality and Other Attributes of the God of Nature<br></p>CROSSCURRENTS: NATURE AND THE ENVIRONMENT IN A NEW WORLD</p>FRANCIS HIGGINSON (1586-1630) </p>From New England&#8217;s Plantation</p>WILLIAM BARTRAM (1739-1832) </p>From Travels through North and South Carolina, Georgia, East and West Florida</p>[Indian Corn, Green Meadows, and Strawberry Fields]</p>JOHN JAMES AUDUBON (1785-1893) </p>From The Ornithological Biography</p>Kentucky Sports</p>FRANCIS PARKMAN (1823-1893) </p>From The Oregon Trail</p>Chapter VII: The Buffalo<br></p>THE ROMANTIC TEMPER, 1800-1870 </p>Regional Influences</p>Nature and the Land</p>The Original Native Americans</p>Timeline: The Romantic Temper </p>WASHINGTON IRVING (1783-1859) </p>From The Sketch Book</p>Rip Van Winkle </p>The Legend of Sleepy Hollow </p>JAMES FENIMORE COOPER (1789-1851) </p>From The Pioneers</p>Chapter XXII [Pigeons] </p>From The Prairie</p>Chapter XXXIX [Death of a Hero] </p>WILLIAM CULLEN BRYANT (1794-1878)</p>Thanatopsis</p>The Yellow Violet </p>To a Waterfowl</p>A Forest Hymn </p>To the Fringed Gentian </p>The Prairies</p>The Death of Lincoln </p>RED JACKET (c. 1752&#8211;1830)</p>[The Great Spirit Has Made Us All]<br></p>CROSSCURRENTS: ROMANTICISM AND THE AMERICAN INDIAN</p>JANE JOHNSTON SCHOOLCRAFT [BAMEWAWAGEZHIKAQUAY] (1800-1842) </p>Invocation: To My Maternal Grandfather on Hearing of His Descent from Chippewa Ancestors Misrepresented<br></p>ROMANTICISM AT MID-CENTURY </p>EDGAR ALLAN POE (1809-1849) </p>Romance</p>Sonnet--To Science </p>Lenore</p>The Sleeper</p>Israfel</p>To Helen </p>The City in the Sea </p>Sonnet--Silence</p>The Raven </p>Ulalume</p>Annabel Lee </p>Ligeia</p>The Fall of the House of Usher </p>The Purloined Letter</p>The Cask of Amontillado </p>NATHANIEL HAWTHORNE (1804-1864) </p>My Kinsman, Major Molineux</p>Young Goodman Brown</p>The Minister's Black Veil </p>The Birthmark</p>Rappaccini's Daughter </p>Ethan Brand </p>HERMAN MELVILLE (1819-1891) </p>Bartleby the Scrivener</p>The Portent</p>The Maldive Shark </p>Billy Budd, Sailor <br></p>TRANSCENDENTALISM </p>RALPH WALDO EMERSON (1803-1882) </p>Nature</p>The American Scholar </p>The Divinity School Address</p>Self-Reliance</p>The Over-Soul</p>Concord Hymn </p>Each and All </p>The Rhodora </p>Hamatreya</p>Fable</p>Brahma </p>Days</p>MARGARET FULLER (1810-1850)</p>From Woman in the Nineteenth Century<br></p>CROSSCURRENTS: TRANSCENDENTALISM, WOMEN, AND SOCIAL IDEALS</p>ELIZABETH PEABODY (1804&#8211;1894)</p>[Labor, Wages, and Leisure]</p>CHARLES DICKENS (1812&#8211;1870)</p>From American Notes</p>[The Mill Girls of Lowell]</p>ELIZABETH CADY STANTON (1815&#8211;1902)</p>Declaration of Sentiments [Seneca Falls, 1848]</p>SOJOURNER TRUTH (c. 1797&#8211;1883)</p>[Ar&#8217;n&#8217;t I a Woman?]</p>FANNY FERN (1811&#8211;1872)</p>Aunt Hetty on Matrimony</p>The Working-Girls of New York<br></p>HENRY DAVID THOREAU (1817-1862) </p>From Walden</p>Economy </p>Where I Lived, and What I Lived for </p>Brute Neighbors</p>Conclusion</p>Civil Disobedience <br></p>THE HUMANITARIAN SENSIBILITY AND THE INEVITABLE CONFLICT, 1800-1870 </p>Democracy and Social Reform </p>Inevitable Conflict </p>Timeline: The Humanitarian Sensibility and the Inevitable Conflict<br></p>CROSSCURRENTS: SLAVERY, THE SLAVE TRADE, AND THE CIVIL WAR </p>BRITON HAMMON (fl. 1760)</p>From Narrative of the Uncommon Sufferings, and Surprizing Deliverance of Briton Hammon, a Negro Man </p>WILLIAM CUSHING (1732&#8211;1810)</p>[Slavery Inconsistent with Our Conduct and Constitution]</p>ALEXANDER FALCONBRIDGE (1760-1792)</p>From An Account of the Slave Trade, on the Coast of Africa</p>HENRY WADSWORTH LONGFELLOW (1807&#8211;1882)</p>The Witnesses</p>LYDIA MARIA CHILD (1802&#8211;1880)</p>[Reply to Margaretta Mason]</p>SARAH MORGAN (1842&#8211;1909)</p>From The Civil War Diary of Sarah Morgan</p>SARAH MORGAN BRYAN PIATT (1836-1919)</p>Army of Occupation<br></p>HENRY WADSWORTH LONGFELLOW (1807-1882) </p>The Arsenal at Springfield </p>From The Song of Hiawatha</p>III. Hiawatha's Childhood</p>IV. Hiawatha and Mudjekeewis </p>V. Hiawatha's Fasting</p>VII. Hiawatha's Sailing</p>XXI. The White Man's Foot</p>The Jewish Cemetery at Newport </p>My Lost Youth</p>Divina Commedia</p>The Tide Rises, the Tide Falls </p>The Cross of Snow</p>JOHN GREENLEAF WHITTIER (1807-1892)</p>Massachusetts to Virginia</p>First-Day Thoughts </p>Telling the Bees </p>Laus Deo</p>OLIVER WENDELL HOLMES (1809-1894) </p>Old Ironsides </p>The Last Leaf </p>My Aunt</p>The Chambered Nautilus</p>ABRAHAM LINCOLN (1809-1865) </p>Reply to Horace Greeley </p>Address at the Dedication of the Gettysburg National Cemetery</p>Second Inaugural Address</p>HARRIET BEECHER STOWE (1811-1896) </p>From Uncle Tom's Cabin</p>Chapter VII: The Mother's Struggle</p>HARRIET JACOBS (1813-1897)</p>FromIncidents in the Life of a Slave Girl </p>Chapter VI: The Jealous Mistress</p>Chapter XVII: The Flight</p>Chapter XVIII: Months of Peril </p>Chapter XIX: The Children Sold</p>FREDERICK DOUGLASS (1817?-1895)</p>From Narrative of the Life of Frederick Douglass</p>Chapter I [Birth] </p>Chapter VII [Learning to Read and Write]. </p>Chapter X [Mr. Covey] <br></p>CROSSCURRENTS: FAITH AND CRISIS </p>HERMAN MELVILLE (1819-1981)</p>From Moby-Dick, or The Whale</p>SARAH MORGAN BRYAN PIATT (1836-1919)</p>No Help</p>Emily Dickinson (1830-1886)</p>338 [I know that He exists]</p>376 [Of course&#8212;I prayed--]<br></p>AN AGE OF EXPANSION, 1865-1910 </p>From Romanticism to Realism </p>Regionalism</p>The Gilded Age </p>Timeline: An Age of Expansion</p>PIONEERS OF A NEW POETRY </p>WALT WHITMAN (1819-1892)</p>Preface to the 1855 Edition of Leaves of Grass </p>Song of Myself</p>Once I Pass'd Through a Populous City </p>Facing West from California's Shores </p>For You O Democracy</p>I Saw in Louisiana a Live-oak Growing </p>Crossing Brooklyn Ferry</p>Out of the Cradle Endlessly Rocking </p>The Dalliance of the Eagles</p>Cavalry Crossing a Ford</p>Vigil Strange I Kept on the Field One Night </p>A Sight in Camp in the Daybreak Gray and Dim </p>The Wound-Dresser</p>Reconciliation </p>When Lilacs Last in the Dooryard Bloom'd </p>There Was a Child Went Forth</p>To a Common Prostitute</p>The Sleepers </p>A Noiseless Patient Spider </p>To a Locomotive in Winter</p>Good-bye My Fancy! </p>EMILY DICKINSON (1830-1886)</p>49 [I never lost as much but twice]</p>67 [Success is counted sweetest]</p>130 [These are the days when Birds come back -- ] </p>214 [I taste a liquor never brewed -- ]</p>241 [I like a look of Agony]</p>249 [Wild Nights -- Wild Nights!] </p>252 [I can wade Grief -- ]</p>258 [There's a certain Slant of light] </p>280 [I felt a Funeral, in my Brain]</p>285 [The Robin's my Criterion for Tune -- ] </p>288 [I'm Nobody! Who are you?]</p>290 [Of Bronze -- and Blaze -- ] </p>303 [The Soul selects her own Society -- ] </p>320 [We play at Paste -- ]</p>324 [Some keep the Sabbath going to Church] </p>328 [A Bird came down the Walk -- ]</p>341 [After great pain, a formal feeling comes -- ]</p>401 [What Soft -- Cherubic Creatures -- ] </p>435 [Much Madness is divinest Sense -- ] </p>441 [This is my letter to the World]</p>448 [This was a Poet -- It is That] </p>449 [I died for Beauty -- but was scarce] </p>465 [I heard a Fly buzz -- when I died -- ] </p>511 [If you were coming in the Fall] </p>556 [The Brain, within its Groove] </p>579 [I had been hungry, all the Years -- ] </p>581 [I found the works to every thought]</p>585 [I like to see it lap the Miles -- ] </p>632 [The Brain -- is wider than the sky -- ] </p>636 [The Way I read a Letter's -- this -- ] </p>640 [I cannot live with You -- ]</p>650 [Pain -- Has a Element of Blank -- ] </p>657 [I dwell in Possibility -- ]</p>701 [A Thought went up my mind today--]</p>712 [Because I could not stop for Death -- ]</p>732 [She rose to His Requirement -- dropt] </p>754 [My Life had stood -- a Loaded Gun -- ] </p>816 [A Death blow is a Life blow to Some] </p>823 [Not what We did, shall be the test] </p>986 [A narrow Fellow in the Grass]</p>1052 [I never saw a Moor -- ]</p>1078 [The Bustle in a House] </p>1082 [Revolution is the Pod]</p>1100 [The last Night that She lived] </p>1129 [Tell all the Truth but tell it slant -- ]</p>1207 [He preached upon Breadth till it argued him narrow -- ]</p>1263 [There is no Frigate like a Book] </p>1304 [Not with a Club, the Heart is broken] </p>1463 [A Route of Evanescence]</p>1540 [As imperceptibly as Grief]</p>1587 [He ate and drank the precious Words -- ] </p>1624 [Apparently with no surprise]</p>1732 [My life closed twice before its close -- ]</p>1760 [Elysium is as far as to] </p>Letters</p>[To Recipient Unknown, about 1858]</p>[To Recipient Unknown, about 1861]</p>[To Recipient Unknown, early 1862?]</p>[To T. W. Higginson, 15 April 1862]</p>[To T. W. Higginson, 25 April 1862]</p>[To T. W. Higginson, 7 June 1862]</p>[To T. W. Higginson, July 1862]</p>[To T. W. Higginson, August 1862]<br></p>CROSSCURRENTS: FREEDOM IN THE GILDED AGE</p>WALT WHITMAN (1819&#8211;1892)</p>From Democratic Vistas</p>HENRY ADAMS (1838&#8211;1918)</p>From The Education of Henry Adams</p>Chapter XVII: President Grant</p>GEORGE WASHINGTON CABLE (1844&#8211;1925)</p>From The Freedman&#8217;s Case in Equity</p>[The Perpetual Alien]</p>BOOKER T. WASHINGTON (1856&#8211;1915)</p>From Up from Slavery</p>[The Struggle for an Education]<br></p>REALISM AND NATURALISM, 1880-1920 </p>Realism</p>Spiritual Unrest</p>Naturalism </p>Timeline: The Turn of the Century</p>MARK TWAIN (1835-1910)</p>The Notorious Jumping Frog of Calaveras County </p>From Roughing It</p>[When the Buffalo Climbed a Tree] </p>From Life on the Mississippi</p>The Boy's Ambition</p>[A Mississippi Cub-Pilot] </p>How to Tell a Story</p>WILLIAM DEAN HOWELLS (1837-1920) </p>Editha</p>HENRY JAMES (1843-1916)</p>Daisy Miller</p>The Real Thing </p>The Beast in the Jungle</p>BRET HARTE (1836-1902) </p>The Outcasts of Poker Flat </p>RED CLOUD (c. 1822-1909)</p>[All I Want Is Peace and Justice]</p>SARAH WINNEMUCCA HOPKINS (1844-1894) </p>From Life among the Piutes </p>Chapter 1: First Meeting of Piutes and Whites </p>HENRY ADAMS (1838-1918)</p>The Dynamo and the Virgin</p>SARAH ORNE JEWETT (1849-1909) </p>A White Heron</p>KATE CHOPIN (1851-1904) </p>The Awakening</p>MARY E. WILKINS FREEMAN (1852-1930) </p>The Revolt of "Mother"</p>CHARLES W. CHESTNUTT (1858-1932) </p>The Passing of Grandison<br></p>CROSSCURRENTS: PROSPERITY AND SOCIAL JUSTICE AT THE TURN OF THE CENTURY</p>ANDREW CARNEGIE (1835&#8211;1919)</p>Wealth</p>STEPHEN CRANE (1871&#8211;1900)</p>The Trees in the Garden Rained Flowers</p>WILLIAM VAUGHAN MOODY (1869&#8211;1910)</p>Gloucester Moors</p>On a Soldier Fallen in the Philippines</p>ZITKALA-SA (1876&#8211;1938)</p>Retrospection</p>W. E. B. DUBOIS (1868&#8211;1963)</p>From The Souls of Black Folk</p>Of Mr. Booker T. Washington and Others<br></p>CHARLOTTE PERKINS GILMAN (1860-1935) </p>The Yellow Wallpaper</p>FRANK NORRIS (1870-1902)</p>A Plea for Romantic Fiction </p>STEPHEN CRANE (1871-1900)</p>Do Not Weep, Maiden, for War is Kind</p>The Wayfarer</p>A Man Said to the Universe </p>The Open Boat </p>EDITH WHARTON (1862-1937) </p>Roman Fever</p>THEODORE DREISER (1871-1945) </p>The Second Choice</p>JACK LONDON (1876-1916) </p>To Build a Fire <br></p>LITERARY RENAISSANCE, 1910-1930 </p>Twentieth-Century Renaissance </p>Poetry between the Wars </p>Timeline: Literary Renaissance</p>NEW DIRECTIONS: FIRST WAVE </p>EDWIN ARLINGTON ROBINSON (1869-1935) </p>Luke Havergal</p>Richard Cory </p>Miniver Cheevy </p>Mr. Flood's Party </p>The Mill</p>Firelight </p>New England </p>WILLA CATHER (1873-1947) </p>Neighbour Rosicky</p>ROBERT FROST (1874-1963) </p>The Tuft of Flowers</p>Mending Wall</p>Home Burial </p>After Apple-Picking </p>The Wood-Pile </p>The Road Not Taken </p>The Oven Bird</p>Birches</p>The Hill Wife </p>The Ax-Helve</p>The Grindstone</p>The Witch of Co&#246;s </p>Fire and Ice</p>Stopping by Woods on a Snowy Evening </p>Two Tramps in Mud Time</p>Desert Places</p>Design</p>Come In </p>Directive </p>CARL SANDBURG (1878-1967) </p>Chicago</p>Fog</p>Nocturne in a Deserted Brickyard </p>Monotone</p>Gone</p>A Fence </p>Grass</p>Southern Pacific </p>Washerwoman</p>SHERWOOD ANDERSON (1876-1941) </p>The Book of the Grotesque</p>Adventure</p>SUSAN GLASPELL (1876?-1948)</p>*Trifles</p>EZRA POUND (1885-1972) </p>In a Station of the Metro </p>Hugh Selwyn Mauberley</p>From The Cantos </p>I: [And then went down to the ship] </p>XIII: [Kung walked]</p>LXXXI: [What thou lovest well remains] </p>CXVI: [Came Neptunus]</p>T. S. ELIOT (1888-1965)</p>The Love Song of J. Alfred Prufrock </p>Gerontion</p>The Waste Land </p>The Hollow Men</p>AMY LOWELL (1874-1925) </p>Patterns</p>A Decade </p>ELINOR WYLIE (1885-1928) </p>Wild Peaches</p>Sanctuary</p>Prophecy </p>Let No Charitable Hope </p>O Virtuous Light</p>H.D. (HILDA DOOLITTLE) (1886-1961) </p>Heat</p>Heliodora </p>Lethe</p>Sigil <br></p>POETS OF IDEA AND ORDER </p>WALLACE STEVENS (1879-1955) </p>Peter Quince at the Clavier</p>Disillusionment of Ten O'Clock </p>Sunday Morning</p>Anecdote of the Jar </p>The Snow Man</p>Bantams in Pine-Woods </p>A High-Toned Old Christian Woman </p>The Emperor of Ice-Cream</p>To the One of Fictive Music </p>The Idea of Order at Key West </p>A Postcard from the Volcano</p>Of Modern Poetry </p>No Possum, No Sop, No Taters </p>The Plain Sense of Things</p>Of Mere Being</p>WILLIAM CARLOS WILLIAMS (1883-1963) </p>The Young Housewife</p>Tract </p>To Mark Anthony in Heaven </p>Portrait of a Lady</p>Queen-Anne's-Lace </p>The Great Figure </p>Spring and All</p>The Red Wheelbarrow </p>This Is Just to Say </p>A Sort of a Song </p>The Dance</p>The Ivy Crown</p>MARIANNE MOORE (1887-1972) </p>Poetry</p>In the Days of Prismatic Color </p>An Egyptian Pulled Glass Bottle in the Shape of a Fish</p>No Swan So Fine</p>A Jelly-Fish</p>HART CRANE (1899-1932) </p>From The Bridge</p>To Brooklyn Bridge </p>Van Winkle</p>The River </p>The Tunnel <br></p>A LITERATURE OF SOCIAL AND CULTURAL CHANGE, 1920-1945 </p>Drama and Social Change </p>Primitivism </p>The Roaring Twenties and the Lost Generation </p>The Harlem Renaissance</p>Depression and Totalitarian Menace </p>Timeline: A Literature of Social and Cultural Change</p>EUGENE O'NEILL (1888-1953) </p>The Hairy Ape</p>ROBINSON JEFFERS (1887-1962) </p>To the Stone-Cutters</p>Shine, Perishing Republic </p>The Purse-Seine</p>CLAUDE MCKAY (1889-1948) </p>The Harlem Dancer</p>Harlem Shadows</p>America</p>Outcast </p>EDNA ST. VINCENT MILLAY (1892-1950) </p>First Fig </p>[I Shall Go Back Again to the Bleak Shore]</p>[What Lips My Lips Have Kissed, and Where, and Why ]</p>Justice Denied in Massachusetts</p>[This Beast That Rends Me in the Sight of All ]</p>[Love Is Not All: It Is Not Meat Nor Drink] </p>[Those Hours When Happy Hours Were My Estate] </p>[I Will Put Chaos into Fourteen Lines]</p>E. E. CUMMINGS (1894-1962)</p>Thy Fingers Make Early Flowers Of </p>When God Lets My Body Be</p>In Just-</p>Buffalo Bill's </p>My Sweet Old Etcetera </p>I Sing of Olaf Glad and Big </p>Somewhere I Have Never Travelled, Gladly Beyond </p>Anyone Lived in a Pretty How Town</p>My Father Moved through Dooms of Love </p>Up into the Silence the Green</p>Plato Told</p>When Serpents Bargain for the Right to Squirm</p>I Thank You God<br></p>CROSSCURRENTS: THE JAZZ AGE AND THE HARLEM RENAISSANCE</p>JAMES WELDON JOHNSON (1871&#8211;1938)</p>[Negro Dialect]</p>PAUL ROBESON</p>Reflections on O&#8217;Neill&#8217;s Plays</p>LANGSTON HUGHES</p>When the Negro Was in Vogue</p>ST JAMES INFIRMARY BLUES<br></p>LANGSTON HUGHES (1902-1967)</p>The Negro Speaks of Rivers</p>The Weary Blues</p>Song for a Dark Girl </p>Trumpet Player </p>Dream Boogie</p>Harlem</p>F. SCOTT FITZGERALD (1896-1940) </p>Babylon Revisited</p>JOHN DOS PASSOS (1896-1970) </p>FromThe 42nd Parallel</p>Big Bill</p>From 1919</p>The House of Morgan </p>The Body of An American </p>From The Big Money</p>Newsreel LXVI</p>The Camera Eye (50)</p>Vag</p>WILLIAM FAULKNER (1897-1962) </p>That Evening Sun</p>Barn Burning</p>ERNEST HEMINGWAY (1899-1961) </p>Big Two-Hearted River: Part I</p>Big Two-Hearted River: Part II</p>KATHERINE ANNE PORTER (1890-1980) </p>The Jilting of Granny Weatherall</p>RICHARD WRIGHT (1908-1960)</p>From Black Boy</p>[A Five Dollar Fight] <br></p>THE SECOND WORLD WAR AND ITS AFTERMATH </p>Postwar Drama </p>Postwar Poetry </p>Postwar Fiction </p>Multiculturalism</p>The Postmodern Impulse</p>Timeline: The Second World War and Its Aftermath</p>DRAMA </p>TENNESSEE WILLIAMS (1911-1983) </p>The Glass Menagerie<br></p>CROSSCURRENTS: THE AGE OF ANXIETY: THE BEAT GENERATION AND SOCIAL RESPONSIBILITIES</p>JACK KEROUAC</p>From On the Road</p>JOHN CLELLON HOLMES (1926&#8211;1988)</p>From The Philosophy of the Beat Generation</p>DWIGHT D. EISENHOWER (1890&#8211;1969)</p>[The Military Industrial Complex]</p>RACHEL CARSON (1904&#8211;1964)</p>From Silent Spring</p>MARTIN LUTHER KING, JR (1929&#8211;1968)</p>I Have a Dream<br></p>POETRY </p>THEODORE ROETHKE (1908-1963) </p>Open House</p>Cuttings (later) </p>My Papa's Waltz </p>Elegy for Jane </p>The Waking</p>I Knew a Woman</p>The Far Field </p>Wish for a Young Wife</p>In a Dark Time</p>ELIZABETH BISHOP (1911-1979) </p>The Fish</p>At the Fishhouses </p>Questions of Travel </p>Sestina</p>In the Waiting Room </p>One Art</p>CZESLAW MILOSZ (1911-2004) </p>Campo dei Fiori </p>Fear </p>Caf&#233; </p>In Warsaw </p>Ars Poetica? </p>To Raja Rao </p>With Her</p>ROBERT HAYDEN (1913&#8211;1980)</p>Tour 5</p>Those Winter Sundays</p>Year of the Child</p>JOHN BERRYMAN (1914-1972) </p>1: [Huffy Henry hid the day]</p>4: [Filling her compact & delicious body]</p>14: [Life, friends, is boring. We must not say so]</p>29: [There sat down, once, a thing on Henry's heart]</p>76: [Henry's Confession]</p>145: [Also I love him: me he's done no wrong] </p>153: [I'm cross with god who has wrecked this generation]</p>384: [The marker slants, flowerless, day's almost done]</p>GWENDOLYN BROOKS (1917-2000)</p>a song in the front yard</p>The Bean Eaters</p>We Real Cool</p>The Lovers of the Poor </p>ROBERT LOWELL (1917-1977)</p>Waking in the Blue</p>Skunk Hour</p>The Neo-Classical Urn </p>For the Union Dead</p>Reading Myself </p>Epilogue</p>DENISE LEVERTOV (1923- ) </p>The Third Dimension </p>To the Snake </p>The Willows of Massachusetts </p>ROBERT BLY (1926- )</p>Driving toward the Lac Qui Parle River </p>Driving to Town Late to Mail a Letter </p>Watering the Horse</p>The Executive's Death</p>Looking at New-Fallen Snow from a Train</p>ALLEN GINSBERG (1926-1997) </p>Howl</p>America</p>SYLVIA PLATH (1932-1963)</p>Morning Song </p>The Applicant </p>Daddy </p>Lady Lazarus </p>Death & Co </p>Mystic </p>AMIRI BARAKA (1934- )</p>In Memory of Radio </p>An Agony. As Now.<br></p>PROSE </p>EUDORA WELTY (1909- ) </p>A Memory</p>VLADIMIR NABOKOV (1899-1977)</p>From Pnin </p>Chapter Five [Pnin at the Pines] </p>ISAAC BASHEVIS SINGER (1904-1991)</p>Gimpel the Fool</p>JOHN CHEEVER (1912-1982) </p>The Swimmer</p>RALPH ELLISON (1914- ) </p>From Invisible Man </p>Chapter 1 [Battle Royal] </p>BERNARD MALAMUD (1914-1986) </p>The Mourners</p>SAUL BELLOW (1915- ) </p>A Silver Dish </p>JAMES BALDWIN (1924-1987) </p>Sonny's Blues</p>FLANNERY O'CONNOR (1925-1964) </p>Good Country People</p>JOHN BARTH (1930- ) </p>Lost in the Funhouse</p>JOHN UPDIKE (1932- ) </p>Separating</p>PHILIP ROTH (1933- ) </p>The Conversion of the Jews </p>THOMAS PYNCHON (1937- )</p>Entropy <br></p>A CENTURY ENDS AND A NEW MILLENNIUM BEGINS, 1975 to Present</p>Drama</p>Poetry</p>Fiction</p>Multiculturalism</p>Timeline: A Century Ends and a New Millennium Begins<br></p>CROSSCURRENTS: WHAT IS AN AMERICAN? FREEDOM AND RESPONSIBILITY</p>BOB DYLAN</p>Masters of War</p>NORMAN MAILER (1923-2007)</p>From Armies of the Night</p>BETTY FRIEDAN</p>The Problem that Has No Name</p>TIM O&#8217;BRIEN (1946- )</p>The Things They Didn&#8217;t Know</p>AL GORE (1948- )</p>From An Inconvenient Truth<br></p>POETRY</p>JAMES WRIGHT </p>A Note Left in Jimmy Leonard's Shack </p>Autumn Begins in Martins Ferry, Ohio </p>In Terror of Hospital Bills </p>Two Postures Beside a Fire </p>JAMES MERRILL (1926-1995)</p>A Timepiece </p>Charles on Fire </p>The Broken Home </p>JOHN ASHBERY (1927- )</p>Some Trees </p>The Painter </p>Crazy Weather </p>At North Farm </p>Down by the Station, Early in the Morning </p>ANNE SEXTON </p>Her Kind</p>The Farmer's Wife </p>The Truth the Dead Know </p>With Mercy for the Greedy </p>ADRIENNE RICH</p>Aunt Jennifer's Tigers </p>Living in Sin</p>Diving into the Wreck </p>For the Dead</p>GARY SNYDER </p>The Late Snow & Lumber Strike of the Summer of Fifty-four</p>Riprap </p>Not Leaving the House </p>Axe Handles</p>MARY OLIVER </p>In Blackwater Woods </p>The Ponds </p>Picking Blueberries, Austerlitz, New York, 1957. </p>Early Morning, New Hampshire </p>JOSEPH BRODSKY (1940-1996)</p>From Lullaby of Cape Cod </p>IV [The change of Empires is intimately tied] </p>Belfast Tune </p>A Song </p>To My Daughter</p>SIMON ORTIZ</p>Vision Shadows</p>Poems from the Veterans Hospital</p>From From Sand Creek</p>RITA DOVE</p>&#214;</p>Dusting </p>Roast Possum </p>CATHY SONG </p>Picture Bride </p>Immaculate Lives<br></p>PROSE </p>JOYCE CAROL OATES (1938- )</p>Where Are You Going, Where Have You Been? </p>TONI MORRISON</p>From Sula</p>1992 </p>RAYMOND CARVER</p>A Small, Good Thing</p>BOBBIE ANN MASON</p>Shiloh</p>BHARATI MUKHERJEE (1940- )</p>The Management of Grief</p>ALICE WALKER </p>Everyday Use</p>TIM O'BRIEN </p>From Going After Cacciato</p>Night March </p>ANN BEATTIE</p>Janus </p>AMY TAN </p>Half and Half </p>LOUISE ERDRICH </p>The Red Convertible </p>SANDRA CISNEROS</p>Woman Hollering Creek</p>SHERMAN ALEXIE</p>What You Pawn I Will Redeem</p>JHUMPA LAHIRI </p>The Third and Final Continent</p>EDWIDGE DANTICAT</p>Seven<br><br> </p>Historical-Literary Timeline</p>Bibliography</p>Acknowledgments </p>Index
79Approaching Literature: Writing, Reading, ThinkingPeter Schakel0<p><p><b>PETER SCHAKEL</b> is Peter C. and Emajean Cook Professor of English at Hope College. He is author of <i>The Poetry of Jonathan Swift</i> (1978) and four books on C.S. Lewis, including<i> Imagination and the Arts in C.S. Lewis</i> (2002) and <i>The Way into Narnia&#58; A Reader's Guide</i> (2005). He is also editor of<i> Critical Approaches to Teaching Swift </i>(1992) and <i>The Longing for a Form&#58; Essays and Fiction on C.S. Lewis </i>(1977); coeditor with Charles A. Huttar of <i>Word and Story in C.S. Lewis</i> (1991) and<i> The Rhetoric of Vision&#58; Essays on Charles Williams</i> (1996). For Bedford/St. Martin's, with Jack Ridl he co-edited <i>Approaching Poetry</i> (1997) and <i>250 Poems</i> (2003), and he is coeditor with Janet Gardner, Beverley Lawn, and Jack Ridl of <i>Literature&#58; a Portable Anthology</i> (2004).<p><b>JACK RIDL</b> is Professor Emeritus of English at Hope College where he taught courses in literature, essay writing, poetry writing, and the nature of poetry for thirty-five years. He has published six volumes of poetry and more than 200 poems in some fifty literary magazines; his most recent collection, <i>Broken Symmetry</i>, was selected by the Society of Midland Authors as one of the two best volumes of poetry published in 2006. His chapbook <i>Against Elegies</i> received the 2001 Letterpress Award from the Center for Book Arts. His recognitions for teaching excellence include the Hope Outstanding Professor-Educator award at Hope College for 1976, the Michigan Teacher of the Year award from the Carnegie Foundation in 1996, and the Favorite Faculty/Staff Member award at Hope College in 2003. For Bedford/St. Martin's, with Peter Schakel he co-edited <i>Approaching Poetry</i> (1997) and<i> 250 Poems</i> (2003); and he is coeditor with Janet Gardner, Beverley Lawn, and Peter Schakel of <i>Literature&#58; a Portable Anthology</i> (2004).<b></b><p></p>Peter Schakel, Jack Ridlapproaching-literaturepeter-schakel97803124528340312452837$48.94PaperbackBedford/St. Martin'sDecember 20072nd EditionNonfiction Writing - General & Miscellaneous, English Language Readers, Student Life - College Guides, Rhetoric - English Language, American Literature Anthologies16966.53 (w) x 9.26 (h) x 1.69 (d)<p>Developed by authors with more than 50 years of teaching experience between them, <i>Approaching Literature</i> has been designed as a true alternative to more traditional literature anthologies. The authors conceived this anthology with three principles in mind: (1) that exposing students to the widest array of literature can help every one find common ground with that literature; (2) that contemporary literary works can serve as entry points to reading and appreciating the canonical literature that students often find unfamiliar, intimidating, and sometimes irrelevant; and (3) that the instruction in reading and writing about literature should be accessible and jargon-free to all students, not just potential English majors. With its streamlined and student-friendly instructional text, and its ongoing commitment to showcasing the most engaging and diverse literary works publishing right now, <i>Approaching Literature</i> is built from the ground up with today's students in mind.</p><p><p>Developed by authors with more than 50 years of teaching experience between them, <i>Approaching Literature</i> has been designed as a true alternative to more traditional literature anthologies. The authors conceived this anthology with three principles in mind&#58; (1) that exposing students to the widest array of literature can help every one find common ground with that literature; (2) that contemporary literary works can serve as entry points to reading and appreciating the canonical literature that students often find unfamiliar, intimidating, and sometimes irrelevant; and (3) that the instruction in reading and writing about literature should be accessible and jargon-free to all students, not just potential English majors. With its streamlined and student-friendly instructional text, and its ongoing commitment to showcasing the most engaging and diverse literary works publishing right now, <i>Approaching Literature</i> is built from the ground up with today's students in mind. <p></p><p>PART I. APPROACHING LITERATURE<p><B>1. Reading Literature&#58; <I>Taking Part in a Process<BR></B><BR></I><B>Sherman Alexie,</B><I> Superman and Me<p></I>The Nature of Reading<p>Active Reading<p>CHECKLIST on Active Reading<BR><I><BR></I><B>Julia Alvarez, </B><I>Daughter of Invention<p></I><B>2. Writing in Response to Literature&#58; <I>Entering the Conversation<BR></B><BR></I><B>Alice Walker,</B><I> The Flowers<p></I>Writing in the Margins<p>Journal Writing<p>Discussing Literature<BR><B><BR>TIPS for Effective Journal Writing<p>TIPS for Participating in Class Discussions<p></B>Writing Essay Examination Answers<p>Writing Short Papers<BR><B><BR>TIPS for Writing a Short Paper<p></B>Writing Research Papers<p>Writing Papers in Other Formats<p>Composing in Other Art Forms<p>PART II. APPROACHING FICTION<p><B>3. Reading Fiction&#58; <I>Responding to the Real World of Stories<p></B></I>What Is Fiction?<p>Why Read Fiction?<p>Active Reading&#58; Fiction<p>Rereading Fiction<p><B>4. Plot and Characters&#58; <I>Watching What Happens, to Whom<p></B></I>Reading for Plot<BR><I><BR></I><B>Dagoberto Gilb,</B><I> Love in L.A.<p></I>Reading for Characters<p>CHECKLIST for Reading About Plot and Character<p>Further Reading<BR><B><BR>Louise Erdrich,</B><I> The Red Convertible <BR></I><B><BR>Joyce Carol Oates,</B><I> Where Are You Going, Where Have You Been?<p></I><B>Responding Through Writing<p>Writing About Plot and Character<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing About Plot and Character<p>Writing About Connnections<p></B>"Love and the City"&#58; Realizing Relationships in Dagoberto Gilb&#8217;s <I>Love in L.A.</I> and Raymond Carver&#8217;s <I>What We Talk about When We Talk about Love<p></I>"My Brother&#8217;s Keeper"&#58; Supportive Siblings in Louise Erdrich&#8217;s <I>The Red Convertible </I>and James Baldwin&#8217;s<I> Sonny&#8217;s Blues<p></I>"Good Men Are Hard to Find"&#58; Encounters with Evil in Joyce Carol Oates&#8217;s <I>Where Are You Going, Where Have You Been?</I> and Flannery O&#8217;Connor&#8217;s <I>A Good Man Is Hard to Find</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>5. Point of View and Theme&#58; <I>Being Alert to Angles, Open to Insights<BR></I><BR>Sandra Cisneros,</B><I> The House on Mango Street<p></I>Reading for Narrator<p>Reading for Point of View<p>Theme<p>CHECKLIST for Reading about Point of View and Theme<p>Further Reading<BR><I><BR></I><B>Alice Walker,</B><I> Everyday Use<p></I>*<B>George Saunders,</B><I> The End of FIRPO in the World<p></I>Approaching Graphic Fiction<BR><I><BR></I>*<B>Lynda Barry,</B><I> Today&#8217;s Demon&#58; Magic<p></I><B>Responding Through Writing<p>Writing About Point of View and Theme<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<p><B>TIPS on Writing about Point of View and Theme<p>Writing About Connections<p></B>"Staring Out Front Windows"&#58; Seeking Escape in Sandra Cisneros&#8217;s<I> The House on Mango Street</I> and James Joyce&#8217;s <I>Araby</I> <p>"Can You Come Home Again?"&#58; The Difficulty of Returning in Alice Walker&#8217;s <I>Everyday Use</I> and Monica Ali&#8217;s <I>Dinner with Dr. Azad</I> <p>"States of Mind That Matter"&#58; Approaching Death in George Saunders&#8217;s <I>The End of FIRPO in the World</I> and Katherine Anne Porter&#8217;s <I>The Jilting of Granny Weatherall</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>6. Setting and Symbol&#58; <I>Meeting Meaning in Places and Objects<p></B></I>Setting<BR><I><BR></I><B>Ernest Hemingway,</B><I> Hills Like White Elephants<p></I>Reading for Symbols<p>Reading for Allegory<p>CHECKLIST for Reading about Setting and Symbol<p>Further Reading<BR><I><BR></I><B>Tim O&#8217;Brien,</B><I> The Things They Carried<p></I>*<B>Edward P. Jones,</B><I> Bad Neighbors<p></I>*<B>Joe Sacco,</B><I> Complacency Kills <p></I><B>Writing About Symbol and Setting<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<p><B>TIPS on Writing about Setting and Symbol<p>Writing About Connections<p></B>"Secrets of the Heart"&#58; Keeping Hope Alive in Ernest Hemingway&#8217;s <I>Hills Like White Elephants</I> and David Means&#8217;s <I>The Secret Goldfish</I> <p>"Dying a Good Death"&#58; Struggles Over What Matters in Tim O&#8217;Brien&#8217;s<I> The Things They Carried</I> and Yiyun Li&#8217;s <I>Persimmons</I> <p>"&#8216;A Good Man Is Hard to Find&#8217;"&#58; Nature vs. Nurture in Edward P. Jones&#8217;s <I>Bad Neighbors</I> and Nathaniel Hawthorne&#8217;s <I>Young Goodman Brown</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>7. Style, Tone, and Irony&#58; <I>Attending to Expression and Attitude <BR></B><BR></I><B>Kate Chopin,</B><I> The Story of an Hour<p></I>Reading for Style<p>Reading for Tone<p>Reading for Irony<p>CHECKLIST on Reading about Style, Tone, and Irony<p>Further Reading<BR><I><BR></I><B>Toni Cade Bambara,</B><I> The Lesson<p></I>*<B>Katherine Min,</B><I> Courting a Monk<p></I><B>Responding Through Writing<p>Writing About Style, Tone and Irony<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing about Style, Tone, and Irony<p>Writing About Connections<p></B>"Time for a Change"&#58; Kate Chopin&#8217;s <I>The Story of an Hour</I> and Jhumpa Lahiri&#8217;s <I>A Temporary Matter</I> <p>"Learning Out of School"&#58; Personal Maturity in Toni Cade Bambara&#8217;s <I>The Lesson</I> and John Updike&#8217;s <I>A & P</I> <p>"&#8216;Gather Ye Rosebuds&#8217;"&#58; Looking for Love in Katherine Min&#8217;s <I>Courting a Monk</I> and William Faulkner&#8217;s <I>A Rose for Emily</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>8. Writing about Fiction&#58; <I>Applying What You&#8217;ve Learned<p></B></I>Topics<BR><B><BR>TIPS for Writing Compare and Contrast Papers<p></B>Development<p><B>TIPS for Writing Social and Cultural Criticism<p></B>A Student Writer at Work&#58; Alicia Abood on the Writing Process<p><B>Student Paper&#58; </B>Alicia Abood, "Clips of Language&#58; The Effect of Diction in Dagoberto Gilb&#8217;s &#8216;Love in L.A.&#8217;"<p><B>9. An Author in Depth&#58; <I>Sherman Alexie&#58; Exploring One Writer&#8217;s World<BR></B><BR></I><B>Sherman Alexie,</B><I> This is What It Means to Say Phoenix, Arizona<p></I><B>Sherman Alexie,</B><I> The Lone Ranger and Tonto Fistfight in Heaven<p></I>*<B>Sherman Alexie,</B><I> Somebody Kept Saying Powwow<p></I><B>Tomson Highway,</B><I> Interview with Sherman Alexie<p></I>*<B>Ase Nygren,</B><I> A World of Story-Smoke&#58; A Conversation with Sherman Alexie<BR></I><B><BR>Joseph L. Coulombe,</B><I> The Approximate Size of His Favorite Humor&#58; Sherman Alexie&#8217;s Comic Connections and Disconnections in </I>The Lone Ranger and Tonto Fistfight in Heaven<BR><I><BR></I>*<B>Jerome Denuccio,</B><I> Slow Dancing with Skeletons&#58; Sherman Alexie&#8217;s </I>The Lone Ranger and Tonto Fistfight in Heaven<BR><I><BR></I>*<B>James Cox,</B><I> Muting White Noise&#58; The Subversion of Popular Culture Narratives of Conquest in Sherman Alexie&#8217;s Fiction<p></I><B>10. A Collection of Stories&#58; <I>Visiting a Variety of Vistas<BR></B><BR></I>*<B>Monica Ali,</B><I> Dinner with Dr. Azad<BR></I><B><BR>Isabel Allende</B><I> </I>(Chile)<I>, And of Clay Are We Created<BR></I><B><BR>James Baldwin,</B><I> Sonny&#8217;s Blues<p></I>*<B>Melissa Bank, </B><I>The Wonder Spot<p></I>*<B>Raymond Carver,</B><I> What We Talk about When We Talk about Love<p></I>*<B>Judith Ortiz Cofer,</B><I> American History<p></I><B>Ralph Ellison,</B><I> Battle Royal<p></I><B>William Faulkner,</B><I> A Rose for Emily<BR></I><B><BR>Nathaniel Hawthorne,</B><I> Young Goodman Brown<BR></I><B><BR>Zora Neale Hurston,</B><I> Sweat<p></I>*<B>James Joyce,</B><I> Araby<p></I><B>Jamaica Kincaid,</B><I> Girl<p></I>*<B>Jhumpa Lahiri,</B><I> A Temporary Matter<p></I>*<B>Yiyun Li,</B><I> Persimmons <p></I><B>Gabriel Garc&#8217;a Marquez </B>(Columbia)<I>, A Very Old Man with Enormous Wings<p></I>*<B>David Means,</B><I> The Secret Goldfish<p></I>*<B>Ana Menendez, </B><I>Her Mother&#8217;s House<p></I><B>Toni Morrison,</B><I> Recitatif<p></I>*<B>Haruki Murakami,</B><I> Birthday Girl<p></I><B>Flannery O&#8217;Connor,</B><I> A Good Man Is Hard to Find<p></I><B>Tillie Olsen,</B><I> I Stand Here Ironing<p></I><B>Edgar Allen Poe,</B><I> The Cask of Amontillado<p></I><B>Katherine Anne Porter,</B><I> The Jilting of Granny Weatherall<p></I><B>Nahid Rachlin, </B><I>Departures<p></I><B>Salman Rushdie </B>(India)<I>, The Prophet&#8217;s Hair<BR></I><B><BR>Leslie Marmon Silko,</B><I> The Man to Send Rain Clouds<p></I>*<B>Zadie Smith,</B><I> The Girl with Bangs<p></I>*<B>John Steinbeck,</B><I> The Chrysanthemums<p></I><B>Amy Tan,</B><I> Two Kinds<BR></I><B><BR>John Updike,</B><I> A & P<p></I><B>Helena Mar&#8217;a Viramontes,</B><I> The Moths<p></I>PART III. APPROACHING POETRY<p><B>11. Reading Poetry&#58; <I>Realizing the Richness in Poems<p></B></I>What Is Poetry?<p>Why Read Poetry?<p>Active Reading&#58; Poetry<p>Rereading Poetry<p><B>12. Words and Images&#58; <I>Seizing on Sense and Sight<p></B></I>Denotation<BR><I><BR></I><B>Robert Hayden,</B><I> Those Winter Sundays<p></I>Connotation<BR><I><BR></I><B>Gwendolyn Brooks,</B><I> The Bean Eaters<p></I>Images<BR><I><BR></I><B>Maxine Kumin,</B><I> The Sound of Night<p></I><B>William Carlos Williams,</B><I> The Red Wheelbarrow<p></I>CHECKLIST on Reading for Words and Images<p>Further Reading<BR><B><BR>Allison Joseph,</B><I> On Being Told I Don&#8217;t Speak like a Black Person<p></I>*<B>Robert Bly,</B><I> Driving to Town Late to Mail a Letter<BR></I><B><BR>Jonathan Swift,</B><I> A Description of the Morning<p></I><B>Garrett Kaoru Hongo,</B><I> Yellow Light<p></I><B>Robert Frost,</B><I> After Apple-Picking<p></I><B>Anita Endrezze,</B><I> The Girl Who Loved the Sky<p></I><B>Responding Through Writing<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing about Words and Images<p>Writing About Connections<p></B>"Autumn Leaves"&#58; The Changing Seasons of Life in Robert Frost&#8217;s <I>After Apple-Picking</I> and Joseph Awad&#8217;s <I>Autumnal</I> <p>"Seeing the City"&#58; The Contrasting Perspectives of Jonathan Swift&#8217;s <I>A Description of the Morning</I> and Cheryl Savageau&#8217;s <I>Bones &#8212; A City Poem <p></I>"Impermanence&#8217;s Permanence"&#58; Anita Endrezze&#8217;s <I>The Girl Who Loved the Sky</I> and Edmund Spenser&#8217;s<I> One day I wrote her name upon the strand</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>13. Voice, Tone, and Sound&#58; <I>Hearing for How Sense Is Said<p></B></I>Voice<BR><I><BR></I><B>Li-young Lee,</B><I> Eating Alone<p></I><B>Charles Bukowski,</B><I> my old man<p></I>Dramatic Monologue<p>Tone<BR><I><BR></I><B>Theodore Roethke, </B><I>My Papa&#8217;s Waltz<p></I>Irony<BR><I><BR></I><B>Marge Piercy,</B><I> Barbie Doll<p></I>Sound<BR><I><BR></I><B>Sekou Sundiata,</B><I> Blink Your Eyes<p></I>CHECKLIST on Reading for Voice, Tone, and Sound<p>Further Reading<BR><I><BR></I><B>Wilfred Owen,</B><I> Dulce et Decorum Est<p></I><B>Yosef Komunyakaa,</B><I> Facing It<p></I><B>Richard Garcia</B><I>, Why I Left the Church<p></I>*<B>Billy Collins,</B><I> Consolation<p></I><B>Robert Browning,</B><I> My Last Duchess<p></I><B>Responding Through Writing<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<p><B>TIPS on Writing about Voice, Tone, and Sound<p>Writing About Connections<p></B>"All the Comforts of Home"&#58; Contrasting Spirits of Adventure in Billy Collins&#8217;s <I>Consolation</I> and Alfred, Lord Tennyson&#8217;s <I>Ulysses</I> <p>"Arms and the Man"&#58; War without Glory in Wilfred Owen&#8217;s <I>Dulce et Decorum Est </I>and Vievee Francis&#8217;s <I>Private Smith&#8217;s Primer</I> <p>"Dancing with the Dark"&#58; Movement and Memory in Theodore Roethke&#8217;s <I>My Papa&#8217;s Waltz</I> and Cornelius Eady&#8217;s <I>My Mother, If She Had Won Free Dance Lessons <p></I><B>Writing Research Papers<p>Composing in Other Art Forms<p>14. Form and Type&#58; <I>Delighting in Design<p></B></I>Lines<BR><I><BR></I><B>Gwendolyn Brooks,</B><I> We Real Cool<p></I>Stanzas<BR><I><BR></I><B>Countee Cullen, </B><I>Incident<p></I>Sonnets<BR><I><BR></I><B>William Shakespeare, </B><I>That time of year thou mayst in me behold<BR></I><B><BR>Claude McKay, </B><I>If we must die<BR></I><B><BR>Gerard Manley Hopkins,</B><I> God&#8217;s Grandeur<p></I><B>Helene Johnson,</B><I> Sonnet to a Negro in Harlem<p></I>Blank Verse and Couplets<p>Free Verse<BR><B><BR>Leslie Marmon Silko, </B><I>Prayer to the Pacific<p></I>Internal Form<p>CHECKLIST on Reading for Form and Type<p>Further Reading<BR><B><BR>James Wright,</B><I> A Blessing<BR></I><B><BR>Joy Harjo,</B><I> She Had Some Horses<p></I><B>William Butler Yeats,</B><I> The Lake Isle of Innisfree<p></I>*<B>Robert Herrick,</B><I> To Daffodils<p></I><B>David Mura,</B><I> Grandfather-in-law<p></I>*<B>Elizabeth Bishop,</B><I> Sestina<p></I><B>Responding Through Writing<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing about Form and Type<p>Writing About Connections<p></B>"Amazing Grace"&#58; Being Blessed from within and from without in James Wright&#8217;s <I>A Blessing</I> and Galway Kinnell&#8217;s <I>Saint Francis and the Sow</I> <p>"&#8216;Which thou must leave ere long&#8217;"&#58; Approaching Separation in Elizabeth Bishop&#8217;s <I>Sestina</I> and William Shakespeare&#8217;s <I>That time of year thou mayst in me behold</I> <p>"The Solace of Solitude"&#58; Place and Peace in W. B.Yeats&#8217;s<I> The Lake Isle of Innisfree</I> and Lorine Niedecker&#8217;s <I>My Life by Water</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>15. Figurative Language&#58; <I>Wondering What This Has to Do with That<p></B></I>Simile<BR><B><BR>Julie Moulds,</B><I> </I>From<I> Wedding Iva<BR></I><B><BR>Langston Hughes,</B><I> Harlem<p></I>Metaphor<BR><B><BR>Dennis Brutus,</B><I> Nightsong&#58; City<p></I>Personification<BR><I><BR></I><B>Angelina Weld Grimke,</B><I> A Winter Twilight<p></I>Metonymy And Synecdoche<BR><B><BR>Edwin Arlington Robinson</B><I>, Richard Cory<p></I>Two Other Observations about Figures<BR><I><BR></I><B>William Stafford,</B><I> Traveling through the Dark<p></I>CHECKLIST on Reading for Figurative Language<p>Further Reading<BR><B><BR>John Keats,</B><I> To Autumn<p></I>*<B>Mary Oliver,</B><I> First Snow<BR></I><B><BR>Judith Ortiz Cofer,</B><I> Cold as Heaven<BR></I><B><BR>Geoffrey Hill,</B><I> In Memory Of Jane Fraser<BR></I><B><BR>Julia Alvarez,</B><I> How I Learned to Sweep<p></I><B>Responding Through Writing<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing about Figurative Language<p>Writing About Connections<p></B>"Innocence and Experience"&#58; Confrontations with Evil in Julia Alvarez&#8217;s <I>How I Learned to Sweep</I> and William Blake&#8217;s<I> The Chimney Sweeper <p></I>"A Joyful Melancholy"&#58; Nature and Beauty in Mary Oliver&#8217;s <I>First Snow</I> and William Wordsworth&#8217;s <I>I Wandered Lonely as a Cloud <p></I>"Knowing Deep the Seasons"&#58; Antitheses of Life in John Keats&#8217;s <I>To Autumn</I> and William Carlos Williams&#8217;s <I>Spring and All</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>16. Rhythm and Meter&#58; <I>Feeling the Beat, the Flux, and the Flow<p></B></I>Rhythm<BR><I><BR></I><B>e. e. cummings,</B><I> Buffalo Bill&#8217;s <p></I>Meter<BR><I><BR></I><B>Paul Laurence Dunbar,</B><I> We Wear the Mask<p></I>CHECKLIST on Reading for Rhythm and Meter<p>Further Reading<BR><B><BR>Lucille Clifton,</B><I> at the cemetery, walnut grove plantation, south carolina, 1989<p></I><B>Lorna Dee Cervantes,</B><I> Freeway 280<BR></I><B><BR>Robert Frost,</B><I> The Road Not Taken<p></I><B>Naomi Shihab Nye,</B><I> The Small Vases From Hebron<BR></I><B><BR>A. K. Ramanujan,</B><I> Self-portrait<BR></I><B><BR>Emily Dickinson,</B><I> I&#8217;m Nobody! Who are you?<BR></I><B><BR>Sylvia Plath,</B><I> Metaphors<BR></I><B><BR>Georgia Douglas Johnson,</B><I> Wishes<p></I><B>Responding Through Writing<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing about Rhythm and Meter<p>Writing About Connections<p></B>"Grief beyond Grief"&#58; Dealing with Death in Ben Jonson&#8217;s<I> On My First Son</I> and Michael S. Harper&#8217;s <I>Nightmare Begins Responsibility</I> <p>"Remembering the Unremembered"&#58; The Language of Preservation in Lucille Clifton&#8217;s <I>at the cemetery, walnut grove plantation, south carolina, 1989</I> and Thomas Gray&#8217;s <I>Elegy Written in a Country Churchyard</I> <p>"On the Road Again"&#58; The Search for Self in Lorna Dee Cervante&#8217;s <I>Freeway 280</I> and Alfred, Lord Tennyson&#8217;s <I>Ulysses<p></I><B>Writing Research Papers<p>Composing in Other Art Forms<p>17. Writing about Poetry&#58; <I>Applying What You&#8217;ve Learned<p></B></I>Topics<p>Development<p>A Student Writer at Work&#58; Dan Carter on the Writing Process<p><B>Student Paper&#58;</B> Dan Carter, &#210;A Slant on the Standard Love Sonnet&#211;<p><B>18. A Theme in Depth&#58; <I>Explicating the Everyday<p></B></I>*<B>Julia Alvarez,</B><I> Ironing Their Clothes<p></I>*<B>Laure-Anne Bosselaar,</B><I> Bench in Aix-en-Provence<p></I>*<B>Lucille Clifton,</B><I> Cutting Greens<p></I>*<B>Billy Collins,</B><I> Days<p></I>*<B>Emily Dickinson,</B><I> I heard a Fly buzz<p></I><B>Rita Dove,</B><I> The Satisfaction Coal Company<p></I><B>Robert Frost,</B><I> Mending Wall<p></I>*<B>Christopher Gilbert,</B><I> Touching<p></I>*<B>Ben Jonson,</B><I> Inviting a Friend to Supper<p></I>*<B>Ted Kooser,</B><I> Applesauce<p></I>*<B>Li-Young Lee,</B><I> Braiding<p></I>*<B>Denise Levertov,</B><I> The Acolyte<p></I>*<B>Pablo Neruda </B>(Chile),<I> Ode to French Fires<p></I><B>Naomi Shihab Nye,</B><I> The Small Vases from Hebron<p></I><B>Simon Ortiz,</B><I> Speaking<p></I>*<B>Jack Ridl,</B><I> Love Poem<p></I>*<B>Len Roberts,</B><I> At the Train Tracks<p></I>*<B>William Stafford,</B><I> Notice What This Poem Is Not Doing<p></I>*<B>Mary Tallmountain, </B><I>Peeling Pippins<p></I>*<B>Nancy Willard,</B><I> The Potato Picker<p></I>*<B>William Carlos Williams,</B><I> The Is Just to Say</I><p>*<B>William Wordsworth,</B><I> I wandered lonely as a cloud<p></I>*<B>Jeff Gundy,</B><I> A Review of </I>Delights and Shadows<I> by Ted Kooser<p></I>*<B>Sarah Jensen,</B><I> A Review of </I>Broken Symmetry<I> by Jack Ridl<p></I>*<B>William Stafford,</B><I> The Importance of the Trivial<p></I>*<B>Louis Simpson,</B><I> </I>from<I> Important and Unimportant Poems<p></I>*<B>Bill Moyers,</B><I> An Interview with Naomi Shihab Nye<p></I>*<B>Ted Kooser,</B><I> Out of the Ordinary<p></I>*<B>Paul Lake,</B><I> The Malady of the Quotidian<p></I>*<B>Donna A. Rohrer,</B><I> William Carlos Williams&#8217;s Poetics&#58; Turning the Ordinary into the Beautiful<p></I><B>19. A Collection of Poems&#58; <I>Valuing a Variety of Voices<BR></B><BR></I><B>Ai,</B><I> Why Can&#8217;t I Leave You?<p></I><B>Agha Shahid Ali,</B><I> I Dream It Is Afternoon When I Return To Delhi<p></I><B>Anonymous,</B><I> Sir Patrick Spens<p></I>*<B>Margaret Atwood,</B><I> True Stories<BR></I><B><BR>W. H. Auden,</B><I> Mus&#381;e Des Beaux Arts<p></I><B>Joseph Awad,</B><I> Autumnal<BR></I><B><BR>Jimmy Santiago Baca,</B><I> Family Ties<p></I><B>Jim Barnes,</B><I> Return To La Plata, Missouri<p></I><B>Gerald Barrax,</B><I> Dara<p></I><B>Elizabeth Bishop, </B><I>In the Waiting Room<p></I><B>William Blake, </B><I>The Chimney Sweeper<BR></I><B><BR>Peter Blue Cloud,</B><I> Rattle<p></I><B>Eavan Boland,</B><I> The Pomegranate<BR></I><B><BR>Anne Bradstreet,</B><I> To My Dear and Loving Husband<p></I><B>Sterling Brown,</B><I> Riverbank Blues<BR></I><B><BR>Elizabeth Barrett Browning,</B><I> How do I love thee? Let me count the ways<p></I>*<B>Anthony Butts, </B><I>Ferris Wheel<p></I>*<B>Ana Castillo,</B><I> I Heard the Cries of Two Hundred Children<p></I><B>Sandra Castillo, </B><I>Exile<p></I><B>Rosemary Catacalos, </B><I>David Talam&#8225;ntez on the Last Day of Second Grade<p></I>*<B>Tina Chang,</B><I> Origin & Ash<p></I><B>Marilyn Chin,</B><I> Turtle Soup<p></I><B>Samuel Taylor Coleridge,</B><I> Kubla Khan<BR></I><B><BR>Jayne Cortez,</B><I> Into This Time<p></I><B>Victor Hernandez Cruz,</B><I> Problems with Hurricanes<p></I><B>e. e. cummings, </B><I>in Just &#8212; <p></I><B>Keki N. Daruwalla,</B><I> Pestilence<p></I><B>Toi Derricotte,</B><I> A Note on My Son&#8217;s Face<p></I><B>Emily Dickinson,</B><I> Because I could not stop for death<p></I><B>Emily Dickinson,</B><I> Much Madness is divinest Sense<p></I><B>Ana Doina,</B><I> The Extinct Homeland &#8212; A Conversation with Czeslaw Milosz<p></I>*<B>John Donne,</B><I> Death, be not proud<p></I><B>Mark Doty,</B><I> Tiara<BR></I><B><BR>Cornelius Eady,</B><I> My Mother, If She Had Won Free Dance Lessons<p></I><B>T. S. Eliot,</B><I> The Love Song of J. Alfred Prufrock<p></I><B>Louise Erdrich,</B><I> A Love Medicine<p></I><B>Mart&#8217;n Espada,</B><I> The Saint Vincent de Paul Food Pantry Stomp<BR></I><B><BR>Sandra Mar&#8217;a Esteves,</B><I> A la Mujer Borrinque&#8211;a<p></I><B>Carolyn Forche,</B><I> The Colonel<p></I>*<B>Vievee Francis,</B><I> Private Smith&#8217;s Primer<p></I><B>Allen Ginsburg,</B><I> A Supermarket in California<p></I><B>Nikki Giovanni,</B><I> Nikka-Rosa<p></I><B>Ray Gonzalez,</B><I> Praise the Tortilla, Praise the Menudo, Praise the Chorizo<p></I><B>Thomas Gray,</B><I> Elegy Written in a Country Churchyard<p></I><B>Kimiko Hahn,</B><I> Mother&#8217;s Mother<p></I>*<B>Donald Hall,</B><I> The Names of Horses<BR></I><B><BR>Michael S. Harper, </B><I>Nightmare Begins Responsibility<BR></I><B><BR>Samuel Hazo,</B><I> For Fawzi in Jerusalem<p></I><B>Seamus Heaney,</B><I> Digging<p></I><B>George Herbert,</B><I> The Pulley<p></I><B>David Hernandez,</B><I> The Butterfly Effect<p></I><B>Robert Herrick,</B><I> To the Virgins to Make Much of Time<BR></I><B><BR>Linda Hogan,</B><I> The History Of Red<BR></I><B><BR>A. E. Housman, </B><I>To an Athlete Dying Young<p></I>*<B>Langston Hughes,</B><I> Theme for English B<BR></I><B><BR>Lawson Fusao Inada, </B><I>Plucking Out a Rhythm<p></I>*<B>Honoree Fanonne Jeffers,</B><I> Outlandish Blues (The Movie)<p></I><B>Ben Jonson,</B><I> On My First Son <p></I>*<B>A. Van Jordan,</B><I> From<p></I><B>John Keats,</B><I> Ode on a Grecian Urn<p></I>*<B>Jane Kenyon, </B><I>From Room to Room<BR></I><B><BR>Galway Kinnell, </B><I>Saint Francis and the Sow<p></I><B>Etheridge Knight, </B><I>Hard Rock Returns to Prison from the Hospital for the Criminal Insane<p></I>*<B>Stanley Kunitz, </B><I>Father and Son<p></I>*<B>Gerry La Femina,</B><I> The Sound a Body Makes<p></I><B>Li-young Lee,</B><I> Visions and Interpretations<p></I><B>Philip Levine, </B><I>What Work Is<p></I>*<B>Timothy Liu, </B><I>The Garden<p></I><B>Audre Lorde,</B><I> Hanging Fire<p></I><B>Richard Lovelace, </B><I>To Lucasta, Going to the Wars<p></I><B>Robert Lowell,</B><I> Skunk Hour<p></I>*<B>Medbh McGuckian,</B><I> On Ballycastle Beach<BR></I><B><BR>Heather McHugh,</B><I> What He Thought<BR></I><B><BR>Claude McKay,</B><I> America<BR></I><B><BR>Christopher Marlowe,</B><I> The Passionate Shepherd to His Love<p></I><B>Andrew Marvell,</B><I> To His Coy Mistress<p></I><B>Orlando Ricardo Menes, </B><I>Letter to Mirta Y&#8225;&#8211;ez<BR></I><B><BR>John Milton,</B><I> When I consider how my light is spent<p></I><B>Janice Mirikitani,</B><I> For a Daughter Who Leaves<BR></I><B><BR>Marianne Moore,</B><I> Poetry<p></I><B>Robert Morgan,</B><I> Mountain Bride<p></I>*<B>Thylias Moss,</B><I> The Lynching<p></I><B>Duane Niatum,</B><I> First Spring<p></I>*<B>Lorine Niedecker,</B><I> My Life by Water<BR></I><B><BR>Dwight Okita,</B><I> In Response to Executive Order 9066<p></I>*<B>William Olsen,</B><I> The Fold-Out Atlas of the Human Body&#58; A Three-Dimensional Book for Readers of All Ages<p></I><B>Michael Ondaatje,</B><I> Biography<p></I><B>Ricadro Pau-llosa,</B><I> Years of Exile<p></I><B>Gustavo Perez Firmat,</B><I> Jose Conseco Breaks Our Hearts Again<p></I>*<B>Lucy Perillo,</B><I> Air Guitar<p></I>*<B>Carl Phillips,</B><I> To the Tune of a Small, Repeatable, and Passing Kindness<p></I><B>Wang Ping,</B><I> Opening the Face<p></I><B>Robert Pinsky, </B><I>Shirt<p></I><B>Sylvia Plath, </B><I>Daddy<p></I><B>Sir Walter Raleigh,</B><I> The Nymph&#8217;s Reply to the Shepherd<p></I><B>Dudley Randall,</B><I> Ballad of Birmingham<p></I>*<B>Mary Ruefle,</B><I> Naked Ladies<p></I><B>Adrienne Rich,</B><I> Diving into the Wreck<BR></I><B><BR>Alberto R&#8217;os,</B><I> Nani<p></I><B>Wendy Rose,</B><I> Loo-wit<BR></I><B><BR>Sonia Sanchez, </B><I>An Anthem <p></I><B>Cheryl Savageau,</B><I> Bones &#8212; A City Poem<p></I><B>Vijay Seshadri,</B><I> The Refugee<p></I>*<B>William Shakespeare,</B><I> Shall I compare thee to a summer&#8217;s day?<p></I><B>Percy Bysshe Shelley, </B><I>Ozymandias<p></I>*<B>Charles Simic,</B><I> Classic Ballroom Dances<p></I><B>Cathy Song,</B><I> Girl Powdering Her Neck<p></I><B>Gary Soto, </B><I>The Elements of San Joaquin<p></I><B>Edmund Spenser, </B><I>One day I wrote her name upon the strand<p></I><B>Wallace Stevens,</B><I> The Emperor of Ice Cream<p></I>*<B>Mark Strand, </B><I>Eating Poetry<p></I>*<B>Virgil Su&#8225;rez, </B><I>Tea Leaves, Caracoles, Coffee Beans<p></I><B>Alfred, Lord Tennyson, </B><I>Ulysses<BR></I><B><BR>Dylan Thomas,</B><I> Do not go gentle into that good night<BR></I><B><BR>Jean Toomer, </B><I>Face<p></I><B>Quincy Troupe,</B><I> Poem for the Root Doctor of Rock &#8217;n&#8217; Roll<p></I><B>Gerald Vizenor,</B><I> Shaman Breaks<p></I><B>Derek Walcott,</B><I> Sea Grapes<BR></I><B><BR>James Welch,</B><I> Christmas Comes to Moccasin Flat<p></I>*<B>Patricia Jabbeh Wesley,</B><I> Becoming Ebony<p></I><B>Roberta Hill Whiteman,</B><I> The White Land<p></I><B>Walt Whitman, </B>From<I> Song of Myself<BR></I><B><BR>Richard Wilbur,</B><I> Love Calls Us to the Things of This World<p></I><B>William Carlos Williams, </B><I>Spring and All<p></I><B>Nellie Wong,</B><I> Grandmother&#8217;s Song<p></I>*<B>William Wordsworth, </B><I>I Wandered Lonely as a Cloud<BR></I><B><BR>Sir Thomas Wyatt,</B><I> They flee from me<p></I><B>John Yau,</B><I> Chinese Villanelle<p></I><B>William Butler Yeats,</B><I> The Second Coming<p></I><B>Al Young,</B><I> A Dance for Ma Rainy<p></I><B>Ray A. Young Bear, </B><I>Green Threatening Clouds<p></I>Reading Poems in Translation<p>Poems in Translation<BR><I><BR></I><B>Anna Akhmatova</B><I> </I>(Russia)<I>, Song of the Last Meeting<p></I><B>Yehuda Amichai </B>(Israel)<I>, Wildpeace<p></I><B>Reza Baraheni </B>(Iran)<I>, Autumn in Tehran <p></I><B>Jorge Luis Borges </B>(Argentina)<I>, The Other Tiger <BR></I><B><BR>Julia De Burgos </B>(Puerto Rico)<I>, Returning<p></I><B>Bei Dao </B>(China)<I>, Night&#58; Theme and Variations<p></I><B>Faiz Ahmed Faiz </B>(Pakistan)<I>, A Prison Daybreak <p></I><B>Nazim Hikmet </B>(Turkey)<I>, Letters from a Man in Solitary<p></I><B>Miroslav Holub</B><I> </I>(Czech Republic)<I>, Elementary School Field Trip to the Dinosaur Exhibit<p></I><B>Taslima Nasrin </B>(Bangladesh)<I>, Things Cheaply Had<p></I><B>Pablo Neruda</B><I> </I>(Chile)<I>, The Dead Woman<p></I><B>Octavio Paz </B>(Mexico)<I>, The Street<p></I><B>Dahlia Ravikovitch</B><I> </I>(Israel)<I>, Clockwork Doll<BR></I><B><BR>Masaoka Siki </B>(Japan)<I>, Haiku<p></I><B>Wislawa Szymborska </B>(Poland)<I>, On Death, without Exaggeration<p></I><B>Xu Gang</B><I> </I>(China)<I>, Red Azalea on the Cliff<p></I>PART IV. APPROACHING DRAMA<p><B>20. Reading Drama&#58; <I>Participating in a Playful Pretence<p></B></I>What Is Drama?<p>Why Read Drama?<p>Active Reading&#58; Drama <p>Rereading Drama<p><B>21. Character, Conflict, and Dramatic Action&#58; <I>Thinking about Who Does What to Whom and Why<BR></B><BR></I>*<B>Kelly Stuart,</B><I> The New New<p></I>Character<p>Dialogue<p>Conflict<p>Dramatic Action<p>CHECKLIST for Reading about Character, Conflict, and Dramatic Action<p>Further Reading<BR><I><BR></I>*<B>Cusi Cram, </B><I>West of Stupid<p></I><B>Responding Through Writing<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing about Character, Conflict, and Dramatic Action<p>Writing About Connections<p></B>"Souls for Sale"&#58; The Cost of Devaluing Values in Kelly Stuart&#8217;s <I>The New New</I> and Arthur Miller&#8217;s <I>Death of a Salesman <p></I>"Death Draws Near"&#58; The Imminence of Mortality in Cusi Cram&#8217;s <I>West of Stupid</I> and David Henry Hwang&#8217;s <I>As the Crow Flies<p></I>"Spinning Out of Control"&#58; The Search for Meaning in John Guare&#8217;s <I>Woman at a Threshold, Beckoning </I>and William Shakespeare&#8217;s <I>Hamlet</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>22. Setting and Structure&#58; <I>Examining Where, When, and How It Happens<p></B></I>Setting<BR><B><BR>Susan Glaspell,</B><I> Trifles<p></I>Structure<p>CHECKLIST for Reading about Setting and Structure<p>Further Reading<BR><I><BR></I><B>David Ives,</B><I> Sure Thing<p></I><B>Responding Through Writing<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing about Setting and Structure <p>Writing About Connections<p></B>"By a Higher Standard"&#58; The Conflict of Law and Justice in Susan Glaspell&#8217;s <I>Trifles</I> and Sophocles&#8217;s <I>Antigone</I> <p>"Living on a smile and a handshake"&#58; Seling Yourself in David Ive&#8217;s <I>Sure Thing</I> and Arthur Miller&#8217;s <I>Death of a Salesman<BR></I><BR>"Serving Time in Invisible Prisons"&#58; Social Entrapments in Henrik Ibsen&#8217;s <I>A Doll House</I> and August Wilson&#8217;s <I>Fences</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>23. Theaters and Their Influence&#58; <I>Imagining the Impact of Stage and Space<p></B></I>The Greek Theater <p>The Elizabethan Theater<p>The Modern Theater<p>The Contemporary Theater <p>CHECKLIST for Reading about Theaters and Their Influence<p>Further Reading<BR><B><BR>David Henry Hwang,</B><I> As the Crow Flies<p></I><B>Responding Through Writing<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing about Theaters and Their Influence<p>Writing About Connections<p></B>"I Gotta Be Me"&#58; Identity and Inter-relationships in John Leguizamo&#8217;s <I>Mambo Mouth&#58; A Savage Comedy</I> and David Ive&#8217;s <I>Sure Thing<p></I>"Dogs Eating Dogs"&#58; The Dramatic Depiction of Racial Oppression in John Leguizamo&#8217;s <I>Mambo Mouth&#58; A Savage Comedy</I> and Suzan-Lori Park&#8217;s <I>Topdog/Underdog<p></I>"Fathers and Sons"&#58; Familial Conflict in William Shakespeare&#8217;s <I>Hamlet</I> and August Wilson&#8217;s <I>Fences</I> <p><B>Writing Research Papers<p>Composing in Other Art Forms<p>24. Dramatic Types and Their Effects&#58; <I>Getting into Genres<p></B></I>Tragedy<p>Comedy<p>Three Other Dramatic Types<p>CHECKLIST on Reading about Dramatic Types and Their Effects<p>Further Reading<BR><B><BR>John Leguizamo, </B>From<I> Mambo Mouth&#58; A Savage Comedy<p></I><B>Responding Through Writing<BR></B><BR>Journal Entries<p>Literary Analysis Papers<p>Comparison-Contrast Papers<BR><B><BR>TIPS on Writing about Dramatic Types and Their Effects<p>Writing About Connections<p></B>"The Haunted Heart"&#58; The Presence and Significance of Ghosts in David Henry Hwang&#8217;s <I>As the Crow Flies</I> and William Shakespeare&#8217;s <I>Hamlet<p></I>"A House Divided"&#58; Tyranny vs. Freedom in a Tragedy &#8212; Sophocle&#8217;s <I>Antigone</I> &#8212; and a Problem Play &#8212; Henrik Ibsen&#8217;s <I>A Doll House<BR></I><BR>"Everyone Loses"&#58; The Games People Play in Suzan-Lori Parks&#8217;s <I>Topdog/Underdog</I> and Arthur Miller&#8217;s <I>Death of a Salesman<p></I><B>Writing Research Papers<p>Composing in Other Art Forms<p>25. Writing about Drama&#58; <I>Applying What You&#8217;ve Learned<p></B></I>Topics<p>Development<p>A Student Writer at Work&#58; Julian Hinson on the Writing Process<p><B>Student Paper&#58;</B> Julian Hinson, &#210;When the New is Old in <I>The New New</I>&#211;<p><B>26. A Form in Depth&#58; <I>August Wilson&#8217;s </I>Fences<I>&#58; Wrestling with One Writer&#8217;s Work</I> <BR></B><BR><B>August Wilson,</B> <I>Fences<BR></I><BR>*Reviews and Photos of <I>Fences<BR></I><BR>*<B>Lloyd Richards,</B><I> </I>Fences&#58;<I> Introduction<BR></I><BR>*<B>Clive Barnes,</B><I> Fiery </I>Fences [a Review*<p>*<B>Frank Rich,</B><I> Family Ties in Wilson&#8217;s </I>Fences<p>*<B>Bonnie Lyons,</B><I> An Interview with August Wilson<BR></I><BR>*<B>Miles Marshall Lewis,</B><I> Miles Marshall Lewis Talks with August Wilson<BR></I><BR>*<B>Missy Dehn Kubitschek,</B><I> August Wilson&#8217;s Gender Lesson<BR></I><BR>*<B>Harry J. Elam, Jr.,</B><I> August Wilson<BR></I><BR>*<B>Suson Koprince,</B><I> Baseball as History and Myth in August Wilson&#8217;s </I>Fences<p><B>27. A Collection of Plays&#58; <I>Viewing</I> <I>from a Variety of Vantage Points<p></B></I>*<B>Sophocles,</B><I> Antigone<p></I>*<B>William Shakespeare,</B><I> Hamlet<p></I><B>Henrik Ibsen,</B><I> A Doll House<p></I><B>Arthur Miller, </B><I>Death of a Salesman<p></I>*<B>Suzan-Lori Parks,</B><I> Topdog/Underdog<p></I>*<B>John Guare,</B><I> Woman at a Threshold, Beckoning<p></I><B>Responding Through Writing<BR></B><BR>Papers Using No Outside Sources<p>Papers Using Limited Outside Sources<p>Papers Involving Further Research<p>PART V. APPROACHING LITERARY RESEARCH<p><B>28. Reading Critical Essays&#58; <I>Listening to the Larger Conversation<p></B></I>What Are Critical Essays?<p>Why Read Critical Essays?<p>Active Reading&#58; Critical Essays <p>Sample Essay<BR><I><BR></I><B>Susan Farrell,</B><I> "Fight vs. Flight&#58; A Re-evaluation of Dee in Alice Walker&#8217;s &#8216;Everyday Use&#8217;"<p></I>Rereading Critical Essays<p><B>29. Writing a Literary Research Paper&#58; <I>Incorporating the Larger Conversation<p></B></I>Topics<p>Types of Research and Sources<p>Conducting Research on Contemporary Literature<p>Finding Sources and Creating a Working Bibliography<p>Research on Contemporary Literature<p>Evaluating Sources<p>Taking Notes<p>Developing Your Paper and Thesis<p>Incorporating Sources<p>Avoiding Plagiarism<p>Documention Sources&#58; MLA Style<p>Preparing a Works Cited Page<p>A Student Writer at Work&#58; Kristina Martinez on the Research Process<p><B>Student Paper&#58;</B> Kristina Martinez, "The Structure of Story in Toni Morrison&#8217;s &#8216;Recitatif&#8217;"<p><B>Biographical Sketches<p>Appendix on Scansion<p>Approaching Critical Theory <p>Glossary of Literary Terms<p>Index of Authors and Titles <p></B> <p><p>* new to this edition<p>
80The Norton Anthology of American Literature: Volume C: 1865-1914Arnold Krupat0<p><b>Nina Baym</b> (General Editor), Ph.D. Harvard, is Swanlund Endowed Chair and Center for Advanced Study Professor Emerita of English, and Jubilee Professor of Liberal Arts and Sciences at The University of Illinois at Urbana-Champaign. She is author of <b>The Shape of Hawthorne&rsquo;s Career</b>; <b>Woman's Fiction&#58; A Guide to Novels by and About Women in America</b>; <b>Novels, Readers, and Reviewers&#58; Responses to Fiction in Antebellum America</b>; <b>American Women Writers and the Work of History, 1790-1860</b>; and <b>American Women of Letters and the Nineteenth-Century Sciences</b>. Some of her essays are collected in <b>Feminism and American Literary History</b>; she has also edited and introduced many reissues of work by earlier American women writers, from Judith Sargent Murray through Kate Chopin. In 2000 she received the MLA&rsquo;s Hubbell medal for lifetime achievement in American literary studies.<P><b>Arnold Krupat</b> (editor, Native American Literatures), Ph.D. Columbia, is Professor of Literature at Sarah Lawrence College. He is the author, among other books, of <b>Ethnocriticism&#58; Ethnography, History, Literature</b>, <b>The Voice in the Margin&#58; Native American Literature and the Canon</b>, <b>Red Matters</b>, and most recently, <b>All That Remains&#58; Native Studies</b> (2007). He is the editor of a number of anthologies, including <b>Native American Autobiography&#58; An Anthology and New Voices in Native American Literary Criticism</b>. With Brian Swann, he edited <b>Here First&#58; Autobiographical Essays by Native American Writers</b>, which won the Wordcraft Circle of Native Writers and Storytellers Award for best book of nonfiction prose in 2001.<P><b>Jeanne Campbell Reesman</b> (editor, 1865-1914), Ph.D. University of Pennsylvania, is Ashbel Smith Professor of English at the University of Texas at San Antonio. She is author of <b>Houses of Pride&#58; Jack London&rsquo;s Race Lives</b>, <b>Jack London&#58; A Study of the Short Fiction</b>, and <b>American Designs&#58; The Late Novels of James and Faulkner</b>, and editor of <b>Speaking the Other Self&#58; American Women Writers</b>, and <b>Trickster Lives&#58; Culture and Myth in American Fiction</b>. With Wilfred Guerin et al. she is co-author of <b>A Handbook of Critical Approaches to Literature</b> and with Earle Labor of <b>Jack London&#58; Revised Edition</b>. With Kenneth Brandt she is co-editor of MLA Approaches to <b>Teaching Jack London</b>, with Leonard Cassuto <b>Rereading Jack London</b>, with Dale Walker <b>No Mentor but Myself&#58; Jack London on Writing and Writers</b>, and with Sara S. Hodson <b>Jack London&#58; One Hundred Years a Writer</b>. She and No&euml;l Mauberret are co-editors of a series of 25 new Jack London editions in French published by &Eacute;ditions Ph&eacute;bus of Paris. She is presently at work on two books&#58; <b>Mark Twain Versus God&#58; The Story of a Relationship</b>, and, with Sara S. Hodson, <b>The Photography of Jack London</b>. She is a member of the Executive Board of the American Literature Association and founder and Executive Coordinator of the Jack London Society.</p>Arnold Krupat (Editor), Jerome Klinkowitz (Editor), Mary Loeffelholz (Editor), Philip F. Gura (Editor), Bruce Michelsonthe-norton-anthology-of-american-literaturearnold-krupat97803939274120393927415$37.77PaperbackNorton, W. W. & Company, Inc.April 20077th EditionAmerican Literature Anthologies10946.00 (w) x 9.20 (h) x 1.40 (d)<p><b>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field,</b> The Norton Anthology of American Literature has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p> <p>Under Nina Baym’s direction, the editors have considered afresh each selection and all the apparatus to make the anthology an even better teaching tool.</p><p>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field, <b>The Norton Anthology of American Literature</b> has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p>
81American Fantastic Tales Boxed SetPeter Straub8<p><P>PETER STRAUB is the <i>New York Times</i> bestselling author of more than a dozen novels. Two of his most recent, <i>Lost Boy Lost Girl</i> and <i>In the Night Room,</i> are winners of the Bram Stoker Award. He lives in New York City.</p>Peter Straubamerican-fantastic-tales-boxed-setpeter-straub97815985305991598530593$49.42HardcoverLibrary of AmericaOctober 2009Fiction, American Literature Anthologies, Fiction Subjects15005.40 (w) x 8.60 (h) x 2.80 (d)From its beginning, American literature teems with tales of horror, hauntings, terrifying obsessions and gruesome incursions, of the uncanny ways in which ordinary reality can be breached and subverted by the unknown and the irrational. In the tales of Irving, Poe, and Hawthorne, and their literary successors, the bright prospects of the New World face an uneasy reckoning with the forces of darkness. As this pathbreaking two-volume anthology demonstrates, it is a tradition with many unexpected detours and hidden chambers, and one that continues to evolve, finding new forms and new themes. <p>Peter Straub, a contemporary master of literary horror and fantasy, offers an authoritative and diverse gathering of stories calculated to unsettle and delight, in styles ranging from the exquisitely insinuating speculations of Henry James's "The Jolly Corner" to the nightmarish post-apocalyptic savagery of Harlan Ellison's "I Have No Mouth and I Must Scream." Ghostly narratives of the Edwardian era, lurid classics from the pulp heyday of <i>Weird Tales</i>, latter-day masterpieces by Shirley Jackson, Ray Bradbury, Stephen King, Joyce Carol Oates, and Steven Millhauser: over 80 stories in all, with a generous selection of contemporary authors who continue to push the genre in new and startling directions.</p><p>From its beginning, American literature teems with tales of horror, hauntings, terrifying obsessions and gruesome incursions, of the uncanny ways in which ordinary reality can be breached and subverted by the unknown and the irrational. In the tales of Irving, Poe, and Hawthorne, and their literary successors, the bright prospects of the New World face an uneasy reckoning with the forces of darkness. As this pathbreaking two-volume anthology demonstrates, it is a tradition with many unexpected detours and hidden chambers, and one that continues to evolve, finding new forms and new themes.<p> Peter Straub, a contemporary master of literary horror and fantasy, offers an authoritative and diverse gathering of stories calculated to unsettle and delight, in styles ranging from the exquisitely insinuating speculations of Henry James's "The Jolly Corner" to the nightmarish post-apocalyptic savagery of Harlan Ellison's "I Have No Mouth and I Must Scream." Ghostly narratives of the Edwardian era, lurid classics from the pulp heyday of <i>Weird Tales</i>, latter-day masterpieces by Shirley Jackson, Ray Bradbury, Stephen King, Joyce Carol Oates, and Steven Millhauser: over 80 stories in all, with a generous selection of contemporary authors who continue to push the genre in new and startling directions.</p>
82Unsettling America: An Anthology of Contemporary Multicultural PoetryMaria Mazziotti Gillan0<p><b>Maria Mazziotti Gillan</b> is an awardwinning poet and instructor whose volumes of poetry include <i>Where I Come From</i>, <i>Things My Mother Told Me</i>, and <i>What We Pass On: Collected Poems 1980-2009</i>. Her work has been appeared in a number of publications, including <i>Boderlands</i>, <i>Prairie Schooner</i>, <i>Los Angeles Review</i>, the <i>Christian Science Monitor</i>, and the <i>New York Times</i>. She is the director of the creative writing program at Binghampton University—State University of New York and the executive director of the Poetry Center at Passaic County Community College.&nbsp;</p> <p><b>Jennifer Gillan</b> is a professor of English and Media Studies at Bentley University. Her other books include <i>Television &amp; New Media: Must-Click TV</i>, <i>Understanding Reality TV</i>, and <i>Identity Lessons</i>, coedited with Maria Mazziotti Gillan.</p>Maria Mazziotti Gillan (Editor), Jennifer Gillanunsettling-americamaria-mazziotti-gillan9780140237788014023778X$16.16PaperbackPenguin Group (USA)November 1994Poetry Anthologies, American Poetry, American Literature Anthologies4326.02 (w) x 8.96 (h) x 0.94 (d)<p class="null1">A multicultural array of poets explore what it is means to be American&nbsp;</p> <p>This powerful and moving collection of poems stretches across the boundaries of skin color, language, ethnicity, and religion to give voice to the lives and experiences of ethnic Americans. With extraordinary honesty, dignity, and insight, these poems address common themes of assimilation, communication, and self-perception. In recording everyday life in our many American cultures, they displace the myths and stereotypes that pervade our culture.</p> <p><i>Unsettling America</i> includes work by:<br> &nbsp;<br> Amiri Baraka Chitra Banerjee Divakaruni Rita Dove Louise Erdich Jessica Hagedorn Joy Harjo Garrett Hongo Li-Young Lee Pat Mora Naomi Shihab Nye Marye Percy Ishmael Reed Alberto Rios Ntozake Shange Gary Soto Lawrence Ferlinghetti Nellie Wong David Hernandez Mary TallMountain<br> &nbsp;<br> ...and many more.</p> <p>With extraordinary honesty, dignity, and insight, an impressive array of poets displace the myths and stereotypes that pervade our culture. The first multicultural poetry anthology to give voice to the lives and experiences of ethnic Americans. </p><p>This powerful and moving collection of poems stretches across the boundaries of skin color, language, ethnicity, and religion to give voice to the lives and experiences of ethnic Americans. With extraordinary honesty, dignity, and insight, these poems address common themes of assimilation, communication, and self-perception. In recording everyday life in our many American cultures, they displace the myths and stereotypes that pervade our culture.</p><p>Unsettling America Acknowledgments Introductions</p> <p><b>Uprooting</b><br> Nellie Wong<br> <i>Where is My Country?<br> Dreams in Harrison Railroad Park</i></p> <p>Luis J. Rodrigues<br> <i>Heavy Blue Veins We Never Stopped Crossing Borders</i></p> <p>Lamont B. Steptoe<br> <i>Wired In Such a Boat of Land</i></p> <p>Jimmy Santiago Baca<br> <i>Immigrants in Our Own Land</i></p> <p>Marylin Chin<br> <i>We Are Americas Now, We Live in the Tundra</i></p> <p>Pat Mora<br> <i>Elena</i></p> <p>Ruth Lisa Schechter<br> <i>What Were You Patching?</i></p> <p>Quincy Troupe<br> <i>In Texas Grass</i></p> <p>Lawrence Ferlinghetti<br> <i>The Old Italians Dying</i></p> <p>Adrian C. Louis<br> <i>Dust World</i></p> <p>Shirley Geok-lin Lim<br> <i>Father from Aisa</i></p> <p>Hamod (Sam)<br> <i>from Moving</i></p> <p>James Masao Mitsui<br> <i>Katori Maru, October 1920</i></p> <p>Chitra Banerjee Divakaruni<br> <i>Restroom The Brides Come to Yuba City</i></p> <p>Yvonne V. Sapia<br> <i>Grandmother, a Caribbean Indian, Described by My Father</i></p> <p>Louise Erdrich<br> <i>Indian Boarding School: The Runaways</i></p> <p>Gary Soto<br> <i>Braly Street</i></p> <p>Joy Harjo<br> <i>The Woman Hanging from the Thirteenth Floor Window</i></p> <p>Shalin Hai-Jew<br> <i>Kinged</i></p> <p>Mary Jo Bona<br> <i>Dream Poem</i></p> <p>Mary Tallmountain<br> <i>The Last Wolf</i></p> <p>Gregg Shapiro<br> <i>Tattoo</i></p> <p>Lawson Fusao Inada<br> <i>Father of My Father</i></p> <p>Justin Vitiello<br> <i>Letter to a Cretan Flute-Maker</i></p> <p>David Meltzer<br> <i>What Do I Know of Journey</i></p> <p>Carole Bernstien<br> <i>When My Grandmother Said Pussy</i></p> <p>Cheryl Clarke<br> <i>14th Street Was Gutted in 1968</i></p> <p>Robert Carnevale<br> <i>Walking by the Cliffside Dyeworks</i></p> <p>Pedro Peitro<br> <i>The Old Buildings</i></p> <p>Dwight Okita<br> <i>In Response to Executive Order 9066<br> The Nice Thing About Counting Stars</i></p> <p>Shirley Kaufman<br> <i>Next Year, in Jerusalem</i></p> <p>Philip Levine<br> <i>The Survivor</i></p> <p>Lucille Clifton<br> <i>Sam</i></p> <p><b>Performing</b><br> Chitra Banerjee Divakaruni<br> <i>Indian Movie, New Jersey</i></p> <p>Louise Erdrich<br> <i>Dear John Wayne</i></p> <p>Nellie Wong<br> <i>When I Was Growing Up</i></p> <p>Janice Mirikitani<br> <i>Doreen</i></p> <p>Safiya Henderson-Holmes<br> <i>Failure of an Invention</i></p> <p>Chrystos<br> <i>Today Was a Bad Day Like TB</i></p> <p>Jessica Hagedorn<br> <i>Filipino Boogie</i></p> <p>Mary TallMountain<br> <i>Indian Blood</i></p> <p>Miguel Algarin<br> <i>At the Electronic Frontier</i></p> <p>Sherman Alexie<br> <i>Vision (2)<br> Translated from the American</i></p> <p>Michael S. Weaver<br> <i>Imitation of Life The Black and White Galaxie Blind Solo</i></p> <p>Sandra Mortola Gilbert<br> <i>Mafioso</i></p> <p>Barry Seiler<br> <i>Digging in the Streets of Gold</i></p> <p>Susan Clements<br> <i>Matinee Deer Cloud</i></p> <p>Nellie Wong<br> <i>Can't Tell</i></p> <p>Mary Jo Bona<br> <i>Amazone</i></p> <p>Patricia Smith<br> <i>Blonde White Women</i></p> <p>Mitsuye Yamada<br> <i>Cincinnati American Sun</i></p> <p>Arthur L. Clements<br> <i>Why I Don't Speak Italian</i></p> <p>Grace Cavalieri<br> <i>The First</i></p> <p>Michael Warr<br> <i>Brian on Ice: The El Train Poem Malcolm Is 'Bout More Than Wareing a Cap</i></p> <p>Joseph Papaleo<br> <i>American Dream: First Report</i></p> <p>Gerald Stern<br> <i>Behaving Like a Jew</i></p> <p>Denise Nico Leto<br> <i>The Mary Morelle Show</i></p> <p>David Mura<br> <i>To H.N.</i></p> <p>Marge Piercy<br> <i>My Rich Uncle, Whom I Only Met Three Times</i></p> <p>Yusef Komunyakaa<br> <i>Untitiled Blues</i></p> <p>Jennifer Lagier<br> <i>Second Class Citizen</i></p> <p>Shalin Hai-Jew<br> <i>Three Gypsies</i></p> <p>Patricia Smith from <i>Sweet Daddy What It's Like to Be a Black Girl (for Those of You Who Aren't)</i></p> <p>Shirley Geok-lin Lim<br> <i>Starlight Haven Black and White</i></p> <p>Jesse F. Garcia<br> <i>Barrio Beato</i></p> <p>David Hernandez<br> <i>Welcome</i></p> <p>Reuben Jackson<br> <i>Tee Big Chill Variations Albert James</i></p> <p>William J. Harris<br> <i>A Daddy Poem</i></p> <p>Sonia Sanchez<br> <i>Song No. 3</i></p> <p>Lucille Clifton<br> <i>Song at Midnight</i></p> <p>Allison Joseph<br> <i>Junior High Dance</i></p> <p>June Jordan<br> <i>What Would I Do White?</i></p> <p>Jimmy Santiago Baca<br> <i>So Mexicans Are Taking Jobs from Americans</i></p> <p>Haki R. Madhubuti<br> <i>Poet: What Ever Happened to Luther?</i></p> <p>Adrian C. Louis<br> <i>The Great Wingless Bird</i></p> <p>Pat Mora<br> <i>Immigrants Depression Days</i></p> <p>Toi Derricotte<br> <i>A Note on My Son's Face Blackbottom</i></p> <p>Shirley Geok-lin Lim<br> <i>Lost Name Woman</i></p> <p>Martin Espada<br> <i>Coca-Cola and Coco Frio</i></p> <p><b>Naming</b><br> Pat Mora<br> <i>Senora X No More</i></p> <p>Hamod (Sam)<br> <i>Dying with the Wrong Name Leaves</i></p> <p>Marilyn Chin<br> <i>How I Got That Name Elegy for Chloe Nguyen</i></p> <p>Martin Espada<br> <i>Niggerlips From an Island You Cannot Name</i></p> <p>Nellie Wong<br> <i>Mama, Come Back</i></p> <p>Enid Dame<br> <i>On the Road to Damascus, Maryland</i></p> <p>Felix Stefanile<br> <i>How I Changed My Name, Felice</i></p> <p>Janice Mirikitani<br> <i>Jade</i></p> <p>Lyn Lifshin<br> <i>Being Jewish in a Small Town</i></p> <p>Janice Gould<br> <i>We Exist</i></p> <p>Ishmael Reed<br> <i>Jacket Notes</i></p> <p>Helen Barolini<br> <i>Having the Wrong Name for Mr. Wright</i></p> <p>Dixie Salazar<br> <i>Taking It Back Pinon Nuts</i></p> <p>Kimiko Hahn<br> <i>The Hula Skirt, 1959</i></p> <p>Julia Lilsella<br> <i>Song of the Third Generation</i></p> <p>Amiri Baraka<br> <i>Ka 'Ba Funk Lore</i></p> <p>Daniela Gioseffo<br> <i>American SOnnets for My Father</i></p> <p>David Hernandez<br> <i>Pigeons</i></p> <p>June Jordan<br> <i>A Poem about Intelligence for My Brothers and Sisters</i></p> <p>Denise Nico Leto<br> <i>For Talking</i></p> <p>Alberto Alvaro Rios<br> <i>The Language of Great-Aunts Nani</i></p> <p>Carol Lee Saffioti<br> <i>Espresso</i></p> <p>Milton Kessler<br> <i>Secret Love</i></p> <p>Mary TallMountain<br> <i>Good Grease</i></p> <p>Vittoria Repetto<br> <i>6th Grade-Our Lady of Pompeii</i></p> <p>Claire Kageyama<br> <i>Mama</i></p> <p>Michael S. Glaser<br> <i>Preparations for Seder Changing Address Books</i></p> <p>Peter Blue Cloud<br> <i>Crazy Horse Monument</i></p> <p>Liz Rosenberg from <i>Prose Poems</i></p> <p>Giovanna (Janet) Capone<br> <i>In Answer to Their Questions</i></p> <p>Luci Tapahonso<br> <i>All I Want</i></p> <p>Stanley H. Barkan<br> <i>Two Grandmas</i></p> <p>Sandra Maria Esteves<br> <i>South Bronx Testimonials</i></p> <p>Dale M. Kushner<br> <i>Grandma in the Shower</i></p> <p>Tino Villanueva<br> <i>Haciendo Apenas la Recoleccion</i></p> <p>Rachel Guido deVrries<br> <i>On Alabama Ave., Paterson, NJ, 1954</i></p> <p>Ntozake Shange<br> <i>From Okra to Greens</i></p> <p>Rose Romano<br> <i>But My Blood So I Lost My Temper</i></p> <p>Maxine Kumin<br> <i>For My Great-Grandfather: A Message Long Overdue</i></p> <p>Alfred Encarnacion<br> <i>Bulosan Listens to a Recording of Robert Johnson</i></p> <p>Maryfrances Cusumano Wagner<br> <i>Miss Clement's Second Grade</i></p> <p>Lisa Suhair Majaj<br> <i>Recognized Futures</i></p> <p>Michael S. Weaver<br> <i>The Left Bank Jazz Society</i></p> <p>Naomi Shihab Nye<br> <i>Bllod</i></p> <p>Li-Young Lee<br> <i>Mnemonic The Gift</i></p> <p>Nikki Giovanni<br> <i>Nikki-Rosa Legacies</i></p> <p>James Masao Mitsui<br> <i>Because of My Father's Job</i></p> <p>Chitra Banerjee Divakaruni<br> <i>Yuba City School</i></p> <p>Gregory Djanikian<br> <i>How I Learned English</i></p> <p><b>Negotiating</b><br> Gregory Djanikian<br> <i>In the Elementary School Choir When I First Saw Snow</i></p> <p>Gary Soto<br> <i>Black Hair The Elements of San Joaquin Behind Grandma's House</i></p> <p>Luis J. Rodriguez<br> <i>Always Running Fire</i></p> <p>Gerald Stern<br> <i>The Dancing</i></p> <p>Maria Mazziotti Gillan<br> <i>In Memory We Are Walking</i></p> <p>Lyn Lifshin<br> <i>I Remember Haifa Being Lovely But</i></p> <p>Michael S. Weaver<br> <i>A Black Man's Sonata Improvisation for Piano</i></p> <p>Garrett Hongo<br> <i>Winnings</i></p> <p>Susan Clements<br> <i>Susans The Reservation</i></p> <p>Michael S. Glaser<br> <i>English-Speaking Persons Will Find Translations</i></p> <p>Sherman Alexie<br> <i>Crazy Horse Speaks Powwow Polaroid</i></p> <p>Cyrus Cassells<br> <i>Soul Make a Path Through Shouting</i></p> <p>Safiya Henderson-Holmes<br> <i>The Battle, Over and Over Again</i></p> <p>Louis Simpson<br> <i>A Story About Chicken Soup</i></p> <p>Yusef Komunyakaa<br> <i>Salt</i></p> <p>Adrian C. Louis<br> <i>Something About Being an Indian</i></p> <p>Lorna Dee Cervantes<br> <i>Poem for the Young White Man Who Asked Me How I, an Intelligent, Well-Read Person, Could Believe in the War Between Races</i></p> <p>Lamont B. Steptoe<br> <i>Election Time</i></p> <p>Daniela Gioseffi<br> <i>Bicentennial Anti-Poem for Italian-American Women</i></p> <p>Lyn Lifshin<br> <i>The Yahrtzeit Light After the Anti-Semitic Calls on a Local Talk Station</i></p> <p>Amiri Baraka<br> <i>An Agony, As Now</i></p> <p>Dwight Okita<br> <i>Notes for a Poem on Being Asian American</i></p> <p>Chrystos<br> <i>Portrait of Assimilation</i></p> <p>Stewart Florsheim<br> <i>The Jewish Singles Event</i></p> <p>Michael Plama<br> <i>Coming of Age</i></p> <p>Laura Boss<br> <i>At the Muclear Rally The Candy Lady</i></p> <p>Naomi Shihab Nye<br> <i>My Father and the Figtree</i></p> <p>Cherrie Moraga<br> <i>Half-Breed</i></p> <p>Shirley Geok-lin-Lim<br> <i>Modern Secrets</i></p> <p>Elizabeth Cook-Lynn<br> <i>Grandfather at the Indian Health Clinic</i></p> <p>Joseph Bruchac<br> <i>Birdfoot's Granpa</i></p> <p>Richard Michelson<br> <i>Undressing Aunt Frieda</i></p> <p>William J. Harris<br> <i>Rib Sandwich</i></p> <p>Wing Tek Lum<br> <i>Going Home</i></p> <p>Miriam Goodman<br> <i>Upkeep</i></p> <p>David Hernandez<br> <i>Armitage Shank</i></p> <p>Ruth Whitman<br> <i>Laughing Gas</i></p> <p>Arthur L. Clements<br> <i>Elegy</i></p> <p>Diana Chang<br> <i>Foreign Ways</i></p> <p>Robert Viscusi<br> <i>Autobiography</i></p> <p>Gloria Anzaldua<br> <i>Horse</i></p> <p>Simon J. Ortiz<br> <i>Travels in the South</i></p> <p>Grace Cavalieri<br> <i>Grandmother</i></p> <p>Maxine Kumin<br> <i>Living Alone with Jesus</i></p> <p>Lucia Maria Perillo<br> <i>The Sweaters</i></p> <p>Linda Hogan<br> <i>Heritage</i></p> <p>Victoria Lena Manyarrows<br> <i>Lakota Sister/Cherokee Mother</i></p> <p>Rita Dove<br> <i>Wingfoot Lake</i></p> <p>Hamod (Sam)<br> <i>After the Funeral of Assam Hamady</i></p> <p>Safiya Henderson-Holmes<br> <i>Friendly Town 1<br> My First Riot: Bronx, NYC</i></p> <p>Linda Hogan<br> <i>The Truth Is</i></p> <p>Audre Lorde<br> <i>Hanging Fire</i></p> <p>Debi Kang Dean<br> <i>In the Way Back</i></p> <p>Gloria Anzaldúa<br> <i>Cultures</i></p> <p><b>Re-Envisioning</b><br> Li-Young Lee<br> <i>I Ask My Mother to Sing</i></p> <p>Chrystos<br> <i>I Walk in the History of My People I Have Not Signed a Treaty with the United States Government The Real Indian Leans Against</i></p> <p>Lucille Clifton<br> <i>Night Vision In the Inner City</i></p> <p>Marilyn Nelson Waniek<br> <i>The House on Moscow Street</i></p> <p>Alma Luz Villanueva<br> <i>To Jesus Villanueva, with Love They Didn't Get Me My People Are the COlor of the Earth</i></p> <p>Nellie Wong<br> <i>From a Heart of Rice Straw</i></p> <p>Diane di Prima<br> <i>April Fool Birthday Poem for Grandpa</i></p> <p>Martin Espada<br> <i>Bully</i></p> <p>Joy Harpo<br> <i>Anchorage For Alva Benson, and for Those Who Have Learned to Speak</i></p> <p>Wing Tek Lum<br> <i>Chinese Hot Pot</i></p> <p>Enid Dame<br> <i>The Seder</i></p> <p>Rose Romano<br> <i>The Bucket</i></p> <p>Luis J. Rodriguez<br> <i>Speaking with Hands</i></p> <p>Michael S. Harper<br> <i>Song: I Want a Witness</i></p> <p>Josê Angel Villalongo, Sr.<br> <i>In the Good Old U.S.A.</i></p> <p>Victoria Lena Manyarrows<br> <i>Today We Will Not Be Invisible Nor Silent</i></p> <p>Quincy Troupe<br> <i>The View from Skates in Berkeley</i></p> <p>Shirley Geok-lin Lim<br> <i>I Defy You</i></p> <p>Joseph Bruchac<br> <i>Prayer</i></p> <p>Alicia Ostriker<br> <i>Lamenting the Inevitable</i></p> <p>Kyoko Mori<br> <i>Speaking Through White: For My Mother</i></p> <p>Kimberly M. Blaeser<br> <i>Certificate of Live Birth</i></p> <p>Pat Mora<br> <i>Cortez'a horse</i></p> <p>Jesús Papoleto Meléndez<br> <i>Oye Mundo/Sometimes</i></p> <p>E. Ethelbert Miller<br> <i>The Men</i></p> <p>Linda Hogan<br> <i>The New Apartment: Minneapolis</i></p> <p>Al Young<br> <i>A Dance for Ma Rainey</i></p> <p>Jesse F. Garcia<br> <i>I Ain't GOing to Hurry No More</i></p> <p>Ray Gonzalez<br> <i>Praise the Tortilla, Praise the Menudo, Praise the Chorizo</i></p> <p>Amina Baraka<br> <i>The Last Word</i></p> <p>David Hernandez<br> <i>Martin and My Father</i></p> <p>Laura Boss<br> <i>My Ringless Fingers on the Steering Wheel Tell the Story</i></p> <p>Cyrus Cassells<br> <i>The Women</i></p> <p>Luci Tapahonso<br> <i>I Am Singing Now</i></p> <p>Safiya Hnderson-Holmes<br> <i>To Hell and Back, with Cake Friendly Town 3</i></p> <p>Cathy Song<br> <i>Out of Our Hands</i></p> <p>Peter Blue Cloud<br> <i>The Old Man's Lazy</i></p> <p>Robert Creeley<br> <i>America</i></p> <p>Wendy Rose<br> <i>Naayawva Taawi Story Keeper</i></p> <p>Alan Chong Lau<br> <i>The Upside Down Basket</i></p> <p>Pat Mora<br> <i>La Migra</i></p> <p>Judith Ortiz Cofer<br> <i>What the Gypsy Said to Her Children</i></p> <p>Marilyn Chin<br> <i>The Floral Apron</i></p> <p>Joy Harjo<br> <i>I Give You Back</i></p> <p>Cherrie Moraga<br> <i>For the Color of My Mother</i></p> <p>Sonia Sanchez<br> <i>Present Norma An Anthem</i></p> <p>Maria Mazziotti Gillan<br> <i>Arturo Public School No. 18: Paterson New Jersey Growing Up Italian</i></p> <p> Contributors</p>
83Listening For God Reader, Vol 1Paula J. Carlson0Paula J. Carlson (Editor), Peter S. Hawkins (Editor), Peter S. Hawkinslistening-for-god-reader-vol-1paula-j-carlson97808066271510806627158$13.43PaperbackAugsburg Fortress, PublishersAugust 1994New EditionFaith, Literature Anthologies - General & Miscellaneous, General & Miscellaneous Christian Life, American Literature Anthologies1640.35 (w) x 5.50 (h) x 8.50 (d)Never before has a resource touched upon the issues of life and faith in such a personal way. Excellent contemporary literature helps one realize the presence of God in many places and relationships. Each volume of <i>Listening for God</i> includes excerpts from the works of eight contemporary authors, supplemented by author profiles and reflection questions. A Leader Guide, offering suggestions for organizing class time and responding to reflection questions is also available.<p>Where do you listen for God? In this new collection of stories and essays, the challenge is to pay attention everywhere. <I>Listening for God</i> is a resource intended to help readers investigate how life and faith merge in surprising ways and places. Contemporary American literature may not be the most predictable place to listen for God, but it may well turn out to be among the most rewarding.</p><table> <tr><td>Introduction</td></tr> <tr><td>1. Flannery O'Connor</td></tr> <tr><td>Revelation</td></tr> <tr><td>2. Frederick Buechner</td></tr> <tr><td>The Dwarves in the Stable</td></tr> <tr><td>3. Patricia Hampl</td></tr> <tr><td>Chapter 6 from Virgin Time</td></tr> <tr><td>4. Raymond Carver</td></tr> <tr><td>A Small Good Thing</td></tr> <tr><td>5. Annie Dillard</td></tr> <tr><td>The Deer at Providencia</td></tr> <tr><td>A Field of Silence</td></tr> <tr><td>6. Alice Walker</td></tr> <tr><td>The Welcome Table</td></tr> <tr><td>7. Garrison Keillor</td></tr> <tr><td>Exiles</td></tr> <tr><td>Aprille</td></tr> <tr><td>8. Richard Rodriguez</td></tr> <tr><td>Credo</td></tr> <tr><td></td></tr> </table>
84Concise Anthology of American LiteratureJames Leonard0<p><b>JAMES S. LEONARD</b> received his Ph.D. from Brown University, and is Professor of English (and former English Department chair) at The Citadel. He is the editor of <i>Making Mark Twain Work in the Classroom</i> (Duke University Press, 1999), coeditor of <i>Authority and Textuality: Current Views of Collaborative Writing</i> (Locust Hill Press, 1994) and <i>Satire or Evasion? Black Perspectives on Huckleberry Finn</i> (Duke University Press, 1992), and coauthor of <i>The Fluent Mundo: Wallace Stevens and the Structure of Reality</i></p> <p>(University of Georgia Press, 1988). He has served as president of the Mark Twain Circle</p> <p>of America (2010–2012), managing editor of <i>The Mark Twain Annual</i> (since 2004), and editor of the <i>Mark Twain Circular</i> (1987–2008), and is a major contributor to <i>The Greenwood Encyclopedia of Poets and Poetry</i> (Greenwood Press, 2006) and <i>American History Through Literature</i> (Charles Scribner’s Sons, 2005).</p> <p><b>SHELLEY FISHER FISHKIN</b> is Professor of English and Director of American Studies at Stanford University. She is the author, editor, or coeditor of over forty books, including the award-winning <i>Was Huck Black? Mark Twain and African American Voices</i> (1993), <i>From Fact to Fiction: Journalism and Imaginative Writing in America</i> (1988), and <i>Feminist Engagements: Forays into American Literature and Culture</i> (2009), as well as <i>Lighting Out for the Territory</i> (1997), <i>The Oxford Mark Twain</i> (1996), <i>The Historical</i></p> <p><i>Guide to Mark Twain</i> (2002), <i>Mark Twain‘s Book of Animals</i> (2009), <i>The Mark Twain Anthology:Great Writers on his Life and Work</i> (2010), <i>Is He Dead? A Comedy in Three Acts by Mark Twain</i> (2003), <i>People of the Book: Thirty Scholars Reflect on Their Jewish Identity</i> (with Jeffrey Rubin-Dorsky) (1996), <i>Listening to Silences: New Essays in Feminist Criticism</i> (with Elaine Hedges)(1994), and <i>Sport of the Gods and Other Essential Writings by Paul Laurence Dunbar</i> (with David Bradley) (2005). She has also published more than eighty articles, essays, or reviews in publications including <i>American Quarterly, American Literature, Journal of American History, American Literary History,</i> and the <i>New York Times Book Review,</i> and has lectured on American literature in Belgium, Canada, Chile, China, France, Ireland, Israel, Italy, Japan, Korea,</p> <p>Mexico, the Netherlands, Portugal, Russia, Taiwan, Turkey, the United Kingdom,</p> <p>and throughout the United States. A member of the first class of women to graduate from Yale College, she stayed on at Yale to earn her M.A. in English and her Ph.D. in American Studies. Before her arrival at Stanford, she directed the Poynter Fellowship</p> <p>in Journalism at Yale and taught American Studies and English at the University</p> <p>of Texas at Austin, where she chaired the American Studies Department. She co-founded the Charlotte Perkins Gilman Society and is a past president of the Mark Twain Circle of America and the American Studies Association.</p> <p><b>DAVID BRADLEY</b> earned a BA in Creative Writing at the University of Pennsylvania in 1972 and a MA in United States Studies at the University of London in 1974. A Professor of English at Temple University from 1976 to 1997, Bradley has been a visiting professor at the San Diego State University, the University of California—San Diego, the Massachusetts Institute of Technology, Colgate University, the College of William &amp;</p> <p>Mary, the City College of the City University of New York and the Michener Center for Writers at the University of Texas, Austin. He is currently an Associate Professor of Fiction in the Creative Writing Program at the University of Oregon. Bradley has read and lectured extensively in the United States and also in Japan, Korea, Pakistan, the United Kingdom, South Africa and Australia. He is the author of two novels, <i>South Street</i> (1975) and <i>The Chaneysville Incident</i> (1981) which was awarded the 1982 PEN/Faulkner Award and an Academy Award from the American Academy and Institute of Arts and Letters. His non-fiction has appeared in <i>Esquire</i>, <i>Redbook</i>, <i>The New York Times</i>, <i>The Los Angeles Times</i> and <i>The New Yorker.</i> A recipient of fellowships from the John Simon</p> <p>Guggenheim Foundation and the National Endowment for the Arts His most recent publication is semi-scholarly: <i>The Essential Writings of Paul Laurence Dunbar</i>, which he co-edited with Shelley Fisher Fishkin. His current works in progress include a creative non-fiction book, <i>The Bondage Hypothesis: Meditations on Race, History and America,</i> a novel-in-stories, <i>Raystown,</i> and an essay collection: <i>Lunch Bucket Pieces: New and Selected Creative Nonfiction</i></p> <p><b>DANA D. NELSON</b></p> <p>received her Ph.D. from Michigan State, and she is the Gertrude Conaway Vanderbilt Professor of English and American Studies at Vanderbilt University. She is the author of <i>The Word in Black and White: Reading “Race” in American Literature, 1638–1867</i> (1992), <i>National Manhood: Capitalist Citizenship and the Imagined Fraternity of White Men</i> (1998), and <i>Bad for Democracy: How the Presidency Undermines the Power of the People</i> (2008) as well as editor of several reprint editions of nineteenth-century American female writers (including Rebecca Rush, Lydia Maria Child, Fanny Kemble, and Frances Butler Leigh). Her teaching interests include comparative American colonial literatures, developing democracy in the eighteenth and nineteenth centuries, ethnic and minority literatures, women’s literature, and frontier representations in literature. She has served or is serving on numerous editorial boards, including <i>American Literature, Early American Literature, American Literary History, Arizona Quarterly,</i> and <i>American Quarterly.</i> She is an active member of the Modern Language Association and the American Studies Association. She is currently working on a book that studies developing practices and representations of democracy in the late British colonies and the early United States.</p> <p><b>JOSEPH CSICSILA</b> is Professor of English Language and Literature at Eastern Michigan University and a specialist in nineteenth- and early twentieth-century American literature and culture. He is the author and/or editor of five books including <i>Canons by Consensus:</i></p> <p><i>Critical Trends and American Literature Anthologies</i> (2004), which is the first systematic study of American literature textbooks used by college instructors in the past century, <i>Centenary Reflections on Mark Twain’s No. 44</i>, <i>The Mysterious Stranger</i> (2009), and <i>Heretical Fictions: Religion in the Literature of Mark Twain</i> (2010). He has also published numerous articles on such authors as Mary Wilkins Freeman, Sarah Orne Jewett, and William Faulkner. Csicsila has served as the editor of <i>Journal of Narrative Theory</i> and is currently book review editor for <i>The Mark Twain Annual</i>.</p>James Leonard, David Bradley, George McMichael, Dana Nelson, Shelley Fisher Fishkinconcise-anthology-of-american-literaturejames-leonard97802057631080205763103$92.38PaperbackPrentice HallJanuary 20107th EditionAmerican Literature Anthologies23686.40 (w) x 9.20 (h) x 2.10 (d)<p><b>Student Edition</b>:</p> <p>After careful thought, your professor assigned McMichael’s <i>Concise Anthology of American Literature, Seventh Edition</i> for your course. This anthology is rich in contextual content, giving you the historical events that influenced the writing of these renowned American authors which leads to a greater understanding of the selections. Well-established authors are joined by a wide array of selections by women and writers of color, including both African Americans and Native Americans.</p> <p>What’s New in the Seventh Edition:</p> <ul> <li>Artworks and historical photos give greater meaning to historical events and selections, such as an artist’s rendition of the signing of the Declaration of Independence and a photo of Civil War devastation in Charleston, South Carolina.</li> <li>Twenty new authors, representing diverse cultural backgrounds, increase the number of contemporary authors which is always enjoyable reading.</li> <li>Eavesdrop into the romance of John and Abigail Adams by reading their romantic letters. Share the trauma of the Vietnam War through the eyes of a young soldier.</li> <li>Four groundbreaking plays will captivate you and help you understand the role of theater in America through the centuries.</li> <li>The speeches by legendary leaders, such as Martin Luther King and Booker T. Washington, and have stood the test of time and inspire us today. If you were wishing that you had a copy of President Barack Obama’s 2009 Inaugural Address, you’ll find it here.</li> </ul><p><P>This consise anthology offers a balanced approach to the enjoyment of reading American literature. Over 20 new authors representing diverse cultural backgrounds allow students to read about unique experiences through the eyes of esteemed writers including Sonia Sanchez, Sherman Alexie, Maxine Hong Kingston, and Frances E.W. Harper. New historical documents, including the romantic letters exchanged by John and Abigail Adams and an account of the Vietnam War through the eyes of a young soldier, provide an understanding for student readers. Four groundbreaking dramas (from the 18<sup>th</sup> century&#58; Slaves in Algiers, by Susanna Haswell Rowson; from the 19<sup>th</sup> century&#58; The Escape, by William Wells Brown; from the early 20<sup>th</sup> century&#58; Trifles, by Susan Glaspell; and from the late 20<sup>th</sup> century&#58; Fences, by August Wilson) help students understand the role of theater in America through the centuries. Speeches by Legendary Leaders include Martin Luther King&rsquo;s unforgettable &ldquo;I Have a Dream&rdquo; speech and Booker T. Washington&rsquo;s historical Atlanta Exposition Address in addition to Barack Obama&rsquo;s 2009 Inaugural Address.</p><P>The Literature of Early America 1<p>Reading the Historical Context <p>CHRISTOPHER COLUMBUS (1451&ndash;1506)<p>Letter Describing His First Voyage<p>THOMAS HARIOT (1560&ndash;1621)<p>FROM <i>A Brief and True Report of the Newfound Land of Virginia Of the Nature and Manners of the People<p></i>JOHN WINTHROP (1588&ndash;1649) AND ANNE HUTCHINSON (1591&ndash;1643)<p>FROM<i>The Examination of Mrs. Anne Hutchinson at the Court at Newton November 1637<p></i>THE IROQUOIS LEAGUE<p>FROM <i>The Constitution of the Five Nations </i><p>Literature of Early America <p>CAPTAIN JOHN SMITH (1580&ndash;1631)<p>FROM <i>The General History of Virginia&#58;</i><p>The Third Book<p>Powhatan&rsquo;s Discourse of Peace and War<p>WILLIAM BRADFORD (1590&ndash;1657),<p>FROM <i>Of Plymouth Plantation</i><p>Chapter I&#58; The Separatist Interpretation of the Reformation in England, 1550&ndash;1607<p>Chapter III&#58; Of Their Settling in Holland, and Their Manner of Living<p>Chapter IV&#58; Showing the Reasons and Causes of Their Removal<p>Chapter VII&#58; Of Their Departure from Leyden<p>Chapter IX&#58; Of Their Voyage<p>Chapter X&#58; Showing How They Sought Out a Place of Habitation<p>Chapter XI&#58; The Mayflower Compact<p>Chapter XII&#58; Narragansett Challenge<p>Chapter XIV&#58; End of the &ldquo;Common Course . . .&rdquo;<p>Chapter XXIV&#58; Mr. Roger Williams<p>Chapter XXVIII&#58; The Pequot War<p>Chapter XXXVI&#58; Wiinslow&rsquo;s Final Departure<p>JOHN WINTHROP(1588&ndash;1649),<p>From <i>The Journal of John Winthrop </i><p>ANNE BRADSTREET (C. 1612&ndash;1672)<p>The Prologue<p>Contemplations<p>The Flesh and the Spirit<p>The Author to Her Book<p>Before the Birth of One of Her Children<p>To My Dear and Loving Husband<p>A Letter to Her Husband Absent Upon Public Employment<p>In Memory of My Dear Grandchild Elizabeth Bradstreet<p>On My Dear Grandchild Simon Bradstreet<p>[On Deliverance] from Another Sore Fit<p>Upon the Burning of Our House, July 10th, 1666<p>As Weary Pilgrim<p>EDWARD TAYLOR (C. 1642&ndash;1729)<p>Prologue<p>FROM Preparatory Meditations<p>The Reflexion<p>Meditation 6 (First Series)<p>Meditation 8 (First Series)<p>Meditation 38 (First Series)<p>Meditation 150 (Second Series)<p>FROM God&rsquo;s Determinations<p>The Joy of Church Fellowship Rightly Attended<p>Upon a Spider Catching a Fly<p>Huswifery<p>The Ebb and Flow<p>A Fig for Thee Oh! Death<p>SAMUEL SEWALL (1652&ndash;1730)<p>The Selling of Joseph<p>FROM The Diary of Samuel Sewall<p>MARY ROWLANDSON (C. 1637&ndash;1711)<p>A Narrative of the Captivity and Restoration<p>WILLIAM BYRD II (1674&ndash;1744)<p>FROM The Secret Diary of William Byrd of Westover, 1709&ndash;1712<p>JONATHAN EDWARDS (1703&ndash;1758)<p>Sarah Pierrepont<p>FROM A Divine and Supernatural Light<p>Sinners in the Hands of an Angry God<p>The Literature of the Eighteenth Century <p>Reading the Historical Context <p>CORRESPONDENCE<p>Thomas Jefferson to James Madison<p>Thomas Jefferson to John Adams<p>Abigail Adams to John Adams<p>John Adams to Abigail Adams<p>Benjamin Banneker to Thomas Jefferson<p>Thomas Jefferson to Benjamin Banneker<p>THE FEDERALIST/ANTI-FEDERALIST CONTROVERSY<p>The Federalist No. 1 (Alexander Hamilton)<p>The Federalist No. 2 (John Jay)<p><p>Literature of the Eighteenth Century<p>BENJAMIN FRANKLIN (1706&ndash;1790)<p>FROM The Autobiography<p>Benjamin Franklin&rsquo;s Epitaph<p>FROM The Pennsylvania Gazette<p>The Witches of Mount Holly<p>Information to Those Who Would Remove to America<p>MICHEL-GUILLAUME-JEAN DE CR&Egrave;VECOEUR (1735&ndash;1813)<p>FROM Letters from an American Farmer<p>Letter III (What Is an American?)<p>Letter IX (Description of Charleston)<p>THOMAS PAINE (1737&ndash;1809)<p>FROM Common Sense<p>FROM The American Crisis<p>THOMAS JEFFERSON (1743&ndash;1826)<p>The Declaration of Independence<p>FROM Notes on the State of Virginia<p>FROM Query V&#58; Cascades<p>FROM Query VI&#58; Productions Mineral, Vegetable and Animal<p>FROM Query XVII&#58; Religion<p>FROM Query XVIII&#58; Manners<p>FROM Query XIX&#58; Manufactures<p>PHILLIS WHEATLEY (1754?&ndash;1784)<p>On Virtue<p>To the University of Cambridge, in New England<p>On Being Brought from Africa to America<p>On Imagination<p>To S. M. A Young African Painter, On Seeing His Works<p>To His Excellency General Washington<p>PHILIP FRENEAU (1752&ndash;1832)<p>The Power of Fancy<p>The Hurricane<p>To Sir Toby<p>The Wild Honey Suckle<p>The Indian Burying Ground<p>On the Universality and Other Attributes of the God of Nature<p>WILLIAM BARTRAM (1739&ndash;1823)<p>FROM Travels through North and South Carolina<p>SUSANNA HASWELL ROWSON (1762&ndash;1824)<p>Slaves in Algiers<p>RED JACKET (C. 1750-1830)<p>The Indians Must Worship the Great Spirit in Their Own Way<p>The Literature of the Early To Mid-Nineteenth Century<p>Reading the Historical Context<p>William Lloyd Garrison (1805&ndash;1879)<p>On the Constitution and the Union<p>STEPHEN A. DOUGLAS (1813&ndash;1861)<p>FROM Third Joint Debate, at Jonesboro<p>WOMEN&rsquo;S RIGHTS CONVENTION, SENECA FALLS, NEW YORK (1848)<p>Declaration of Sentiments<p>Literature of the Early To Mid-Nineteenth Century <p>WASHINGTON IRVING (1783&ndash;1859)<p>FROM The Sketch-Book of Geoffrey Crayon, Gent.<p>The Author&rsquo;s Account of Himself<p>Rip Van Winkle<p>The Legend of Sleepy Hollow<p>BLACK HAWK (1767&ndash;1838)<p>FROM Black Hawk&rsquo;s Autobiography<p>WILLIAM APESS (1798&ndash;1839)<p>Eulogy on King Philip<p>PENINA MO&Iuml;SE (1797&ndash;1880)<p>To Persecuted Foreigners<p>The Mirror and the Echo<p>To a Lottery Ticket<p>JAMES FENIMORE COOPER (1789&ndash;1851)<p>Preface to the Leather-Stocking Tales<p>FROM The Pioneers<p>FROM The Deerslayer<p>WILLIAM CULLEN BRYANT (1794&ndash;1878)<p>Thanatopsis<p>To a Waterfowl<p>To Cole, the Painter, Departing for Europe<p>To the Fringed Gentian<p>The Prairies<p>Abraham Lincoln<p>EDGAR ALLAN POE (1809&ndash;1849)<p>Sonnet&mdash;To Science<p>To Helen<p>The City in the Sea<p>Sonnet&mdash;Silence<p>Lenore<p>The Raven<p>Annabel Lee<p>The Fall of the House of Usher<p>The Black Cat<p>The Purloined Letter<p>FROM &ldquo;Twice-Told Tales, by Nathaniel Hawthorne&rdquo; [A Review]<p>The Philosophy of Composition<p>RALPH WALDO EMERSON (1803&ndash;1882)<p>Nature<p>Self-Reliance<p>The Rhodora<p>Each and All<p>Concord Hymn<p>The Problem<p>Ode<p>Hamatreya<p>Give All to Love<p>Days<p>Brahma<p>NATHANIEL PARKER WILLIS (1806&ndash;1867)<p>January 1, 1828<p>January 1, 1829<p>The Lady in the White Dress, I Helped into the Omnibus<p>MARIA STEWART (1803&ndash;1879)<p>An Address Delivered Before The Afric-American Female<p>Intelligence Society of America 6<p>GEORGE MOSES HORTON (1797&ndash;1883)<p>On Liberty and Slavery<p>The Lover&rsquo;s Farewell<p>On Hearing of the Intention of a Gentleman to Purchase the Poet&rsquo;s Freedom<p>Division of An Estate<p>Death of an Old Carriage Horse<p>George Moses Horton, Myself<p>NATHANIEL HAWTHORNE (1804&ndash;1864)<p>Young Goodman Brown<p>The Birth-Mark<p>Rappaccini&rsquo;s Daughter<p>HERMAN MELVILLE (1819&ndash;1891)<p>Bartleby, the Scrivener<p>Benito Cereno<p>The Portent<p>Shiloh<p>Malvern Hill<p>A Utilitarian View of the Monitor&rsquo;s Fight<p>The House-Top<p>The Swamp Angel<p>The College Colonel<p>The Tuft of Kelp<p>The Maldive Shark<p>The Berg<p>Art<p>Greek Architecture<p>LYDIA MARIA CHILD (1802&ndash;1880)<p>The Black Saxons<p>FREDERICK DOUGLASS (1818&ndash;1895)<p>FROM Narrative of the Life of Frederick Douglass<p>What to the Slave Is the Fourth of July?<p>HENRY DAVID THOREAU(1817&ndash;1862)<p>Civil Disobedience<p>FROM Walden<p>I Economy<p>II Where I Lived, and What I Lived for<p>XII Brute Neighbors<p>XVIII Conclusion<p>They Who Prepare my Evening Meal Below<p>On Fields O&rsquo;er Which the Reaper&rsquo;s Hand Has Passed<p>Smoke<p>Conscience<p>My Life Has Been the Poem<p>WILLIAM GILMORE SIMMS (1806&ndash;1870)<p>Grayling; or &ldquo;Murder Will Out&rdquo;<p>HENRY WADSWORTH LONGFELLOW (1807&ndash;1882)<p>A Psalm of Life<p>The Arsenal at Springfield<p>The Jewish Cemetery at Newport<p>JOHN GREENLEAF WHITTIER (1807&ndash;1892)<p>The Hunters of Men<p>The Farewell<p>Barbara Frietchie<p>JAMES RUSSELL LOWELL(1819&ndash;1891)<p>To the Dandelion<p>FROM A Fable for Critics<p>HARRIET BEECHER STOWE (1811&ndash;1896), FROM Uncle Tom&rsquo;s Cabin<p>Preface<p>Chapter I In Which the Reader Is Introduced to a Man of Humanity<p>Chapter VII The Mother&rsquo;s Struggle<p>FANNY FERN(1811&ndash;1872)<p>Aunt Hetty on Matrimony<p>Hints to Young Wives<p>The Tear of a Wife<p>Mrs. Adolphus Smith Sporting the &ldquo;Blue Stocking&rdquo;<p>Blackwell&rsquo;s Island<p>Blackwell&rsquo;s Island No. 3<p>Independence<p>The Working-Girls of New York<p>WILLIAM WELLS BROWN (1814&ndash;1884)<p>The Escape<p>HARRIET ANN JACOBS (1813&ndash;1897), FROM Incidents in the Life of a Slave Girl<p>Chapter I Childhood<p>Chapter V The Trials of Girlhood<p>Chapter VI The Jealous Mistress<p>Chapter X A Perilous Passage in the Slave Girl&rsquo;s Life<p>Chapter XXI The Loophole of Retreat<p>Chapter XLI Free at Last<p>JAMES M. WHITFIELD (1822&ndash;1871)<p>America<p>ABRAHAM LINCOLN (1809&ndash;1865)<p>To Horace Greeley<p>Gettysburg Address<p>Second Inaugural Address<p>FRANCES E. W. HARPER (1825&ndash;1911)<p>Bury Me in a Free Land<p>To the Union Savers of Cleveland<p>Eliza Harris<p>The Slave Mother<p>Learning to Read<p>Aunt Chloe&rsquo;s Politics<p>EMMA LAZARUS (1849&ndash;1887)<p>In the Jewish Synagogue at Newport<p>The New Colossus<p>1492<p>WALT WHITMAN (1819&ndash;1892) 1<p>Preface to the 1855 Edition of Leaves of Grass<p>Song of Myself<p>FROM Inscriptions<p>To You<p>One&rsquo;s-Self I Sing<p>When I Read the Book<p>I Hear America Singing<p>Poets to Come<p>FROM Children of Adam<p>From Pent-Up Aching Rivers<p>Out of the Rolling Ocean the Crowd<p>As Adam, Early in the Morning<p>Once I Pass&rsquo;d through a Populous City<p>FROM Calamus<p>What Think You I take My Pen In Hand?<p>I saw in Louisiana a Live-Oak Growing<p>I Hear It Was Charged Against Me<p>Crossing Brooklyn Ferry<p>FROM Sea-Drift<p>Out of the Cradle Endlessly Rocking<p>FROM By the Roadside<p>When I Heard the Learn&rsquo;d Astronomer<p>The Dalliance of the Eagles<p>FROM Drum-Taps<p>Beat! Beat! Drums!<p>Cavalry Crossing a Ford<p>Bivouac on a Mountain Side<p>Vigil Strange I Kept on the Field One Night<p>A sight in Camp in the Daybreak Gray and Dim<p>The Wound-Dresser<p>FROM Memories of President Lincoln<p>When Lilacs Last in the Dooryard Bloom&rsquo;d<p>FROM Autumn Rivulets<p>There Was a Child Went Forth<p>Sparkles From the Wheel<p>Passage to India<p>FROM Whispers of Heavenly Death<p>A Noiseless Patient Spider<p>FROM Noon to Starry Night<p>To a Locomotive in Winter<p>EMILY DICKINSON (1830&ndash;1886)<p>49 I never lost as much but twice<p>67 Success is counted sweetest<p>165 A Wounded Deer&mdash;leaps highest<p>185 &ldquo;Faith&rdquo; is a fine invention<p>210 The thought beneath so slight a film<p>214 I taste a liquor never brewed<p>216 Safe in their Alabaster Chambers<p>241 I like a look of Agony<p>249 Wild Nights&mdash;Wild Nights!<p>258 There&rsquo;s a certain Slant of light<p>280 I felt a Funeral, in my Brain<p>303 The Soul selects her own Society<p>324 Some keep the Sabbath going to Church<p>328 A Bird came down the Walk<p>338 I know that He exists<p>341 After great pain, a formal feeling comes<p>401 What Soft&mdash;Cherubic Creatures<p>435 Much Madness is divinest Sense<p>441 This is my letter to the World<p>449 I died for Beauty&mdash;but was scarce<p>465 I heard a Fly buzz&mdash;when I died<p>520 I started Early&mdash;Took my Dog<p>585 I like to see it lap the Miles<p>632 The Brain&mdash;is wider than the sky<p>640 I cannot live with You<p>670 One need not be a Chamber&mdash;to be Haunted<p>709 Publication&mdash;is the Auction<p>712 Because I could not stop for Death<p>764 Presentiment&mdash;is that long Shadow&mdash;on the Lawn<p>976 Death is a Dialogue between<p>986 A narrow Fellow in the Grass<p>1052 I never saw a Moor<p>1078 The Bustle in a House<p>1129 Tell all the truth but tell it slant<p>1207 He preached upon &ldquo;Breadth&rdquo; till it argued him narrow<p>1463 A Route of Evanescence<p>1545 The Bible is an antique Volume<p>1624 Apparently with no surprise<p>1670 In Winter in my Room<p>1732 My life closed twice before its close<p>1755 To make a prairie it takes a clover and one bee<p>1760 Elysium is as far as to<p>Letters to T. W. Higginson<p>The Literature of the Late Nineteenth Century <p><p>Reading the Historical Context<p>MARK TWAIN (SAMUEL L. CLEMENS) (1835&ndash;1910)<p>FROM Life on the Mississippi<p>[Sir Walter Scott and the Southern Character]<p>ALBION TOURG&Eacute;E (1838&ndash;1905)<p>FROM The Invisible Empire<p><p>Literature of the Late Nineteenth Century<p>MARK TWAIN (SAMUEL L. CLEMENS) (1835&ndash;1910)<p>The Notorious Jumping Frog of Calaveras County<p>Story of the Bad Little Boy<p>Adventures of Huckleberry Finn<p>A Salutation-Speech from the Nineteenth Century to the Twentieth<p>The War-Prayer<p>MARY E. WILKINS FREEMAN (1852&ndash;1930)<p>A New England Nun<p>CHARLES WADDELL CHESNUTT (1858&ndash;1932)<p>The Goophered Grapevine<p>WILLIAM DEAN HOWELLS (1837&ndash;1920)<p>Editha<p>HENRY JAMES (1843&ndash;1916)<p>Daisy Miller&#58; A Study<p>The Jolly Corner<p>AMBROSE BIERCE (1842&ndash;1914)<p>An Occurrence at Owl Creek Bridge<p>CHARLOTTE PERKINS GILMAN (1860&ndash;1935)<p>The Yellow Wall-Paper<p>KATE CHOPIN (1851&ndash;1904)<p>The Storm<p>STEPHEN CRANE (1871&ndash;1900)<p>Black riders came from the sea<p>In the desert<p>A god in wrath<p>I saw a man pursuing the horizon<p>Supposing that I should have the courage<p>On the horizon the peaks assembled<p>A man feared that he might find an assassin<p>Do not weep, maiden, for war is kind<p>A man said to the universe<p>A man adrift on a slim spar<p>The Open Boat<p>FRANK NORRIS(1870&ndash;1902)<p>A Deal in Wheat<p>JACK LONDON(1876&ndash;1916)<p>The Law of Life<p>EDITH WHARTON (1862&ndash;1937)<p>The Other Two<p>PAUL LAURENCE DUNBAR(1872&ndash;1906)<p>We Wear the Mask<p>An Ante-Bellum Sermon<p>When Malindy Sings<p>The Colored Soldiers<p>When Dey &lsquo;Listed Colored Soldiers<p>Sympathy 1<p>THEODORE DREISER(1871&ndash;1945)<p>The Lost Phoebe<p>The Literature of the Twentieth Century (1900 to 1945) <p>Reading the Historical Context <p>BOOKER T. WASHINGTON (1856&ndash;1915)<p>The Atlanta Exposition Address<p>Literature of the Twentieth Century<p>W. E. B. DU BOIS (1868&ndash;1963)<p>FROM The Souls of Black Folk<p>A Litany of Atlanta<p>EDWIN ARLINGTON ROBINSON(1869&ndash;1935)<p>Richard Cory<p>Cliff Klingenhagen<p>Miniver Cheevy<p>How Annandale Went Out<p>Eros Turannos<p>Mr. Flood&rsquo;s Party<p>ROBERT FROST(1874&ndash;1963)<p>Mending Wall<p>Home Burial<p>After Apple-Picking<p>The Road Not Taken<p>An Old Man&rsquo;s Winter Night<p>Birches<p>The Oven Bird<p>For Once, Then, Something<p>Fire and Ice<p>Design<p>Stopping by Woods on a Snowy Evening<p>GERTRUDE SIMMONS BONNIN (ZITKALA SA) (1876&ndash;1938)<p>FROM The School Days of an Indian Girl<p>CARL SANDBURG(1878&ndash;1967)<p>Chicago<p>Lost<p>Graceland<p>Fog<p>Psalm of Those Who Go Forth Before Daylight<p>WILLA CATHER(1873&ndash;1947)<p>Paul&rsquo;s Case<p>ELLEN GLASGOW (1873&ndash;1945)<p>The Shadowy Third<p>GERTRUDE STEIN(1874&ndash;1946)<p>Susie Asado<p>Picasso<p>A Movie<p>SHERWOOD ANDERSON (1876&ndash;1941)<p>I Want to Know Why<p>JOHN DOS PASSOS (1896&ndash;1970)<p>FROM U.S.A.<p>Preface<p>FROM The 42nd Parallel<p>Proteus 1<p>FROM 1919<p>Newsreel XLIII<p>The Body of an American<p>FROM The Big Money<p>Newsreel LXVI<p>The Camera Eye (50)<p>FROM U.S.A<p>Vag<p>EUGENE O&rsquo;NEILL(1888&ndash;1953)<p>The Hairy Ape<p>SUSAN GLASPELL(1876&ndash;1948)<p>Trifles<p>EZRA POUND(1885&ndash;1972)<p>Portrait d&rsquo;une Femme<p>Salutation<p>A Pact<p>In a Station of the Metro<p>The River-Merchant&rsquo;s Wife&#58; A Letter<p>T. S. ELIOT(1888&ndash;1965)<p>The Love Song of J. Alfred Prufrock<p>Preludes<p>Sweeney Among the Nightingales<p>The Waste Land<p>Notes on &ldquo;The Waste Land&rdquo;<p>E. E. CUMMINGS(1894&ndash;1962)<p>[in Just-]<p>[O sweet spontaneous]<p>[Buffalo Bill&rsquo;s defunct]<p>[the Cambridge ladies who live in furnished souls]<p>[All in green went my love riding]<p>[when god lets my body be]<p>HART CRANE(1899&ndash;1932)<p>Chaplinesque<p>At Melville&rsquo;s Tomb<p>Voyages<p>FROM The Bridge<p>To Brooklyn Bridge<p>The Harbor Dawn<p>Van Winkle<p>EDGAR LEE MASTERS(1868&ndash;1950)<p>FROM Spoon River Anthology<p>Knowlt Hoheimer<p>Nellie Clark<p>Petit, the Poet<p>Anne Rutledge<p>Lucinda Matlock<p>EDNA ST. VINCENT MILLAY(1892&ndash;1950)<p>Spring<p>First Fig<p>[I shall forget you presently, my dear]<p>[Euclid alone has looked on Beauty bare]<p>WALLACE STEVENS(1879&ndash;1955)<p>Peter Quince at the Clavier<p>Disillusionment of Ten O&rsquo;Clock<p>Domination of Black<p>Thirteen Ways of Looking at a Blackbird<p>The Snow Man<p>Anecdote of the Jar<p>A High-Toned Old Christian Woman<p>The Emperor of Ice-Cream<p>The Idea of Order at Key West<p>WILLIAM CARLOS WILLIAMS(1883&ndash;1963)<p>Con Brio<p>The Young Housewife<p>Pastoral<p>Tract<p>Danse Russe<p>El Hombre<p>To a Solitary Disciple<p>Queenannslace<p>Portrait of a Lady<p>The Widow&rsquo;s Lament in Springtime<p>The Red Wheelbarrow<p>Between Walls<p>Landscape with the Fall of Icarus<p>MARIANNE MOORE(1887&ndash;1972)<p>The Past Is the Present<p>To a Steam Roller<p>The Fish<p>Poetry<p>A Graveyard<p>THE NEW NEGRO(1925)<p>Fog, by John Matheus<p>White Houses, by Claude McKay<p>The Black Finger, by Angelina Grimke<p>The Road, by Helene Johnson<p>COUNT&Eacute;E CULLEN(1903&ndash;1946)<p>Yet Do I Marvel<p>For a Lady I Know<p>Incident<p>From the Dark Tower<p>A Brown Girl Dead<p>Scottsboro, Too, Is Worth Its Song<p>JEAN TOOMER(1894&ndash;1967)<p>FROM Cane<p>Blood-Burning Moon<p>ZORA NEALE HURSTON(1891?&ndash;1960)<p>John Redding Goes to Sea<p>THOMAS WOLFE(1900&ndash;1938)<p>Only the Dead Know Brooklyn<p>F. SCOTT FITZGERALD(1896&ndash;1940)<p>Winter Dreams<p>ERNEST HEMINGWAY(1899&ndash;1961)<p>In Another Country<p>WILLIAM FAULKNER(1897&ndash;1962)<p>Barn Burning<p>LANGSTON HUGHES (1902&ndash;1967)<p>The Negro Speaks of Rivers<p>Aunt Sue&rsquo;s Stories<p>Question<p>The New Moon<p>Mexican Market Woman<p>I Too<p>Dream Boogie<p>Harlem<p>JOHN STEINBECK (1902&ndash;1968)<p>The Chrysanthemums<p>KATHERINE ANNE PORTER(1890&ndash;1980)<p>Mar&iacute;a Concepci&oacute;n<p>The Literature of the Twentieth Century (1945 to Present) <p>Reading the Historical Context <p>MARTIN LUTHER KING JR. (1929&ndash;1968)<p>I Have a Dream<p>JAMES R. MCDONOUGH (1946&ndash; )<p>FROM Platoon Leader<p>&ldquo;Just Like You and Me&rdquo;<p>BARACK OBAMA (1961&ndash; )<p>Inauguration Speech<p>Literature of the Twentieth Century<p>EUDORA WELTY (1909&ndash;2001)<p>Powerhouse<p>RICHARD WRIGHT(1908&ndash;1960)<p>The Man Who Was Almost a Man<p>ELIZABETH BISHOP(1911&ndash;1979)<p>A Miracle for Breakfast<p>The Armadillo<p>Brazil, January 1, 1502<p>One Art<p>ROBERT LOWELL (1917&ndash;1977)<p>Memories of West Street and Lepke<p>Skunk Hour<p>For the Union Dead<p>Will Not Come Back<p>ANNE SEXTON(1928&ndash;1974)<p>And One for My Dame<p>The Addict<p>Us<p>Rowing<p>SYLVIA PLATH(1932&ndash;1963)<p>Lady Lazarus<p>Daddy<p>W. S. MERWIN (1927&ndash; )<p>Grandfather in the Old Men&rsquo;s Home<p>The Drunk in the Furnace<p>Noah&rsquo;s Raven<p>The Dry Stone Mason<p>Fly<p>Strawberries<p>Direction<p>A. R. AMMONS (1926&ndash;2001)<p>Sight Seed<p>Motion Which Disestablishes Organizes Everything<p>The Damned<p>JAMES BALDWIN (1924&ndash;1987)<p>Sonny&rsquo;s Blues<p>FLANNERY O&rsquo;CONNOR(1925&ndash;1964)<p>Good Country People<p>BERNARD MALAMUD(1914&ndash;1986)<p>The Magic Barrel<p>SONIA SANCHEZ (1934&ndash; )<p>the final solution/<p>to blk/record/buyers<p>Womanhood<p>BLACK FIRE(1968)<p>Neon Diaspora, by David Henderson<p>For the Truth, by Edward Spriggs<p>&ldquo;Oh shit a riot!&rdquo; by Jacques Wakefield<p>JUNE JORDAN(1936&ndash;2002)<p>Poem About My Rights<p>Poem for Guatemala<p>A New Politics of Sexuality<p>MAXINE HONG KINGSTON (1940&ndash; )<p>No Name Woman<p>EDWARD ALBEE (1928&ndash; )<p>The Zoo Story<p>SAUL BELLOW(1915&ndash;2005)<p>A Silver Dish<p>N. SCOTT MOMADAY (1934&ndash; )<p>FROM The Way to Rainy Mountain<p>The Arrowmaker<p>JOYCE CAROL OATES (1938&ndash; )<p>How I Contemplated the World . .<p>JAMES ALAN MCPHERSON (1943&ndash; )<p>The Faithful<p>TIM O&rsquo;BRIEN (1946&ndash; )<p>FROM The Things They Carried<p>On the Rainy River 2113<p>AMY TAN (1952&ndash; )<p>FROM The Joy Luck Club<p>Half and Half<p>BOBBIE ANN MASON (1940&ndash; )<p>Shiloh<p>GLORIA NAYLOR (1950&ndash; )<p>FROM The Women of Brewster Place<p>Lucielia Louise Turner<p>LESLIE MARMON SILKO (1948&ndash; )<p>The Man to Send Rain Clouds<p>Coyote Holds a Full House in His Hand<p>GLORIA ANZALD&Uacute;A(1942&ndash;2004)<p>FROM Borderlands/La Frontera&#58; The New Mestiza<p>The Homeland, Aztl&aacute;n<p>LOUISE ERDRICH (1954&ndash; )<p>FROM Love Medicine<p>The Red Convertible (1974)<p>TINA HOWE (1937&ndash; )<p>Painting Churches<p>THOMAS PYNCHON (1937&ndash; )<p>Entropy<p>AUGUST WILSON(1945&ndash;2005)<p>Fences<p>SIMON ORTIZ (1941&ndash; )<p>A Designated National Park<p>Canyon de Chelly<p>Final Solution&#58; Jobs, Leaving<p>GEORGE SAUNDERS (1958&ndash; )<p>Offloading for Mrs. Schwartz<p>SHERMAN ALEXIE (1966&ndash; )<p>Class<p>Defending Walt Whitman<p>Reference Works, Bibliographies<p>Criticism, Literary and Cultural History
85The Heath Anthology of American Literature: Contemporary Period (1945 To The Present), Volume EPaul Lauter0<p><P>Paul Lauter is the Smith Professor of Literature at Trinity College. He has served as president of the American Studies Association and is a major figure in the revision of the American literary canon.<P>Dr. Bryer is an expert on F. Scott Fitzgerald and is president of the International F. Scott Fitzgerald Society. He was an editor of DEAR SCOTT, DEAREST ZELDA&#58; THE LOVE LETTERS OF F. SCOTT AND ZELDA FITZGERALD (Macmillan).<P>John Alberti teaches at Northern Kentucky University and has a Ph.D. in American literature from UCLA. His main area of research is multicultural American literature and culture.<P>Mary Pat Brady is the Director of Latino Studies at Cornell University. Her current work focuses on the emergence of the service economy and the corresponding transformation of Chicana and Latina culture.<P>Dr. Bryer is an expert on F. Scott Fitzgerald and is president of the International F. Scott Fitzgerald Society. He was an editor of DEAR SCOTT, DEAREST ZELDA&#58; THE LOVE LETTERS OF F. SCOTT AND ZELDA FITZGERALD (Macmillan).</p>Paul Lauter, Richard Yarborough, John Alberti, Mary Pat Brady, Jackson Bryerthe-heath-anthology-of-american-literaturepaul-lauter9780547201801054720180X$87.49PaperbackCengage LearningMarch 20096th EditionAmerican Literature Anthologies36126.00 (w) x 9.10 (h) x 1.50 (d)A best-selling anthology since its first edition, this premier survey of American literature has influenced the manner in which the American literary canon is taught in classrooms across the nation. In response to readers' requests, the editors of the <i>Heath Anthology</i> continue to develop and reinforce its greatest strengths: diverse reading selections and strong ancillaries. With the assistance of more than 200 contributing editors all specialists in particular eras and writers the editors have updated biographical and critical information, as well as added new works of interest to both instructors and students.<br> <br> <p>The Fourth Edition features writers and selections that highlight the divergent communities and diverse voices constituting the United States, both past and present. Volume 1 takes students from Native American oral literatures up to 1865, including Whitman and Dickinson. Volume 2 (which can be packaged with a free supplement of Whitman and Dickinson works) opens with African American folk tales and regional writers, and includes new sections on the Beat Movement and the Vietnam Conflict.</p> <ul> <li>Full-length texts continue to be integrated throughout the anthology, including <i>The Scarlet Letter</i> in Vol. 1 and <i>The Awakening</i> in Vol. 2.</li> <li>The textbook web site complements both volumes of the text through a searchable, multimedia timeline with literary, historical, and cultural information; author profile pages; links to other sites for further research; and an online version of the Instructor's Guide.</li> <li>The Southern literature section includes two short stories by William Faulkner, Dry September and Barn Burning, and an essay by H.L. Mencken, TheSahara of the Bozarts. Coverage of border literature includes the work of novelist María Amparo Ruíz de Burton. In addition, gay and lesbian writers such as Dorothy Allison, James Merrill, and Richard Rodriguez are featured throughout.</li> </ul><p><P>Unrivaled diversity and ease of use have made THE HEATH ANTHOLOGY OF AMERICAN LITERATURE&#58; VOLUME E&#58; CONTEMPORARY PERIOD (1945 TO THE PRESENT), 6th Edition a best-selling text since 1989, when the first edition was published. In presenting a more inclusive canon of American literature, THE HEATH ANTHOLOGY OF AMERICAN LITERATURE&#58; VOLUME E&#58; CONTEMPORARY PERIOD (1945 TO THE PRESENT), 6th Edition continues to balance the traditional, leading names in American literature with lesser-known writers and to build upon the anthology's other strengths&#58; its apparatus and its ancillaries. Available in five volumes for greater flexibility, the 6th Edition offers thematic clusters to stimulate classroom discussions and showcase the treatment of important topics across the genres.</p><P>Preface. CONTEMPORARY PERIOD&#58; 1945 TO THE PRESENT. The "American Century"&#58; From Victory to Vietnam. Ann Petry (1908-1997). The Witness. Theodore Roethke (1908-1963). Frau Bauman, Frau Schmidt, and Frau Schwartze. Root Cellar. Big Wind. from The Lost Son&#58; 1. The Flight; 4. The Return; 5. It was beginning winter. from Meditations of an Old Woman&#58; First Meditation; from Fourth Meditation. Elegy. My Papa's Waltz. Eudora Welty (1909-2002). The Wide Net. Charles Olson (1910-1970). The Kingfishers. For Sappho, Bac
86The Portable Harlem Renaissance ReaderDavid Lewis0David Lewis, David Levering Lewisthe-portable-harlem-renaissance-readerdavid-lewis97801401703680140170367$15.90PaperbackPenguin Group (USA)June 19951Places - Literary Anthologies, Regional American Anthologies, Peoples & Cultures - American Anthologies, American Literature Anthologies8165.18 (w) x 7.78 (h) x 1.47 (d)<p>Gathering a representative sampling of the New Negro Movement's most important figures, and providing substantial introductory essays, headnotes, and brief biographical notes, Lewis' volume—organized chronologically—includes the poetry and prose of Sterling Brown, Countee Cullen, W. E. B. Du Bois, Zora Neale Hurston, James Weldon Johnson, and others.</p> <p>From its beginnings in 1919, with soldiers returning from the Great War, to its sputtering end in 1934, with the Great Depression, the New Negro Movement in arts and letters proclaimed the experience of African American men and women. This magnificent volume features a wealth of fiction and nonfiction works by 45 writers from that exuberant era. </p><p>From its beginnings in 1919, with soldiers returning from the Great War, to its sputtering end in 1934, with the Great Depression, the New Negro Movement in arts and letters ...</p><h3>Library Journal</h3><p>Editor Lewis is a noted author of several books, e.g., When Harlem Was in Vogue ( LJ 3/15/81) and, most recently, W.E.B. DuBois: Biography of a Race, 1868-1919 ( LJ 8/93). This hefty tome features many significant essays, poems, and stories not readily available to all scholars that are drawn from African American journals of the period, including Opportunity, Crisis, and Fire! In his introduction, Lewis carefully explores tension within this arts and letters movement. The collected excerpts of writers like Cullen, Hurston, Hughes, McKay, DuBois, and Wright represent a balance between those Renaissance supporters and writers who ``saw the small cracks in the wall of racism that could, they anticipated, be widened through the production of exemplary racial images'' and those who ``saw art not as politics by other means--civil rights between covers or from a stage or an easel.'' This anthology will balance and enhance any modern American literature collection.-- Faye A. Chadwell, Univ. of South Carolina Lib., Columbia</p><p>Table of Contents Introduction Chronology Part I. Essays and Memoirs Returning Soldiers W. E. B. Du Bois The Migration of the Talented Tenth Carter G. Woodson Gift of the Black Tropics W. A. Domingo Africa for the Africans Marcus Garvey Liberty Hall Emancipation Day Speech On Marcus Garvey Mary White Ovington Black Manhattan James Weldon Johnson The New Negro Alain Locke Jazz at Home Joel A. Rogers Reflections on O'Neill's Plays Paul Robeson The Negro Digs Up His Past Arthur A. Schomburg The Task of Negro Womanhood Elise Johnson McDougald from The Big Sea Langston Hughes When the Negro Was in Vogue Harlem Literati Parties The Negro Artist and the Racial Mountain The Negro-Art Hokum George S. Schuyler Criteria of Negro Art W. E. B. Du Bois Critiques of Carl Van Vechten's Nigger Heaven Du Bois J. W. Johnson The Caucasian Storms Harlem Rudolph Fisher Aaron Douglas Chats about the Harlem Renaissance Aaron Douglas Negro Art and America Albert C. Barnes The Negro Takes His Place in American Art Alain Locke The Negro Artist and Modern Art Romare Bearden from Dust Tracks on a Road Zora Neale Hurston from A Long Way from Home Claude McKay The Harlem Intelligentsia The New Negro in Paris La Bourgeoisie Noire E. Franklin Frazier With Langston Hughes in the USSR Louise Thompson Patterson Harlem Runs Wild Claude Mckay Blueprint for Negro Writing Richard Wright The Negro Renaissance and Its Significance Charles S. Johnson Part II. Poetry Song Gwendolyn Bennett Hatred The Day-Breakers Arna Bontemps Golgotha Is a Mountain Southern Road Sterling Brown Odyssey of Big Boy Frankie and Johnny Ma Rainey Long Gone Georgie Grimes Remembering Nat Turner The Young Voice Cries Mae Cowdery The Wayside Well Joseph S. Cotter For a Lady I Know Countee Cullen Incident Harlem Wine Yet Do I Marvel Heritage From the Dark Tower To a Brown Boy Tableau Saturday's Child Two Poets To France Nothing Endures Requiescam The Death Bed Waring Cuney La Vie C'est la Vie Jessie Redmon Fauset Dead Fires The Negro Speaks of Rivers Langston Hughes I, Too America The Weary Blues Jazzonia Mother to Son Negro Mulatto Elevator Boy Red Silk Stockings Ruby Brown Elderly Race Leaders Dream Variation Goodbye, Christ Advertisement for the Waldorf-Astoria Children of the Sun Fenton Johnson The Banjo Player Let Me Not Lose My Dream Georgia Douglas Johnson Old Black Men Black Woman The Heart of a Woman I Want to Die While You Love Me My Race Helene Johnson A Southern Road Sonnet to a Negro in Harlem Poem The White Witch James Weldon Johnson The Color Sergeant O Black and Unknown Bards Go Down Death The Creation If We Must Die Claude McKay Baptism The White House The Negro's Friend On a Primitive Canoe The Tropics in New York When Dawn Comes to the City The Desolate City The Harlem Dancer St. Isaac's Church, Petrograd Barcelona Lady, Lady Anne Spencer Song of the Son Jean Toomer Georgia Dusk The Blue Meridian Part III. Fiction from The Emperor Jones Eugene O'Neill from Cane Jean Toomer Karintha Fern Bona and Paul Birthright T. S. Stribling from There Is Confusion Jessie Redmon Fauset from Plum Bun from The Fire in the Flint Walter White Wedding Day Gwendolyn Bennett from Home to Harlem Claude McKay Snowstorm in Pittsburgh Spring in Harlem from Banjo Banjo's Ace of Spades from Banana Bottom from Quicksand Nella Larsen from Passing from The Closing Door Angelina Weld Grimke The Typewriter Dorothy West from The Dark Princess W. E. B. Du Bois from The Walls of Jericho Rudolph Fisher from Tropic Death Eric Walrond The Wharf Rats The Yellow One Smoke, Lilies and Jade Richard Bruce Nugent Luani of the Jungles Langston Hughes from Not Without Laughter Thursday Afternoon from The Ways of White Folks Father and Son The Blues I'm Playing Cordelia the Crude Wallace Thurman Harlem: A Forum of Negro Life from The Blacker the Berry...<br> from Infants of the Spring from Black No More George Schuyler from God Sends Sunday Arna Bontemps from Black Thunder from One Way to Heaven Countee Cullen Drenched in Light Zora Neale Hurston Color Struck Jonah's Gourd Vine from Mule-Bone Zora Neale Hurston Langston Hughes Biographical Notes Acknowledgments</p><article> <h4>Library Journal</h4>Editor Lewis is a noted author of several books, e.g., When Harlem Was in Vogue ( LJ 3/15/81) and, most recently, W.E.B. DuBois: Biography of a Race, 1868-1919 ( LJ 8/93). This hefty tome features many significant essays, poems, and stories not readily available to all scholars that are drawn from African American journals of the period, including Opportunity, Crisis, and Fire! In his introduction, Lewis carefully explores tension within this arts and letters movement. The collected excerpts of writers like Cullen, Hurston, Hughes, McKay, DuBois, and Wright represent a balance between those Renaissance supporters and writers who ``saw the small cracks in the wall of racism that could, they anticipated, be widened through the production of exemplary racial images'' and those who ``saw art not as politics by other means--civil rights between covers or from a stage or an easel.'' This anthology will balance and enhance any modern American literature collection.-- Faye A. Chadwell, Univ. of South Carolina Lib., Columbia </article>
87American Short StoriesBert Hitchcock0Bert Hitchcockamerican-short-storiesbert-hitchcock97803214848950321484894$76.05HardcoverLongmanOctober 20078th EditionShort Story Anthologies, American Literature Anthologies7605.90 (w) x 8.90 (h) x 1.10 (d)<p><b>American short stories capture America’s past and present in a unique way. Now you have an opportunity to immerse yourself in the more than two hundred year history of the American short story by taking this course and reading the new eighth edition of <i>American Short Stories</i>. While retaining its historical thrust and chronological organization, the new eighth edition features more contemporary stories and gives increased attention to the social and cultural contexts in which the short fiction of the United States has unfolded.</b></p> <p>WHAT YOU’LL FIND IN THIS EDITION</p> <ul> <li>An enriched, powerful selection of stories from classic and contemporary authors. Of the sixty selected stories making up this anthology, sixteen are new to the eighth edition and nine are new authors.</li> <li>A new selection of contemporary stories is given an historical section of their own.</li> <li>New and improved Suggestions for Discussion and Writing features encourage meaningful class discussion and stimulate writing.</li> <li>Increased representation of cultural diversity with attention to race, ethnicity, gender, region, and individual social and cultural concerns.</li> <li>Enhanced Introductions and Headnotes make use of an author’s own words to place the author in relation to his or her time, to other writers, and to American literary history.</li> </ul><p><P>American Short Stories, 8/e is a streamlined anthology that includes "classic" works and contemporary stories that are organized chronologically. Of the sixty selected stories making up this anthology, sixteen are new to the eighth edition and nine of the authors are new. Increased attention is given to the social and cultural contexts in which the short fiction of the United States unfolded. The stories represent a wide range of themes and techniques, forms and types, motifs, tones, and issues.</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Story of the Captain's Wife, and an Aged Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Peter Rugg, The Missing Man</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Legend of Sleepy Hollow</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Horse-Swap</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Young Goodman Brown</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Cat</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Big Bear of Arkansas</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bartleby, the Scrivener</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Notorious Jumping Frog of Calaveras County</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Outcasts of Poker Flat</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Europe"</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A White Heron</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Passing of Grandison</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Occurrence at Owl Creek Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Storm</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A New England Nun</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Caballero's Way</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Other Two</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bride Comes to Yellow Sky</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paul's Case</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Build a Fire</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Death in the Woods</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Jury of Her Peers</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Silent Snow, Secret Snow</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Grave</TD><TD WIDTH="10%" ALIGN="RIGHT">326</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gilded Six-Bits</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Memorial to the Slain</TD><TD WIDTH="10%" ALIGN="RIGHT">341</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Secret Life of Walter Mitty</TD><TD WIDTH="10%" ALIGN="RIGHT">349</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood-Burning Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">354</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Babylon Revisited</TD><TD WIDTH="10%" ALIGN="RIGHT">361</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Barn Burning</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Another Country</TD><TD WIDTH="10%" ALIGN="RIGHT">391</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Chrysanthemums</TD><TD WIDTH="10%" ALIGN="RIGHT">396</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thank You, Ma'm</TD><TD WIDTH="10%" ALIGN="RIGHT">405</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Big Black Good Man</TD><TD WIDTH="10%" ALIGN="RIGHT">422</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Petrified Man</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Man in the House</TD><TD WIDTH="10%" ALIGN="RIGHT">444</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Swimmer</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Jewbird</TD><TD WIDTH="10%" ALIGN="RIGHT">462</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Samuel</TD><TD WIDTH="10%" ALIGN="RIGHT">469</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Children on Their Birthdays</TD><TD WIDTH="10%" ALIGN="RIGHT">473</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good Country People</TD><TD WIDTH="10%" ALIGN="RIGHT">486</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The School</TD><TD WIDTH="10%" ALIGN="RIGHT">501</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A & P</TD><TD WIDTH="10%" ALIGN="RIGHT">505</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sky Is Gray</TD><TD WIDTH="10%" ALIGN="RIGHT">511</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where Are You Going, Where Have You Been?</TD><TD WIDTH="10%" ALIGN="RIGHT">532</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Girl's Story</TD><TD WIDTH="10%" ALIGN="RIGHT">545</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What He Was Like</TD><TD WIDTH="10%" ALIGN="RIGHT">566</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mazes</TD><TD WIDTH="10%" ALIGN="RIGHT">570</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boxes</TD><TD WIDTH="10%" ALIGN="RIGHT">574</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wrath-bearing Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">584</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shiloh</TD><TD WIDTH="10%" ALIGN="RIGHT">591</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strong Horse Tea</TD><TD WIDTH="10%" ALIGN="RIGHT">601</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hunters in the Snow</TD><TD WIDTH="10%" ALIGN="RIGHT">607</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fairy Tale</TD><TD WIDTH="10%" ALIGN="RIGHT">620</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Things They Carried</TD><TD WIDTH="10%" ALIGN="RIGHT">627</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gryphon</TD><TD WIDTH="10%" ALIGN="RIGHT">640</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cheers</TD><TD WIDTH="10%" ALIGN="RIGHT">652</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fleur</TD><TD WIDTH="10%" ALIGN="RIGHT">655</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mericans</TD><TD WIDTH="10%" ALIGN="RIGHT">665</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the American Society</TD><TD WIDTH="10%" ALIGN="RIGHT">667</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">681</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">685</TD></table>
88Great Love PoemsShane Weller0Shane Wellergreat-love-poemsshane-weller97804862728490486272842$1.99PaperbackDover PublicationsOctober 1992Special ValuePoetry, American Literature Anthologies, Anthologies, General & Miscellaneous Poetry, English, Irish, & Scottish Poetry1285.12 (w) x 8.34 (h) x 0.32 (d)Treasury of over 150 familiar poems by English and American poets, including a selection of Shakespeare's sonnets, John Donne's "The Ecstasy," William Blake's "The Garden of Love," as well as works by W. B. Yeats, Emily Dickinson, Walt Whitman, Elizabeth Barrett Browning, John Keats, John Milton, Robert Frost, and many more.&nbsp;Includes 2 selections from the Common Core State Standards Initiative.<br><p><p>Over 150 familiar works by English and American poets&#58; John Donne's "The Ecstasy," William Blake's "The Garden of Love," as well as poems by Shakespeare, Milton, Keats, Whitman,&#160;Dickinson, many more.<p></p>
89The Harper American Literature, Single Volume EditionDonald McQuade0Donald McQuade, Justin Kaplan, Martha Bantathe-harper-american-literature-single-volume-editiondonald-mcquade97803210126920321012690$89.47HardcoverLongmanDecember 19983rd EditionAmerican Literature Anthologies28676.38 (w) x 9.14 (h) x 2.45 (d)A richly diverse gathering of new and familiar voices, on subjects new and old, The Harper Single Volume American Literature takes the reader on a journey through America's literary past and ever-projecting future. Eleven cultural portfolios provide windows into historic moments in our literary past and present; superbly informative and readable period introductions further deepen the reader's understanding of the America from which this literature evolved. Five great plays, an unprecedented wealth of complete works, approximately one hundred carefully chosen black and white images - a collection both deeper and broader than other single volume anthologies. The Harper Single Volume American Literature, Third Edition has it all.<p>A richly diverse gathering of new and familiar voices, on subjects new and old, The Harper Single Volume American Literature takes the reader on a journey through America's literary past and ever-projecting future. Eleven cultural portfolios provide windows into historic moments in our literary past and present; superbly informative and readable period introductions further deepen the reader's understanding of the America from which this literature evolved. Five great plays, an unprecedented wealth of complete works, approximately one hundred carefully chosen black and white images - a collection both deeper and broader than other single volume anthologies. The Harper Single Volume American Literature, Third Edition has it all.</p><P><br> CONTENTS The Literature of the New World. Introduction. The Discoveries of America. Native American Literature&lt;58&gt; First Encounters. How the New World Became America. A Literature of Experience. America and the Pastoral Ideal. Survival and Rebirth. Toward a Pluralistic Culture. Native American Narratives. A Bering Strait Eskimo Creation Account. The Time When There Were No People on the Earth Plain. Seneca Account. The Story Telling Stone. Cultural Portfolio&lt;58&gt; The European Conquest of America. The Saga of the Greenlanders, Anonymous. Michele de Cuneo&rsquo;s Letter on Columbus&rsquo;s Second Voyage, Michele de Cuneo. Broken Spears&lt;58&gt; The Aztec Account of Conquest of Mexico, Anonymous. @MAHEADS = The Conquest of New Spain, Bernal D&iacute;az. The Book of Chilam Balam of Chumayel, Anonymous. The Conquest of New Spain, Bernal D&iacute;az. Letter to the King, Giovanni da Verrazano. The Narrative of the Expedition of Coronado, Pedro de Casteneda. A Brief and True Report of the New Found Land of Virginia, Thomas Hariot. The Journal of the First Voyage, October 12, 1492. Michele de Cuneo&rsquo;s Letter on the Second Voyage, October 28, 1495. Columbus&rsquo;s Letter to the Sovereigns on the Third Voyage, October 18, 1498. The Narrative of N&uacute;&ntilde;ez Cabeza de Vaca, Alvar N&uacute;&ntilde;ez Cabeza de Vaca. Letter to Captain John Smith, Powhatan. The Generall Historie of Virginia, New England, and the Summer Isles, Book III, Chapter II &lt;91&gt;Captain Smith&rsquo;s Captivity&lt;93&gt;, Captain John Smith. From a Description of New England &lt;91&gt;Growing Rich in the New World&lt;93&gt;. The Literature of Colonial America. Introduction. A &ldquo;Cittyupon a Hill&lt;58&gt;&rdquo; - New England. The Religious Background. The Voyage; The Landfall. Puritan Beliefs. Puritan Literature. Native Americans. Government Obedience. Women. A &ldquo;Vale of Plenty&rdquo; - The South. Southern Intellectual Life. Toward the Revolution&lt;58&gt; the 18th Century. The Enlightenment. Jonathan Edwards and the Great Awakening. Settlers and Skirmishes. Of Plymouth Plantation, William Bradford. Related Voices. The Life of William Bradford, Esq, Cotton Mather. A Model of Christian Charity, John Winthrop. The Prologue, Anne Bradstreet. The Author to Her Book. Before the Birth of One of Her Children. To My Dear and Loving Husband. In Memory of My Dear Grandchild Elizabeth Bradstreet. Here Follows Some Verses upon the Burning of Our House. To My Dear Children. Cultural Portfolio&lt;58&gt; The Witchcraft Trials. Witch Hunting &amp; Witch Trials, C. L&rsquo;Estrange Ewen. Magnelia Christi Americana, Cotton Mather. The Diary of Samuel Sewall, Samuel Sewall. Anne Hutchinson&rsquo;s Trial. From The Antinomian Controversy (David D. Hall, ed.). From John Winthrop&rsquo;s Journal. A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson, Mary Rowlandson. Related Voices. Hanna Dustan&rsquo;s Narrative, Cotton Mather. @AHEADS = Cultural Portfolio&lt;58&gt; The Ways of the Native Americans. Book III&lt;58&gt; Of the Indians, Their Religion, Laws, and Customs, in War and Peace, Robert Beverly. A Key Into the Language of America, Roger Williams. History of the Dividing Line, William Byrd. Notes on the State of Virginia, Thomas Jefferson. Preparatory Meditations, Edward Taylor. William Byrd&lt;58&gt; His Secret Diary for the Years 1709-1712, William Byrd. From Personal Narrative, Jonathan Edwards. From Sinners in the Hands of an Angry God. The Autobiography, Benjamin Franklin. Poor Richard Improved, 1758. From Information to Those Who Would Remove to America. Native Americans and the Myth of the Noble Savage. From &ldquo;Of Coaches&rdquo;, Michel de Montaigne. Of Plymouth Plantation, William Bradford. From Letter to Sir William Ashurst (May 3, 1700), Samuel Sewall. From Letter (1732), General Jeffrey Amherst. From Discourse upon the Origin and Foundation of the Inequality Among Mankind, Jean-Jacques Rousseau. From A Narrative of the Late Massacres in Lancaster County, Benjamin Franklin. From Travels Round the World in the Years 1767-1771, Pierre Marie Fran&ccedil;ois de Pages. The Unseen Helpers, Seneca and Cherokee Oral History. Hemp-Carrier. A Sermon Preached at the Execution of Moses Paul, An Indian Samson Occom. On the Death of the Rev. Mr. George Whitefield, 1770, Phillis Wheatley. On Being Brought from Africa to America. To S. M. a Young African Painter, on Seeing His Works. To His Excellency General Washington. Related Voices. Thomas Jefferson. Notes on the State of Virginia, 1787. The Literature of the New Republic, 1776-1836. Introduction. The Literature of Persuasion. Making Thirteen Clocks Tick Together. Cultivating New Meanings. The Quest for Literary Independence. Westward Course of Empire. Printing and the Reading Public. Frontiers of Literature. The Prospects of an American Literature. The Makings of American Literature. European Models and the American Landscape. The Declaration of Independence as Adopted by Congress, Thomas Jefferson. Notes on the State of Virginia. Letter to John Adams&lt;58&gt; &lt;91&gt;March 31, 1776&lt;58&gt; The Passion for Liberty&lt;93&gt;, Abigail Adams. Related Voices. From An Address to the Legislature of New York Proposing a Plan for Improving Female Education (1819), Emma Willard. Common Sense, Thomas Paine. The American Crisis. Letters from an American Farmer, St. Jean de Cr&egrave;vecoeur. The Interesting Narrative of the Life of Oloudah Equiano, Oloudah Equiano (Gustavus Vassa). Cultural Portfolio&lt;58&gt; Slavery, Freedom, and Identity. The Selling of Joseph&lt;58&gt; A Memorial, Samuel Sewall. An Address to the Public; from the Pennsylvania Society for Promoting the Abolition of Slavery, and the Relief of Free Negroes Unlawfully Held in Bondage, Benjamin Franklin. Notes on the State of Virginia&lt;58&gt; On the Traits of Blacks, Thomas Jefferson. Black Petitions for Freedom. The American Museum; or, Repository of Ancient and Modern Fugitive Pieces, Prose and Poetical (May 1789), Anonymous. From Letter IX&lt;58&gt; Charleston Slave, St. Jean de Cr&egrave;vecoeur. No. 10 &lt;91&gt;James Madison&lt;93&gt; The Federalist. On the Emigration to America and Peopling the Western Country, Philip Freneau. The Wild Honey Suckle. The Indian Burying Ground. On Mr. Paine&rsquo;s Rights of Man. Native Americans and &ldquo;Westward the Course of Empire&rdquo;. &ldquo;1786&rdquo;, Thomas Jefferson. July 13, 1787, Northwest Ordinance. &ldquo;Message to Congress (December 6, 1830)&rdquo;, President Andrew Jackson. &ldquo;Indian Wars of the West (1833), Timothy Flint. From Letter to President Martin Van Buren on the removal of the Cherokee Indians (April 23, 1838), Ralph Waldo Emerson. From Review of Francis Parkman&rsquo;s The California and Oregon Trail 1849), Herman Melville. A Son of the Forest, William Apess. The Sketch Book, Washington Irving. Rip Van Winkle. The Legend of Sleepy Hollow. Cultural Portfolio&lt;58&gt; Asserting a National Language and Literature. Dissertations on the English Language (1789), Noah Webster. Fable from American Spelling Book. Letters from an American Farmer, St. Jean de Cr&egrave;vecoeur. From American Language and Literature (1815), Walter Channing. Salmagundi, Second Series. Saturday, August 19, 1820, James Kirke Paulding. Preface to The Leather-stocking Tales, James Fenimore Cooper. The Deerslayer. The Pioneers. The Prairie. Appeal to the Christian Women of the South, Sarah and Angelina Grimk&egrave;. Related Voices. Sojourner Truth &lt;91&gt;As Reported in The Anti-Slavery Bugle&lt;93&gt;. Thanatopsis, William Cullen Bryant. To a Waterfowl. The Prairies. The Literature of the American Renaissance, 1836-1865. @AHEADS = Introduction. &ldquo;Who Reads American Books?&rdquo; A Revolution in Consciousness. &ldquo;Incomparable Materials.&rdquo; An Improving Spirit. &ldquo;Self-made or Never Made.&rdquo; Gold Rush. Railroad Iron. Impending Crisis. &ldquo;Swallow Barn&rdquo;, John Pendleton Kennedy. Ralph Waldo Emerson. Related Voices. &ldquo;The Supremacy of Mind over Matter&rdquo;, George Ripley. Nature. The American Scholar. Related Voices. Air Intllectual declaration of Independence Thomas Carlyle, Oliver Wendell Holmes, and James Russell Lowell. An Address. Self-Reliance. The Poet. Experience. Concord Hymn. The Rhodora. Each and All. Hamatreya. Days. Cultural Portfolio&lt;58&gt; Nature&rsquo;s Nation. From Essay on American Scenery, Thomas Cole. From Nature, Ralph Waldo Emerson. From Circles. From The Knickerbocker, James Brooks. The Maine Woods, Henry David Thoreau. From The Pioneers, James Fenimore Cooper. Walden, Henry David Thoreau. Resistance to Civil Government. American Literature, Margaret Fuller. Ligeia, Edgar Allan Poe. The Fall of the House of Usher. The Purloined Letter. The Cask of Amontillado. The Philosophy of Composition. Sonnet - To Science. To Helen. The Raven. Ulalume - A Ballad. Annabel Lee. The Bells. My Kinsman, Major Molineux, Nathaniel Hawthorne. Young Goodman Brown. Wakefield. The Maypole of Merry Mount. The Minister&rsquo;s Black Veil. Rappacini&rsquo;s Daughter. Bartleby, The Scrivener&lt;58&gt; A Tale of Wall Street, Herman Melville. The Paradise of Bachelors and the Tartarus of Maids. Billy Budd, Sailor. Battle Pieces and Aspects of the War. Timoleon, Etc. Massachusetts to Virginia, John Greenleaf Whittier. Ichabod. Skipper Ireson&rsquo;s Ride. Telling the Bees. Uncle Tom&rsquo;s Cabin, Harriet Beecher Stowe. Headnote, Harriet Ann Jacobs. Incidents in the Life of a Slave Girl. The Big Bear of Arkansas, Thomas Bangs Thorpe. The Narrative of the Life of Frederick Douglass, An American Slave, Written by Himself, Frederick Douglass. A Diary from Dixie, Mary Boykin Miller Chesnut. Address Delivered at the Dedication of the Cemetery at Gettysburg, Abraham Lincoln. Second Inaugural Address. Little Women, Louisa May Alcott. Rebecca Harding Davis. Life in the Iron Mills. Related Voices. From Iron Interests of Wheeling, A. W. Campbell. From The Gospel of Wealth, Andrew Carnegie. From Testimony Before the United States Senate Committee on Labor and Education, 1883, John Roach. From Lectures to Young Men, Henry Ward Beecher. Leaves of Grass &lt;91&gt;1891-1892&lt;93&gt;Preface to the 1855 Edition, Walt Whitman. Inscriptions. One&rsquo;s Self I Sing. I Hear America Singing. Song of Myself. Children of Adam. I Sing the Body Electric. Once I Pass&rsquo;d Through a Populous City. Facing West from California&rsquo;s Shores. As Adam Early in the Morning. Calamus. I Saw in Louisiana a Live-Oak Growing. Here the Frailest Leaves of Me. Crossing Brooklyn Ferry. Sea Drift. Out of the Cradle Endlessly Rocking. As I Ebbed With the Ocean of Life. By the Roadside. When I Heard the Learn&rsquo;d Astronomer. Drum-Taps. Cavalry Crossing a Ford. A March in the Ranks Hard-Prest, and the Road Unknown. A Sight in Camp in the Daybreak Gray and Dim. The Wound-Dresser. Reconciliation. Memories of President Lincoln. When Lilacs Last in the Dooryard Bloom&rsquo;d. Autumn Rivulets. There Was a Child Went Forth. Passage to India. The Sleepers. Whispers of Heavenly Death. A Noiseless Patient Spider. 67&lt;58&gt; &lt;91&gt;Success is counted sweetest&lt;93&gt;, Emily Dickinson. 185&lt;58&gt; &lt;91&gt;&ldquo;Faith&rdquo; is a Fine Invention&lt;93&gt;. 214&lt;58&gt; &lt;91&gt;I Taste a Liquor Never Brewed-&lt;93&gt;. 216&lt;58&gt; &lt;91&gt;Safe in the Alabaster Chambers-&lt;93&gt;. 241&lt;58&gt; &lt;91&gt;I Like a Look of Agony&lt;93&gt;. 258&lt;58&gt; &lt;91&gt;There&rsquo;s a Certain Slant of Light&lt;93&gt;. 280&lt;58&gt; &lt;91&gt;I felt a Funeral, in My Brain&lt;93&gt;. 303&lt;58&gt; &lt;91&gt;The Soul Selects her own Society-&lt;93&gt;. 324&lt;58&gt; &lt;91&gt;Some Keep the Sabbath Going to Church-&lt;93&gt;. 338&lt;58&gt; &lt;91&gt;I Know that He Exists&lt;93&gt;. 341&lt;58&gt; &lt;91&gt;After Great Pain, a Formal Feeling Comes-&lt;93&gt;. 401&lt;58&gt; &lt;91&gt;What Soft-Cherubic Creatures-&lt;93&gt;. 435&lt;58&gt; &lt;91&gt;Much Madness is Divinest Sense-&lt;93&gt;. 441&lt;58&gt; &lt;91&gt;This is My Letter to the World&lt;93&gt;. 448&lt;58&gt; &lt;91&gt;This was a Poet - It is That&lt;93&gt;. 449&lt;58&gt; &lt;91&gt;I Died for Beauty - But was Scarce&lt;93&gt;. 465&lt;58&gt; &lt;91&gt;I Heard a Fly Buzz - When I Died-&lt;93&gt;. 501&lt;58&gt; &lt;91&gt;This World is not Conclusion&lt;93&gt;. 536&lt;58&gt; &lt;91&gt;The Hearts asks Pleasure - First-&lt;93&gt;. 585&lt;58&gt; &lt;91&gt;I Like to See it Lap the Miles-&lt;93&gt;. 632&lt;58&gt; &lt;91&gt;The Brain - is Wider Than the Sky-&lt;93&gt;. 640&lt;58&gt; &lt;91&gt;I Cannot Live with You-&lt;93&gt;. 650&lt;58&gt; &lt;91&gt;Pain - Has an Element of Blank-&lt;93&gt;. 657&lt;58&gt; &lt;91&gt;I Dwell in Possibility-&lt;93&gt;. 709&lt;58&gt; &lt;91&gt;Publication - is the Auction&lt;93&gt;. 712&lt;58&gt; &lt;91&gt;Because I Could Not Stop for Death-&lt;93&gt;. 721&lt;58&gt; &lt;91&gt;Behind Me - Dips Eternity-&lt;93&gt;. 754&lt;58&gt; &lt;91&gt;My Life had Stood - A Loaded Gun-&lt;93&gt;. 764&lt;58&gt; &lt;91&gt;Presentiment - is That Long Shadow - on the Lawn&lt;93&gt;. 986&lt;58&gt; &lt;91&gt;A Narrow Fellow in the Grass&lt;93&gt;. 1052&lt;58&gt; &lt;91&gt;I Never Saw a Moor-&lt;93&gt;. 1071&lt;58&gt; &lt;91&gt;Perception of an Object Costs&lt;93&gt;. 1078&lt;58&gt; &lt;91&gt;The Bustle in a House&lt;93&gt;. 1125&lt;58&gt; &lt;91&gt;Oh Sumptuous Moment&lt;93&gt;. 1129&lt;58&gt; &lt;91&gt;Tell All the Truth But Tell it Slant-&lt;93&gt;. 1463&lt;58&gt; &lt;91&gt;A Route of Evanescence&lt;93&gt;. 1540&lt;58&gt; &lt;91&gt;As Imperceptibly as Grief&lt;93&gt;. 1545&lt;58&gt; &lt;91&gt;The Bible is an Antique Volume-&lt;93&gt;. 1624&lt;58&gt; &lt;91&gt;Apparently with No Surprise&lt;93&gt;. 1651&lt;58&gt; &lt;91&gt;A Word made Flesh is Seldom&lt;93&gt;. 1670&lt;58&gt; &lt;91&gt;In Winter in My Room&lt;93&gt;. 1732&lt;58&gt; &lt;91&gt;My Life Closed Twice Before its Close-&lt;93&gt;. 1755&lt;58&gt; &lt;91&gt;To Make a Prairie it Takes a Clover and One Bee&lt;93&gt;. 1760&lt;58&gt; &lt;91&gt;Elysium is as Far as To&lt;93&gt;. Excerpts from the Letters of Emily Dickinson. The Literature of an Expanding Nation, 1865-1912. Introduction. The Paradox of Peace. Opportunism and Corruption. Exposure and Reform. The Old Order Gives Way. The Writer&rsquo;s Profession. Getting at &ldquo;The Real.&rdquo; Writing About Lives on the Margin. The Writer&rsquo;s Challenge. What is an &ldquo;American&rdquo;? Emerging Feminine Identities. New Words, New Definitions. A Nation Connected. A New Reading Public. Thinking Hard and Writing Well. Cultural Portfolio&lt;58&gt; The New Immigrants. The New Colossus, Emma Lazarus. The American Scene, Henry James. The Rise of David Levinsky, Abraham Cahan. Angel Island, Anonymous. The Biography of a Chinaman, Lee Chew. From Bread Givers, Anzia Yezierska. Native American Assimilation and a Reemerging Tradition. From The Conspiracy of Pontiac (1851), Francis Parkman. From Message to Congress (1867), President Andrew Johnson. From United States v. Lucero (1869) U.S. Supreme Court. From letter to the city officials at Santa Fe, New Mexico (1883), Walt Whitman. From the North American Review (April 1902), Hamlin Garland. From The Bear (1942), William Faulkner. Seattle (1786-1866) Our People are Ebbing Away Like a Rapidly Receding Tide. Sarah Winnemucca Hopkins (1844-1891) Life Among the Piutes. The Notorious Jumping Frog of Calaveras County, Mark Twain. Fenimore Cooper&rsquo;s Literary Offenses. Corn-Pone Opinions. The Adventures of Huckleberry Finn. From The American Short Story, William Dean Howells. Editha. The Education of Henry Adams, Henry Adams. The Dynamo and the Virgin (1900). From The Art of Fiction, Henry James. From Preface to The American. From Hawthorne. Daisy Miller. The Diary of Alice James, Alice James. An Occurrence at Owl Creek Bridge, Ambrose Bierce. Cultural Portfolio&lt;58&gt; Oral Traditions and Turn-of-the-Century Literature. The Journal of American Folklore, Franz Boas, et al. Sam Lawson&rsquo;s Oldtown Fireside Stories, Harriet Beecher Stowe. My Opinions and Betsey Bobbet&rsquo;s, Marietta Holley (Josiah Allen&rsquo;s Wife). Eastern European Jewish Oral Tradition. Yiddish Proverbs, Translated by Isadore Goldstick. How to Tell a Story, Mark Twain. The Virginian, Owen Wister. From Sut Lovingood&lt;58&gt; Yarns Spun by a Nat&rsquo;ral Born Durn&rsquo;d Fool, George Washington Harris. The Rabbit and the Tar Wolf, Cherokee Oral Tradition. Uncle Remus&lt;58&gt; His Songs and His Sayings, Joel Chandler Harris. Mules and Men, Zora Neale Hurston. Steal Away to Jesus, African American Spirituals. Go Down, Moses. The Souls of Black Folk, W. E. B. Dubois. Ballads and World Songs, John Henry. Cotton Mill Colic. Gone with the Wind, Margaret Mitchell. A White Heron, Sarah Orne Jewett. The Awakening, Kate Chopin. The Yellow Wallpaper, Charlotte Perkins Gilman. Why I Wrote &ldquo;The Yellow Wallpaper&rdquo;. Related Voices. The Great Modern American Stories, William Dean Howells. The Other Two, Edith Wharton. Up from Slavery, Booker T. Washington. The Souls of Black Folks, W. E. B. Dubois. Frederick Douglass, Paul Laurence Dunbar. We Wear the Mask. Sympathy. Richard Cory, Edward Arlington Robinson. Miniver Cheevy. Eros Turannos. Mr. Flood&rsquo;s Party. The Open Boat, Stephen Crane. The Black Riders and Other Lines. He Got a Ride, Theodore Dreiser. To Build a Fire, Jack London. Impressions of an Indian Childhood, Zitkala S&acute;a (Gertrude Simmons Bonnin). School Days. The Literature of a New Century, 1912-1945. Introduction. New World&lt;58&gt; New Writers. The Great War. The Age of Business and Frolic. Racism and Sexism. An Alienated Generation. The Making of American Modernists. From the Crash to the New Deal. Social Criticism and Marxism. The Second World War. The Dawn of Postmodernism. Neighbor Rosicky, Willa Cather. The Mending Wall, Robert Frost. The Road Not Taken. The Oven Bird. After Apple-Picking. Birches. Stopping by Woods on a Snowy Evening. Once by the Pacific. Desert Places. Design. The Most of It. Directive. Trifles, Susan Keating Glaspell. The Egg, Sherwood Anderson. Chicago, Carl Sandburg. Fog. Cool Tombs. Sunday Morning, Wallace Stevens. Thirteen Ways of Looking at a Blackbird. Anecdote of the Jar. The Emperor of Ice-Cream. The Idea of Order at Key West. The Poem that Took the Place of a Mountain. America and I, Anzia Yezierska. Queen Anne&rsquo;s Lace, William Carlos Williams. Spring and All. The Red Wheelbarrow. This is Just to Say. The Yachts. The River-Merchant&rsquo;s Wife&lt;58&gt; A Letter, Ezra Pound. A Pact. In a Station in the Metro. From Hugh Selwyn Mauberley (Life and Contacts). From The Cantos. Sea Rose, H. D. (Hilda Doolittle). Oread. Helen. Boats in a Fog, Robinson Jeffers. Hurt Hawks. Poetry, Marianne Moore. The Fish. A Grave. The Monkeys. The Love Song of J. Alfred Prufrock, T. S. Eliot. Gerontion. The Waste Land. The Hollow Men. From Tradition and the Individual Talent. The Emperor Jones, Eugene O&rsquo;Neill. The Jilting of Granny Weatherall, Katherine Anne Porter. The Gilded Six-Bits, Zora Neale Hurston. Spunk. &lt;91&gt;Euclid Alone has Looked on Beauty Bare&lt;93&gt;, Edna St. Vincent Millay. &lt;91&gt;Love is Not All; It is Not Meat nor Drink&lt;93&gt;. Cane, Jean Toomer. Cultural Portfolio&lt;58&gt; The Harlem Renaissance. From The New Negro&lt;58&gt; An Interpretation, Alain Locke. God&rsquo;s Trombones, James Weldon Johnson. From The Negro Artist and the Racial Mountain, Langston Hughes. The Heart of a Woman, Georgia Douglas Johnson. Smothered Fires. Motherhood. Sweat, Zora Neale Hurston. Ma Rainey, Sterling A. Brown. Slim in Hell. Remembering Nat Turner. Yet Do I Marvel, Countee Cullen. Incident. Heritage. Sonnet to a Negro in Harlem, Helene Johnson. What Do I Care for Morning. Remember Not. The Big Sea, Langston Hughes. &lt;91&gt;in Just-&lt;93&gt;, E. E. Cummings. &lt;91&gt;the Cambridge ladies who live in furnished souls&lt;93&gt;. &lt;91&gt;next to god of course america i&lt;93&gt;. &lt;91&gt;my sweet old etcetera&lt;93&gt;. &lt;91&gt;i sing of Olaf glad and big&lt;93&gt;. &lt;91&gt;anyone lived in a pretty how town&lt;93&gt;. &lt;91&gt;what a proud dreamhorse&lt;93&gt;. Winter Dreams, F. Scott Fitzgerald. Spotted Horses, William Faulkner. That Evening Sun. Barn Burning. Cultural Portfolio&lt;58&gt; The Southern Renaissance. From The Mind of the South, W. J. Cash. Look Homeward, Angel, Thomas Wolfe. From The Sound and the Fury, William Faulkner. Two Writers&rsquo; Beginnings. From Black Boy&lt;58&gt; A Record of Childhood and Youth, Richard Wright. From American Hunger. From A Sweet Devouring, Eudora Welty. Three Poets. Bells for John Whiteside&rsquo;s Daughter, John Crowe Ransom. Piazza Piece. The Equilibrists. Ode to the Confederate Dead, Allen Tate. Bearded Oaks, Robert Penn Warren. Two Collaborations. From You Have Seen Their Faces, Erskine Caldwell and Margaret Bourke-White. From Let Us Now Praise Famous Men, James Agee and Walker Evans. Black Tambourine, Hart Crane. Chaplinesque. At Melville&rsquo;s Tomb. Voyages I, II, III. The Bridge (selection). Soldier&rsquo;s Home, Ernest Hemingway. The Negro Speaks of Rivers, Langston Hughes. The Weary Blues. I, Too. Dream Boogie. Theme for English B. Long Black Song, Richard Wright. Why I Live at the P.O. , Eudora Welty. The Literature Since Midcentury, 1945- the Present. Introduction. Contemporary Literature. The First Post war Generation. The Second Post war Generation and Vietnam. Cuttings, Theodore Roethke. Cuttings (later). My Papa&rsquo;s Waltz. The Lost Son. Elegy for Jane. The Waking. The Fish, Elizabeth Bishop. At the Fishhouses. Questions of Travel. Sestina. In the Waiting Room. One Art. The Glass Menagerie, Tennessee Williams. Homage to the Empress of the Blues, Robert Hayden. Those Winter Sundays. A Letter from Phillis Wheatley. Related Voices. A Letter to Obour Tanner, Phillis Wheatley. I Stand Here Ironing, Tillie Olsen. The Battle Royal, Ralph Ellison. The Death of the Ball Turret Gunner, Randall Jarrell. The Woman at the Washington Zoo. Memories of West Street and Lepke, Robert Lowell. Skunk Hour. For the Union Dead. History. For John Berryman. Epilogue. From A Street in Bronzeville, Gwendolyn Brooks. Negro Hero. A Bronzeville Mother Loiters in Mississippi.@AHEADS = Meanwhile, a Mississippi Mother Burns Bacon. The Last Quatrain of the Ballad of Emmet Till. The Blackstone Rangers. Young Afrikans@MAHEADS = Love Calls Us to the Things of This World, Richard Wilbur. Playboy. The Writer. Cottage Street, 1953. Pleasures, Denise Levertov. The Ache of Marriage. O Taste and See. Where Is the Angel? From The Armies of the Night, Norman Mailer. Sonny&rsquo;s Blues, James Baldwin. Letter to My Nephew on the One-Hundredth Anniversary of the Emancipation. A Good Man Is Hard to Find, Flannery O&rsquo;Connor. From Howl, Allen Ginsburg. A Supermarket in California. America. The Painter, John Ashbery. These Lacustrine Cities. Soonest Mended. Syringa. Landscapeople. Lament for My Brother on a Hayrake, James Wright. A Note Left in Jimmy Leonard&rsquo;s Shack. At the Executed Murderer&rsquo;s Grave. Autumn Begins in Martin&rsquo;s Ferry, Ohio. Lightning Bugs Asleep in the Afternoon. Coming Home, Philip Levine. They Feed the Lion. You Can have It. Her Kind, Anne Sexton. The Truth the Dead Know. Self in 1958. For My Lover, Returning to His Wife. Snow White and the Seven Dwarfs. Letter from a Birmingham Jail, Martin Luther King, Jr. Living in Sin, Adrienne Rich. The Knight. Necessities of Life. &ldquo;I Am in Danger - Sir -.&rdquo; Trying to Talk with a Man. Diving into the Wreck. Translations. The Ninth Symphony of Beethoven Understood at Last as a Sexual Message. Playing in the Dark, Toni Morrison. Separating, John Updike. Black Rook in Rainy Weather, Sylvia Plath. Daddy. Medusa. Ariel. Lady Lazarus. Death &lt;38&gt; Co. Fever 1030. The Conversion of the Jews, Philip Roth. Black Mother Woman, Audre Lorde. Equinox. Walking Our Boundaries. Afterimages. House Made of Dawn, N. Scott Momaday. From The Priest of the Sun. Ghosts, Mary Oliver. Owls. The Sun. When Death Comes. Thorow, Susan Howe. Dear John, Dear Coltrane, Michael S. Harper. American History. Nightmare Begins Responsibility. Peace on Earth. Where Are You Going, Where Have You Been? Joyce Carol Oates. What We Talk About When We Talk About Love, Raymond Carver. Shiloh, Bobbie Ann Mason. The Woman Warrior; No Name Woman, Maxine Hong Kingston. Everyday Use, Alice Walker. The Things They Carried, Tim O&rsquo;Brien. Storyteller, Leslie Marmon Silko. Lullaby. The Geese, Jorie Graham. Over and Over Stitch. Mind. My Garden, My Daylight. Banneker, Rita Dove. Parsley. Roast Possum. Dusting. Mississippi. In a Neutral City. The Kind of Light That Shines on Texas, Reginald McKnight. Lost on September Trail, 1967, Alberto Rios. Mi Abuelo. Nani. The Good Lunch of Oceans. Barbie-Q, Sandra Cisneros. Lulu&rsquo;s Boys, Louise Erdrich. Lost Sister, Cathy Song. Youngest Daughter. The White Porch. Beauty and Sadness. Mona in the Promised Land, Gish Jen. Angels in America&lt;58&gt; Millennium Approaches, Tony Kushner. Eating Together, Li-Young Lee. Persimmons. The City in Which I Love You. Cultural Portfolio&lt;58&gt; Who Is an American Writer? Terra Incognita, Vladimir Nabokov. Escape from Civilization, Isaac Bashevis Singer. To Robinson Jeffers, Czeslaw Milosz. To the Western World, Louis (Aston Marantz) Simpson. American Poetry. A Far Cry From Africa, Derek Walcott. Preparing for Exile. Old New England. Sarita, Maria Irene Fornes. Happiness, Bharati Mukherjee. Letters from the Ming Dynasty, Joseph Brodsky. May 24, 1980, Girl, Jamaica Kincaid. Letters from the Ming Dynasty, Joseph Brodsky. May 24, 1980, Girl, Jamaica Kincaid.
90The Latino Reader: An American Literary Tradition from 1542 to the PresentMargarite Fernandez Olmos0<p>HAROLD AUGENBRAUM is the executive director of the National BookFoundation. He lives in the Bronx, New York.</p>Margarite Fernandez Olmos (Editor), Harold Augenbraumthe-latino-readermargarite-fernandez-olmos97803957652890395765285$13.98PaperbackHoughton Mifflin HarcourtMarch 1997NonePeoples & Cultures - American Anthologies, Hispanic & Latin American Literature Anthologies, Literature Anthologies - General & Miscellaneous5285.50 (w) x 8.25 (h) x 0.50 (d)<p>The Latino Reader is the first anthology to present the full history of this important American literary tradition, from the mid-sixteenth century to the present day. Selections include works of history, memoirs, letters, and essays, as well as fiction, poetry, and drama. Adding to the importance of the volume are several selections from rare and little-known texts that have been translated into English for the first time.</p><p><p>The Latino Reader is the first anthology to present the full history of this important American literary tradition, from the mid-sixteenth century to the present day. Selections include works of history, memoirs, letters, and essays, as well as fiction, poetry, and drama. Adding to the importance of the volume are several selections from rare and little-known texts that have been translated into English for the first time.<p></p><h3>Library Journal</h3><p>The compilers, scholars who have studied and written about the Latino population in the United States, have put together an anthology of literary works dealing with the panorama of Latino writings in the United States. The selections range widely, from Cabeza de Vaca's 1542 description of the South to recent excerpts from Cuban, Puerto Rican, and Mexican American authors. The collection is primarily literary though it does include some historical, autobiographical, and essay excerpts. It offers what would be expected in this type of anthology, with an occasional surprise, such as an excerpt from John Rechy's novel City of Night. Readers will be primarily college and university students, but this will also be of value to smaller public libraries with limited Latino collections. [Editor Augenbraum is a longtime LJ reviewer.-Ed.]-Mark L. Grover, Brigham Young Univ., Provo, Utah</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: An American Literary Tradition</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editor's Note</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Alvar Nunez Cabeza de Vaca</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Account [1542/1555]</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Inca, Garcilaso de la Vega</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Florida [1605]</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gaspar Perez de Villagra</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The History of New Mexico [1610]</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fray Mathias Saenz de San Antonio</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lord, If the Shepherd Does Not Hear [1724]</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Unknown Author</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Comanches [ca. 1780]</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Francisco Palou</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Historic Account of the Life and Apostolic Work of the Venerable Fray Junipero Serra [1787]</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jose Maria Heredia</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Niagara [1824]</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eulalia Perez</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Old Woman Remembers [1877]</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Maria Amparo Ruiz de Burton</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Squatter and the Don [1885]</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jose Marti</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Vindication of Cuba [1889]</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Simple Verses [1891]</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pachin Marin</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New York from Within [1892]</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Album of an Unknown Woman [1892]</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Improvisation [1892]</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eusebio Chacon</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Son of the Storm [1892]</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Unknown Author</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ballad of Gregorio Cortez [ca. 1901]</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leonor Villegas de Magnon</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rebel [ca. 1920]</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">William Carlos Williams</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Elsie [1923]</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All the Fancy Things [1927]</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arthur A. Schomburg</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jose Campeche 1752-1809 [1934]</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bernardo Vega</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memoirs of Bernardo Vega [ca. 1944]</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Josephina Niggli</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mexican Village [1945]</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mario Suarez</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cuco Goes to a Party [1947]</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Julia de Burgos</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Returning [1947]</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Farewell in Welfare Island [1953]</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cleofas Jaramillo</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Romance of a Little Village Girl [1955]</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pedro Juan Soto</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">God in Harlem [1956]</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jose Antonio Villarreal</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pocho [1959]</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Americo Paredes</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hammon and the Beans [1963]</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">John Rechy</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">City of Night [1963]</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rodolfo "Corky" Gonzales</TD><TD WIDTH="10%" ALIGN="RIGHT">265</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Am Joaquin [1967]</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Piri Thomas</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Down These Mean Streets [1967]</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Victor Hernandez Cruz</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Today Is a Day of Great Joy [1969]</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">African Things [1973]</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Alurista</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">el maguey en su desierto [1971]</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">must be the season of the witch [1971]</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">to be fathers once again [1971]</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tomas Rivera</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">...And the Earth Did Not Devour Him [1971]</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rudolfo Anaya</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bless Me, Ultima [1972]</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Oscar "Zeta" Acosta</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Revolt of the Cockroach People [1973]</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nicholasa Mohr</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nilda [1973]</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pedro Pietri</TD><TD WIDTH="10%" ALIGN="RIGHT">328</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puerto Rican Obituary [1973]</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miguel Pinero</TD><TD WIDTH="10%" ALIGN="RIGHT">337</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Short Eyes [1974]</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lower East Side Poem [1980]</TD><TD WIDTH="10%" ALIGN="RIGHT">349</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dolores Prida</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beautiful Senoritas [1977]</TD><TD WIDTH="10%" ALIGN="RIGHT">352</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Luis Valdez</TD><TD WIDTH="10%" ALIGN="RIGHT">364</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Zoot Suit [1978]</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tato Laviera</TD><TD WIDTH="10%" ALIGN="RIGHT">378</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Graduation Speech [1979]</TD><TD WIDTH="10%" ALIGN="RIGHT">379</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">AmeRican [1985]</TD><TD WIDTH="10%" ALIGN="RIGHT">380</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sandra Maria Esteves</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the Commonwealth [1979]</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A la Mujer Borrinquena [1980]</TD><TD WIDTH="10%" ALIGN="RIGHT">384</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lourdes Casal</TD><TD WIDTH="10%" ALIGN="RIGHT">385</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Ana Veldford [1981]</TD><TD WIDTH="10%" ALIGN="RIGHT">385</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lorna Dee Cervantes</TD><TD WIDTH="10%" A</table><article> <h4>From the Publisher</h4>"Anthologies of Latino literature abound, and rightly so, but most focus on contemporary authors. Augenbraum and Olmos dig deeper, tracing the roots of this vibrant literary tradition all the way back to the mid-sixteenth century. They have selected strikingly effective works of history, memoirs, letters, essays, poetry, drama, and fiction, including texts translated into English for the first time, creating a broad range of voices and perspectives. The volume begins with Alva Nunez Cabeza de Vaca's Account, a chronicle of a disastrous 1527 expedition in the Southwest that is emblematic of all encounters between Spanish conquistadores and the indigenous peoples of the Americas. This powerful piece serves as the anthology's overture, and establishes Latino literature's key cultural and political themes. Other compelling and enlightening offerings include works by William Carlos Williams, a poet whose Puerto Rican heritage has rarely been considered integral to his poetic innovations; novelist John Rechy; Cleofas Jaramillo, a descendent of hispano pioneers; and a host of remarkable Latino writers prominent in decades past but overlooked in recent compilations." Booklist, ALA </article> <article> <h4>Library Journal</h4>The compilers, scholars who have studied and written about the Latino population in the United States, have put together an anthology of literary works dealing with the panorama of Latino writings in the United States. The selections range widely, from Cabeza de Vaca's 1542 description of the South to recent excerpts from Cuban, Puerto Rican, and Mexican American authors. The collection is primarily literary though it does include some historical, autobiographical, and essay excerpts. It offers what would be expected in this type of anthology, with an occasional surprise, such as an excerpt from John Rechy's novel City of Night. Readers will be primarily college and university students, but this will also be of value to smaller public libraries with limited Latino collections. [Editor Augenbraum is a longtime LJ reviewer.-Ed.]-Mark L. Grover, Brigham Young Univ., Provo, Utah </article>
91Black NatureCamille T. Dungy0<p><p>Camille T. Dungy is an associate professor in the Creative Writing Department at San Francisco State University. She is the author of two poetry collections, <I>What to Eat, What to Drink, What to Leave for Poison</I> and <I>Suck on the Marrow</I>, and has helped edit two other poetry anthologies.<p></p>Camille T. Dungyblack-naturecamille-t-dungy97808203343180820334316$14.87PaperbackUniversity of Georgia PressDecember 2009Poetry Anthologies, Poetry - General & Miscellaneous, American Poetry, African American Literature - Literary Criticism, American Literature Anthologies, U.S. & Canadian Poetry - General & Miscellaneous - Literary Criticism4326.00 (w) x 8.90 (h) x 1.10 (d)<p><i>Black Nature</i> is the first anthology to focus on nature writing by African American poets, a genre that until now has not commonly been counted as one in which African American poets have participated.</p> <p>Black poets have a long tradition of incorporating treatments of the natural world into their work, but it is often read as political, historical, or protest poetry—anything but nature poetry. This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the wild.</p> <p>Camille T. Dungy has selected 180 poems from 93 poets that provide unique perspectives on American social and literary history to broaden our concept of nature poetry and African American poetics. This collection features major writers such as Phillis Wheatley, Rita Dove, Yusef Komunyakaa, Gwendolyn Brooks, Sterling Brown, Robert Hayden, Wanda Coleman, Natasha Trethewey, and Melvin B. Tolson as well as newer talents such as Douglas Kearney, Major Jackson, and Janice Harrington. Included are poets writing out of slavery, Reconstruction, the Harlem Renaissance, the Black Arts Movement, and late twentieth- and early twenty-first-century African American poetic movements.</p> <p><i>Black Nature</i> brings to the fore a neglected and vital means of considering poetry by African Americans and nature-related poetry as a whole.</p> <p>A Friends Fund Publication.</p><p><p><i>Black Nature</i> is the first anthology to focus on nature writing by African American poets, a genre that until now has not commonly been counted as one in which African American poets have participated.<p>Black poets have a long tradition of incorporating treatments of the natural world into their work, but it is often read as political, historical, or protest poetry&#8212;anything but nature poetry. This is particularly true when the definition of what constitutes nature writing is limited to work about the pastoral or the wild.<p>Camille T. Dungy has selected 180 poems from 93 poets that provide unique perspectives on American social and literary history to broaden our concept of nature poetry and African American poetics. This collection features major writers such as Phillis Wheatley, Rita Dove, Yusef Komunyakaa, Gwendolyn Brooks, Sterling Brown, Robert Hayden, Wanda Coleman, Natasha Trethewey, and Melvin B. Tolson as well as newer talents such as Douglas Kearney, Major Jackson, and Janice Harrington. Included are poets writing out of slavery, Reconstruction, the Harlem Renaissance, the Black Arts Movement, and late twentieth- and early twenty-first-century African American poetic movements.<p><i>Black Nature</i> brings to the fore a neglected and vital means of considering poetry by African Americans and nature-related poetry as a whole.<p></p><article> <h4>Library Journal</h4>No pleasures are more aesthetic than poetry and nature, so it is only natural that the two should unite. Editor Dungy here merges the worlds in a satisfying compilation that features over 100 poems by 93 African American poets, including celebrated writers June Jordan and Yusef Komunyakaa as well as newer artists like Remica L. Bingham and Indigo Moor. The collection, which is assembled in cycles that beg "Nature, Be with Us," recognizes "Pest, People Too," and recalls "What the Land Remembers," explores a multitude of themes that incorporate the beauty, transformation, and unpredictability of Earth's elements. Though the collection moves away from political and protest poetry, readers will likely appreciate "Disasters, Natural and Other," as the section draws from familiar incidents. James A. Emanuel's "Emmett Till" paints a haunting yet wondrous fantasy of his spirit, while Douglas Kearney's historical "Floodsong 2: Water Moccasin's Spiritual" has contemporary relevance following Hurricane Katrina. VERDICT Expanding the realm of traditional nature poetry and African American writings, this work will appeal to readers of both genres.—Ashanti White, Univ. of North Carolina at Greensboro </article>
92Anthology of American Literature Volume IIGeorge McMichael0George McMichael, James Leonard, James S. Leonardanthology-of-american-literature-volume-iigeorge-mcmichael97801322164700132216477$92.20PaperbackPrentice HallJanuary 20079th EditionLiterary Collections<p><P>This leading, two-volume anthology represents America&#39;s literary heritage from the colonial times of William Bradford and Anne Bradstreet to the contemporary era of Saul Bellow and Alice Walker. This anthology is best known for its solid headnotes and introductions as well as a balance approach to selections.<p></p><P>Preface<p>About the Editors<p>The Literature of the Late Nineteenth Century<p><i>[NEW] </i><i>Reading the Historical Context</i><p>[NEW] MARK TWAIN (1835-1910)<p>FROM Life on the Mississippi<p>[Sir Walter Scott and the Southern Character]<p>[NEW] ALBION TOURG&Eacute;E (1838-1905)<p>FROM The Invisible Empire<p>[NEW] <i>Reading the Critical Context</i><p>WILLIAM DEAN HOWELLS (1837-1920) <p>FROM Criticism and Fiction<p>[The Ideal Grasshopper]<p>[American Fiction]<p>HENRY JAMES (1843-1916) <p>The Art of Fiction<p>[NEW] MARK TWAIN (1835-1910)<p>Fenimore Cooper&rsquo;s Literary Offences<p><i>The Literature of the Late Nineteenth Century</i><p>WALT WHITMAN (1819&mdash;1892) <p>Preface to the 1855 Edition of Leaves of Grass<p>Song of Myself<p>FROM Inscriptions<p>To You<p>One&rsquo;s-Self I Sing<p>When I read the book<p>I Hear America Singing<p>Poets to Come<p>FROM Children of Adam<p>From pent-up aching rivers<p>Out of the rolling ocean the crowd<p>As Adam, Early in the Morning<p>Once I pass&rsquo;d through a populous city<p>Facing west from California&rsquo;s shores<p>FROM Calamus<p>In paths untrodden<p>Scented herbage of my breast<p>What Think You I take My Pen In Hand?<p>I saw in Louisiana a live-oak growing<p>I hear it was charged against me<p>Crossing Brooklyn Ferry<p>FROM Sea-Drift<p>Out of the cradle endlessly rocking<p>As I ebb&rsquo;d with the ocean of life<p>FROM By the Roadside<p>When I heard the learn&rsquo;d astronomer<p>The Dalliance of the Eagles<p>FROM Drum-Taps<p>Beat! Beat! Drums!<p>Cavalry Crossing a Ford<p>Bivouac on a Mountain Side<p>Vigil strange I kept on the field one night<p>A march in the ranks hard-prest, and the road unknown<p>A sight in camp in the daybreak gray and dim<p>The Wound-Dresser<p>FROM Memories of President Lincoln<p>When lilacs last in the dooryard bloom&rsquo;d<p>FROM Autumn Rivulets<p>There was a child went forth<p>Sparkles from the Wheel<p>Who Learns My Lesson Complete?<p>Passage to India<p>The Sleepers<p>From Whispers of Heavenly Death<p>A noiseless patient spider<p>FROM Noon to Starry Night<p>To a Locomotive in Winter<p>FROM Democratic Vistas<p>EMILY DICKINSON (1830&mdash;1886) <p>49 I never lost as much but twice<p>67 Success is counted sweetest<p>125 For each ecstatic instant<p>130 These are the days when Birds come back<p>165 A <i>Wounded</i> Deer &ndash; leaps highest<p>185 &ldquo;Faith&rdquo; is a fine invention<p>210 The thought beneath so slight a film<p>214 I taste a liquor never brewed<p>216 Safe in their Alabaster Chambers<p>241 I like a look of Agony<p>249 Wild Nights&ndash;Wild Nights!<p>258 There&rsquo;s a certain Slant of light<p>280 I felt a Funeral, in my Brain<p>287 A Clock stopped<p>303 The Soul selects her own Society<p>324 Some keep the Sabbath going to Church<p>328 A Bird came down the Walk<p>338 I know that He exists<p>341 After great pain, a formal feeling comes<p>401 What Soft&ndash;Cherubic Creatures<p>414 &rsquo;Twas like a Maelstrom, with a notch<p>435 Much Madness is divinest Sense<p>441 This is my letter to the World<p>448 This was a Poet&ndash;It is That<p>449 I died for Beauty&ndash;but was scarce<p>465 I heard a Fly buzz&ndash;when I died<p>510 It was not Death, for I stood up<p>520 I started Early&ndash;Took my Dog<p>585 I like to see it lap the Miles<p>613 They shut me up in Prose<p>632 The Brain&ndash;is wider than the sky<p>640 I cannot live with You<p>650 Pain&ndash;has an Element of Blank<p>657 I dwell in Possibility<p>670 One need not be a Chamber&ndash;to be Haunted<p>709 Publication&ndash;is the Auction<p>712 Because I could not stop for Death<p>732 She rose to His Requirement&ndash;dropt<p>745 Renunciation&ndash;is a piercing Virtue<p>754 My life had stood&ndash;a Loaded Gun<p>764 Presentiment&ndash;is that long Shadow&ndash;on the Lawn<p>976 Death is a Dialogue between<p>986 A narrow Fellow in the Grass<p>1052 I never saw a Moor<p>1078 The Bustle in a House<p>1129 Tell all the truth but tell it slant<p>1207 He preached upon &ldquo;Breadth&rdquo; till it argued him narrow<p>1463 A Route of Evanescence<p>1545 The Bible is an antique Volume<p>1624 Apparently with no surprise<p>1670 In Winter in my Room<p>1732 My life closed twice before its close<p>1755 To make a prairie it takes a clover and one bee<p>1760 Elysium is as far as to<p>Letters to T. W. Higginson<p>MARK TWAIN (1835-1910)<p>The Notorious Jumping Frog of Calaveras County<p>[NEW] Story of the Bad Little Boy<p>[NEW] Disgraceful Persecution of a Boy<p>[NEW] FROM Goldsmith&rsquo;s Friend Abroad Again<p>[NEW] Sociable Jimmy<p>[NEW] A True Story<p>FROM Old Times on the Mississippi<p>[A Boy Wants to Be a Pilot]<p>Adventures of Huckleberry Finn<p>[NEW] My First Lie, and How I Got Out of It<p>[NEW] To the Person Sitting in Darkness<p>[NEW] The War Prayer<p>MARY E. WILKINS FREEMAN (1852-1930)<p>A New England Nun<p>[NEW] A Mistaken Charity<p>SARAH ORNE JEWETT (1849-1909)<p>A White Heron<p>[NEW] The Town Poor<p>BRET HARTE (1836-1902)<p>Tennessee&rsquo;s Partner<p>GEORGE WASHINGTON CABLE (1844-1925)<p>Belles Demoiselles Plantation<p>CHARLES WADDELL CHESNUTT (1858-1932)<p>The Goophered Grapevine<p>[NEW] The Wife of His Youth<p>[NEW] A Metropolitan Experience<p>JOEL CHANDLER HARRIS (1848-1908)<p>How Mr. Rabbit Was Too Sharp for Mr. Fox 287<p>Free Joe and the Rest of the World<p>WILLIAM DEAN HOWELLS (1837-1920)<p>Editha<p>HENRY JAMES (1843-1916)<p>Daisy Miller&#58; A Study<p>The Real Thing<p>The Beast in the Jungle<p>AMBROSE BIERCE (1842-1914)<p>An Occurrence at Owl Creek Bridge<p>[NEW] Chickamauga<p>CHARLOTTE PERKINS GILMAN (1860-1935)<p>The Yellow Wall-Paper<p>[NEW] If I Were a Man<p>[NEW] The Unnatural Mother<p>KATE CHOPIN (1851-1904)<p>The Awakening<p>[NEW] The Storm<p>STEPHEN CRANE (1871-1900) <p>Black riders came from the sea<p>In the desert<p>A god in wrath<p>I saw a man pursuing the horizon<p>Supposing that I should have the courage<p>On the horizon the peaks assembled<p>A man feared that he might find an assassin<p>Do not weep, maiden, for war is kind<p>A man said to the universe<p>A man adrift on a slim spar<p>[NEW] The Blue Hotel<p>The Open Boat<p>FRANK NORRIS (1870-1902)<p>A Deal in Wheat<p>JACK LONDON (1876-1916)<p>The Law of Life<p>[NEW] To Build a Fire<p>[NEW] ANNA JULIA COOPER<p>Has America a Race Problem...?<p>FROM A Voice from the South<p>ABRAHAM CAHAN<p>The Imported Bridegroom<p>EDITH WHARTON (1862-1937)<p>The Other Two<p>[NEW] PAUL LAURENCE DUNBAR (1871-1906)<p>The Ingrate<p>We Wear the Mask<p>An Ante-Bellum Sermon<p>When Malindy Sings<p>The Colored Soldiers<p>When Dey &lsquo;Listed Colored Soldiers<p>Sympathy<p>The Race Question Discussed<p>The Fourth of July and Race Outrages<p>THEODORE DREISER (1871-1945)<p>Free<p>[NEW] FROM Sister Carrie<p>The Literature of the Twentieth Century (1900 To 1945) <p><i>[NEW] </i><i>Reading the Historical Context</i><p>HENRY ADAMS (1838-1918)<p>FROM The Education of Henry Adams<p>The Dynamo and the Virgin<p><i>[NEW] </i><i>Reading the Critical Context</i><p>T. S. ELIOT (1888-1965)<p>Tradition and the Individual Talent<p><i>The Literature of the Twentieth Century (1900 To 1945) </i><p>[NEW] O. HENRY (WILLIAM SYDNEY PORTER) (1862-1910)<p>A Municipal Report<p>[NEW] OWEN WISTER (1860-1938)<p>FROM The Virginian<p>[NEW] JAMES WELDON JOHNSON (1871-1938)<p>Lift Every Voice and Sing<p>FROM <i>Autobiography of an Ex-Colored Man</i><p>W. E. B. DU BOIS (1868-1963)<p>FROM The Souls of Black Folk<p>The Forethought<p>Of the Black Belt<p>Of the Passing of the First Born<p>The After-Thought<p>FROM The Crisis<p>[NEW] A Mild Suggestion<p>[NEW] On Being Crazy<p>[NEW] A Litany in Atlanta<p>[NEW] The Comet<p>EDWIN ARLINGTON ROBINSON (1869-1935) <p>Luke Havergal<p>Zola<p>Richard Cory<p>Cliff Klingenhagen<p>Miniver Cheevy<p>How Annandale Went Out<p>Eros Turannos<p>Mr. Flood&rsquo;s Party<p>ROBERT FROST (1874-1963)<p>Mending Wall<p>Home Burial<p>After Apple-Picking<p>The Road Not Taken<p>An Old Man&rsquo;s Winter Night<p>Birches<p>The Oven Bird<p>For Once, Then, Something<p>Fire and Ice<p>Design<p>Nothing Gold Can Stay<p>Stopping by Woods on a Snowy Evening<p>Acquainted with the Night<p>West-Running Brook<p>Desert Places<p>Neither out Far Nor in Deep<p>Directive<p>In Winter in the Woods Alone<p>[NEW] GERTRUDE SIMMONS BONNIN (ZITKALA SA) (1876-1938)<p>The School Days of an Indian Girl<p>[NEW] CARL SANDBURG (1878-1967)<p>Chicago<p>Lost<p>Graceland<p>Fog<p>Psalm of Those Who Go Forth Before Daylight<p>Four Preludes on Playthings of the Wind<p>WILLA CATHER (1873-1947) <p>A Wagner Matin&eacute;e<p>[NEW] Paul&rsquo;s Case<p>ELLEN GLASGOW (1873-1945) <p>The Difference<p>GERTRUDE STEIN (1874-1946) <p>FROM Three Lives<p>The Gentle Lena<p>Susie Asado<p>Picasso<p>A Movie<p>[NEW] SHERWOOD ANDERSON (1876-1941) <p>FROM Winesburg, Ohio<p>The Book of the Grotesque<p>Hands<p>Mother<p>Tandy<p>JOHN DOS PASSOS (1896-1970) <p>FROM U.S.A.<p>Preface<p>FROM The 42<sup>nd</sup> Parallel<p>Proteus<p>FROM 1919<p>Newsreel XLIII<p>The Body of an American<p>FROM The Big Money<p>Newsreel LXVI<p>The Camera Eye (50)<p>Vag<p>EUGENE O&rsquo;NEILL (1888-1953)<p>The Hairy Ape<p>SUSAN GLASPELL (1876-1948)<p>Trifles<p>[NEW] SINCLAIR LEWIS (1885-1951)<p>FROM Babbitt<p>EZRA POUND (1885-1972)<p>Portrait d&#39;une Femme<p>Salutation<p>A Pact<p>In a Station of the Metro<p>The River-Merchants Wife&#58; A Letter<p>FROM Hugh Selwyn Mauberley<p>I [E.P. Ode pour l&rsquo;Election de son Sepulchre]<p>II [The age demanded an image]<p>III [The tea-rose tea-gown, etc.]<p>IV [These fought in any case]<p>V [There died a myriad]<p>FROM The Cantos<p>I [And then went down to the ship]<p>II [Hang it all, Robert Browning]<p>XLV [With <i>Usura</i>]<p>LXXXI [What thou lovest well remains]<p>A Retrospect<p>T. S. ELIOT (1888-1965)<p>The Love Song of J. Alfred Prufrock<p>Preludes<p>Gerontion<p>The Waste Land<p>Notes on The Waste Land<p>Journey of the Magi<p>E. E. CUMMINGS (1894-1962)<p>[in Just-]<p>[O sweet spontaneous]<p>[Buffalo Bills defunct]<p>[the Cambridge ladies who live in furnished souls]<p>[&ldquo;next to of course god america I&rdquo;]<p>[my sweet old etcetera]<p>[somewhere i have never travelled,gladly beyond]<p>[r-p-o-p-h-e-s-s-a-g-r]<p>[anyone lived in a pretty how town]<p>[pity this busy monster,manunkind]<p>[when serpents bargain for the right to squirm]<p>[1(a]<p>HART CRANE (1899-1932)<p>Chaplinesque<p>At Melville&rsquo;s Tomb<p>Voyages<p>FROM The Bridge<p>To Brooklyn Bridge<p>Powhatan&rsquo;s Daughter<p>The Harbor Dawn<p>Van Winkle<p>The River<p>The Tunnel<p>Atlantis<p>[NEW] EDGAR LEE MASTERS (1868-1950)<p>FROM Spoon River Anthology<p>Knowlt Hoheimer<p>Nellie Clark<p>Petit, the Poet<p>Anne Rutledge<p>Lucinda Matlock<p>[NEW] ANZIA YEZIERSKA (1880-1970)<p>The Fat of the Land<p>[NEW] EDNA ST. VINCENT MILLAY (1892-1950)<p>Spring<p>First Fig<p>[I shall forget you presently, my dear]<p>[Euclid alone has looked on Beauty bare]<p>WALLACE STEVENS (1879-1955)<p>Peter Quince at the Clavier<p>Disillusionment of Ten O&rsquo;Clock<p>Sunday Morning<p>Domination of Black<p>The Death of a Soldier<p>Anecdote of the Jar<p>A High-Toned Old Christian Woman<p>The Emperor of Ice-Cream<p>The Idea of Order at Key West<p>Of Modern Poetry<p>Final Soliloquy of the Interior Paramour<p>The Plain Sense of Things<p>Of Mere Being<p>WILLIAM CARLOS WILLIAMS (1883-1963)<p>Con Brio<p>The Young Housewife<p>Pastoral<p>Tract<p>Danse Russe<p>Queen-Anne&rsquo;s-Lace<p>Spring and All<p>To Elsie<p>The Red Wheelbarrow<p>At the Ball Game<p>Between Walls<p>This Is Just to Say<p>The Yachts<p>These<p>Seafarer<p>Landscape with the Fall of Icarus<p>ROBINSON JEFFERS (1887-1962)<p>Boats in a Fog<p>Hurt Hawks<p>Shine, Perishing Republic<p>MARIANNE MOORE (1887-1972)<p>To a Steam Roller<p>The Fish<p>Poetry<p>No Swan So Fine<p>The Mind Is an Enchanting Thing<p>In Distrust of Merits<p>[NEW] <i>THE NEW NEGRO</i> (1925)<p>Foreword, by Alain Locke<p>Vestiges, by Rudolph Fisher<p>Fog, by John Matheus<p>Fern, by Jean Toomer<p>Spunk, by Zora Neale Hurston<p>Harlem Wine, by Countee Cullen<p>White Houses, by Claude McKay<p>I Too, by Langston Hughes<p>The Black Finger, by Angelina Grimke<p>The Road, by Helene Johnson<p>COUNTE CULLEN (1903-1946)<p>Yet Do I Marvel<p>For a Lady I Know<p>Incident<p>From the Dark Tower<p>A Brown Girl Dead<p>Heritage<p>Scottsboro, Too, Is Worth Its Song<p>JEAN TOOMER (1894-1967)<p>FROM Cane<p>Blood-Burning Moon<p>Cotton Song<p>Carma<p>Song of the Son<p>ZORA NEALE HURSTON (1891-1960) <p>[NEW] How It Feels to be Colored Me<p>The Gilded Six-Bits<p>THOMAS WOLFE (1900-1938)<p>Only the Dead Know Brooklyn<p>The Far and the Near<p>F. SCOTT FITZGERALD (1896-1940)<p>[NEW] Bernice Bobs Her Hair<p>Winter Dreams<p>ERNEST HEMINGWAY (1899-1961)<p>Big Two-Hearted River<p>WILLIAM FAULKNER (1897-1962)<p>That Evening Sun<p>[NEW] Intruder in the Dust<p>LANGSTON HUGHES (1902-1967)<p>The Negro Speaks of Rivers<p>The Weary Blues<p>Young Gal&rsquo;s Blues<p>Note on Commercial Theatre<p>Dream Boogie<p>Harlem<p>Theme for English B<p>On the Road<p>JOHN STEINBECK (1902-1968)<p>[NEW] FROM The Long Valley<p>The Snake<p>The Vigilante<p>KATHERINE ANNE PORTER (1890-1980)<p>Flowering Judas<p>The Literature of the Twentieth Century (1945 to Present)<p>[NEW] <i>Reading the Historical Context</i><p>[NEW] MARTIN LUTHER KING (1929-1968)<p>I Have a Dream<p>[NEW] TIM O&rsquo;BRIEN (1946&mdash;)<p>FROM The Things They Carried<p>On the Rainy River<p>[NEW] DIN&Eacute; BAHANE&rsquo;&#58; THE NAVAJO CREATION STORY<p>[The Quarrel Between First Man and First Woman]<p><i>Reading the Critical Context</i><p><p><p><i>The Literature of the Twentieth Century (1945 to Present)</i><p>EUDORA WELTY (1909-2001)<p>[NEW] Powerhouse<p>RICHARD WRIGHT (1908-1960)<p>[NEW] FROM <i>Native Son</i><p><br>RALPH ELLISON (1914-1994) <p>FROM Invisible Man<p>TENNESSEE WILLIAMS (1911-1983) <p>The Glass Menagerie<p>THEODORE ROETHKE (1908-1963)<p>Dolor<p>Open House<p>Cuttings<p>Cuttings (Later)<p>Root Cellar<p>My Papas Waltz<p>In a Dark Time<p><p>RANDALL JARRELL (1914-1965)<p>Losses<p>The Death of the Ball Turret Gunner<p>A Girl in the Library<p>In Montecito<p>ELIZABETH BISHOP (1911-1979)<p>A Miracle for Breakfast<p>The Fish<p>Over 2,000 Illustrations and a Complete Concordance<p>Visits to St. Elizabeths<p>Sestina<p>The Armadillo<p>Brazil, January 1, 1502<p>In the Waiting Room<p>One Art<p>ROBERT LOWELL (1917-1977)<p>The Quaker Graveyard in Nantucket<p>Mr. Edwards and the Spider<p>Memories of West Street and Lepke<p>Skunk Hour<p>For the Union Dead<p>Waking Early Sunday Morning<p>Will Not Come Back<p>[NEW] ANN PETRY (1908-1997)<p>Solo on the Drums<p>RICHARD WILBUR (1921&mdash;)<p>Marginalia<p>Lamarck Elaborated<p>A Hole in the Floor<p>Trolling for Blues<p>[NEW] SHIRLEY JACKSON (1916-1965)<p>The Lottery<p>[NEW] JOSEPH HELLER (1923-1999)<p>FROM Catch-22<p>Major Major Major Major<p>NORMAN MAILER (1923&mdash;)<p>FROM <i>The</i> <i>Armies of the Night</i><p>ALLEN GINSBERG (1926-1997)<p>Howl<p>[NEW]Footnote to Howl<p>A Supermarket in California<p>America<p>To Aunt Rose<p>GARY SNYDER (1930&mdash;)<p>Riprap<p>[Translation of a Poem by Han-Shan]<p>Poem Left in Sourdough Mountain Lookout<p>I Went into the Maverick Bar<p>Soy Sauce<p>ADRIENNE RICH (1929&mdash;)<p>At a Bach Concert<p>Living in Sin<p>Breakfast in a Bowling Alley in Utica, New York<p>Divisions of Labor<p>For This<p>1999<p>DENISE LEVERTOV (1923-1997)<p>Beyond the End<p>Pure Products<p>Come into Animal Presence<p>The Ache of Marriage<p>O Taste and See<p>Abel&rsquo;s Bride<p>Mad Song<p>A Hunger<p>Zeroing in<p>ANNE SEXTON (1928-1974)<p>The Farmer&rsquo;s Wife<p>Ringing the Bells<p>And One for My Dame<p>The Addict<p>Us<p>Rowing<p>SYLVIA PLATH (1932-1963)<p>The Bee Meeting<p>Lady Lazarus<p>Ariel<p>Daddy<p>Fever 103&Uacute;<p>JAMES DICKEY (1923-1997)<p>The Lifeguard<p>Reincarnation (I)<p>In the Mountain Tent<p>The Shark&rsquo;s Parlor<p>W. S. MERWIN (1927&mdash;)<p>Grandfather in the Old Men&rsquo;s Home<p>The Drunk in the Furnace<p>Noah&rsquo;s Raven<p>The Dry Stone Mason<p>Fly<p>Strawberries<p>Direction<p>A. R. AMMONS (1926-2001)<p>Sight Seed<p>Motion Which Disestablishes Organizes Everything<p>The Damned<p>JAMES BALDWIN (1924-1987)<p>Sonny&rsquo;s Blues<p>FLANNERY OCONNOR (1925-1964)<p>A Good Man Is Hard to Find<p>JOHN UPDIKE (1932&mdash;)<p>[NEW] A & P<p>PHILIP ROTH (1933&mdash;)<p>The Conversion of the Jews<p>BERNARD MALAMUD (1914-1986)<p>The Magic Barrel<p>TILLIE OLSEN (1913&mdash;)<p>I Stand Here Ironing<p>TOM&Aacute;S RIVERA (1935-1984)<p>. . . And the Earth Did Not Part<p>AMIRI BARAKA (LEROI JONES) (1934-)<p>In Memory of Radio<p>The Bridge<p>Notes for a Speech<p>An Agony, As Now<p>A Poem for Democrats<p>A Poem for Speculative Hipsters<p>A Poem Some People Will Have to Understand<p>A Poem for Half-White College Students<p>Biography<p>SONIA SANCHEZ (1934&mdash;)<p>the final solution/<p>to blk/record/buyers<p>Womanhood<p>Masks<p>Just Don&rsquo;t Never Give Up on Love<p>[NEW] BLACK FIRE (1968)<p>Poem, by James T. Stewart<p>Neon Diaspora, by David Henderson<p>when my uncle willie saw, by Carol Freeman<p>For the Truth, Because It&#39;s Necessary, by Edward Spriggs<p>&ldquo;Oh shit a riot!&rdquo; by Jacques Wakefield<p>RITA DOVE (1952-)<p>Kentucky, 1833<p>Adolescence &mdash; I<p>Adolescence &mdash; II<p>Adolescence &mdash; III<p>Banneker<p>Jiving<p>The Zeppelin Factory<p>Under the Viaduct, 1932<p>Roast Possum<p>Weathering Out<p>Daystar<p>MAXINE HONG KINGSTON (1940&mdash;)<p>No Name Woman<p>EDWARD ALBEE (1928&mdash;)<p>The Zoo Story<p>SAUL BELLOW (1915&mdash;)<p>A Silver Dish<p>KURT VONNEGUT (1922&mdash;)<p>Welcome to the Monkey House<p>WILLIAM STYRON (1925&mdash;)<p>FROM The Confessions of Nat Turner<p>N. SCOTT MOMADAY (1934&mdash;)<p>FROM The Way to Rainy Mountain<p>The Arrowmaker<p>THOMAS PYNCHON (1937&mdash;) <p>Entropy<p>JAMES WELCH (1940-2003)<p>FROM The Death of Jim Loney<p>JOYCE CAROL OATES (1938&mdash;)<p>How I Contemplated the World from the Detroit House of<p>Correction and Began My Life over Again<p>JAMES ALAN MCPHERSON (1943&#151;-)<p>The Faithful<p>ALICE WALKER (1944&mdash;)<p>Everyday Use<p>[NEW]Burial<p>AMY TAN (1952&mdash;)<p>FROM The Joy Luck Club<p>Half and Half<p>BOBBIE ANN MASON (1940&mdash;)<p>Shiloh<p>[NEW] DAVID BRADLEY (1950&mdash;)<p>FROM The Chaneysville Incident<p>197903042100 (Sunday)<p>GLORIA NAYLOR (1950&mdash;)<p>FROM The Women of Brewster Place<p>Lucielia Louise Turner<p>LESLIE MARMON SILKO (1948&mdash;)<p>The Man to Send Rain Clouds<p>Coyote Holds a Full House in His Hand<p>RAYMOND CARVER (1938-1988) <p>Cathedral<p>DON DELILLO (1936&mdash;)<p>FROM White Noise<p>[NEW] GLORIA ANZALD&Uacute;A (1942-2004)<p>FROM Borderlands/La Frontera&#58; The New Mestiza<p>The Homeland, Aztl&aacute;n / El otro M&eacute;xico<p>JAMAICA KINCAID (1949&mdash;)<p>Girl<p>Wingless<p>LOUISE ERDRICH (1954&mdash;)<p>FROM Love Medicine<p>The Red Convertible<p>TINA HOWE (1937&#151;-)<p>Painting Churches<p>FREDERICK BUSCH (1941-2006)<p>Bring Your Friends to the Zoo<p>BILLY COLLINS (1941&mdash;)<p>Winter Syntax<p>Books<p>Introduction to Poetry<p>SIMON ORTIZ (1941&mdash;)<p>A Designated National Park<p>Canyon de Chelly<p>Final Solution&#58; Jobs, Leaving<p>SHERMAN ALEXIE (1966&mdash;)<p>What you Pawn I Will Redeem<p>Defending Walt Whitman<p>Reference Works, Bibliographies<p>Criticism, Literary and Cultural History<p>Acknowledgements<p>Index to Authors, Titles, and First Lines
93Best Remembered PoemsMartin Gardner0Martin Gardner (Editor), Martin Gardnerbest-remembered-poemsmartin-gardner9780486271651048627165X$5.94PaperbackDover PublicationsDecember 1992Poetry Anthologies, American Poetry, English Poetry, English & Irish Literature Anthologies, American Literature Anthologies2245.40 (w) x 8.45 (h) x 0.45 (d)The 126 poems in this superb collection of 19th- and 20th-century British and American verse range from the impassioned "Renascence" of Edna St. Vincent Millay to Edward Lear's whimsical "The Owl and the Pussycat."&nbsp; Famous poets such as Wordsworth, Tennyson, Whitman, and Frost are well-represented, as are less well-known poets. Includes 10 selections from the Common Core State Standards Initiative.<p><p>The 126 poems in this superb collection of 19th- and 20th-century British and American verse range from famous poets such as Wordsworth, Tennyson, Whitman, and Frost to less well-known poets.<p></p>
94Nine Plays of the Modern Theater: Waiting for Godot; The Visit; Tango; The Caucasian Chalk Circle; The Balcony; Rhinoceros; American Buffalo; The Birthday Party; Rosencrantz and Guildenstern are DeadHarold Clurman0Harold Clurmannine-plays-of-the-modern-theaterharold-clurman97808021503250802150322$15.00PaperbackGrove/Atlantic, Inc.January 1994English, Scottish, & Welsh Drama, Drama Anthologies, American Drama, English & Irish Literature Anthologies, American Literature Anthologies9126.10 (w) x 9.20 (h) x 1.70 (d)<p>This comprehensive volume contains nine of the most important, most indispensable plays of the modern theater. What Harold Clurman has done in this seminal collection is to create for us a portrait of the progress and turmoil of the twentieth century.</p><p><p>This comprehensive volume contains nine of the most important, most indispensable plays of the modern theater. What Harold Clurman has done in this seminal collection is to create for us a portrait of the progress and turmoil of the twentieth century. <p></p>
95The Norton Anthology of Literature by Women: The Traditions in English, Vol. 2Sandra M. Gilbert0<p><b>Sandra M. Gilbert</b> is the author of numerous volumes of criticism and poetry, as well as a memoir. She is coeditor (with Susan Gubar) of <i>The Norton Anthology of Literature by Women</i>. A Distinguished Professor of English emerita at the University of California, Davis, she lives in Berkeley, California.<P><b>Susan Gubar</b> (Ph.D. University of Iowa) is a Distinguished Professor at Indiana University, where she has won numerous teaching awards, most recently the Faculty Mentor Award from the Indiana University Graduate and Professional Student Organization. In addition to her critical collaboration with Sandra Gilbert, she is the author of <b>Racechanges&#58; White Skin, Black Face in American Culture</b> (1997), <b>Critical Condition&#58; Feminism at the Turn of the Century</b> (2000), <b>Poetry After Auschwitz&#58; Remembering What One Never Knew</b> (2003), and <b>Rooms of Our Own</b> (2006), and editor of the first annotated edition of Woolf's <b>A Room of One's Own</b> (2005).</p>Sandra M. Gilbert (Editor), Susan Gubarthe-norton-anthology-of-literature-by-womensandra-m-gilbert97803939301460393930149$59.65HardcoverNorton, W. W. & Company, Inc.February 20073rd EditionLiterary Criticism, Women Authors<p>Long the standard teaching anthology, the landmark <b>Norton Anthology of Literature by Women</b> has introduced generations of readers to the rich variety of women&rsquo;s writing in English.</p>
96Writing New York: A Literary AnthologyPhillip Lopate9<p>Philip Lopate is the author of <i>Against Joie de Vivre</i>, <i>Bachelorhood</i>, <i>The Rug Merchant</i>, <i>Being with Children</i>, and <i>Confessions of Summer</i>. A recipient of Guggenheim and National Endowment for the Arts fellowships, his works have appeared in <i>Best American Essays</i>, <i>The Paris Review</i>, Pushcart Prize annuals, and many other publications. He lives in Brooklyn, New York, and is Adams Professor of English at Hofstra University.</p>Phillip Lopatewriting-new-yorkphillip-lopate97815985302161598530216$24.02PaperbackLibrary of AmericaJanuary 2008ExpandedAmerican Literature Anthologies, General & Miscellaneous Literature Anthologies10506.06 (w) x 9.26 (h) x 1.57 (d)<p>'Few cities,' writes Phillip Lopate in his introduction to this historic anthology, 'have inspired as much great writing as New York.' Here Lopate and The Library of America present a sweeping literary portrait of the city as seen through the eyes of over a hundred writers. Residents and tourists, novelists and poets, architects, politicians, social reformers, naturalists, humorists-in unexpected and dazzling ways the writers in this volume take on the challenge of capturing New York's enduring spirit, its constantly changing public spectacle, its gossip, amusements, hard-luck stories, and tragedies. This paperback edition includes an expanded introduction and additional selections be Don DeLillo, Colson Whitehead, and Vijay Seshadri, bringing the story up to the present.</p><b>Chapter One: Washington Irving</b> <p><i>Washington Irving (1783-1859), America's first successful man of letters, now known primarily for his Hudson Valley tales "Rip Van Winkle" and "The Legend of Sleepy Hollow," made his initial splash at age twenty-six with a comic, mock-learned, rambling volume, whose full title</i>, A History of New York From the Beginnings of the World to the End of the Dutch Dynasty, <i>indicates the tongue-in-cheek, mythological manner in which Irving clothed his account of his native city's roots. The book pretended to have been written by an aged, bitter codger of Dutch extraction, Diedrich Knickerbocker -- in short, one of history's "losers." Thus began the whole "Knickerbocker" tradition, connecting that pseudonym with the city's local legends. Though A History of New York certainly has passages of farce and satire, Irving (who did considerable research) often followed historical events fairly closely. In any case, this first published history of the city attempted to provide the amnesiac, hustling, nineteenth-century port with a founding myth and a past. Its ironic, disenchanted voice set the tone for much New York literature to come.</i></p> <p>From <i>A History of New York</i></p> <p>The island of Manna-hata, Manhattoes, or as it is vulgarly called Manhattan, having been discovered, as was related in the last chapter; and being unanimously pronounced by the discoverers, the fairest spot in the known world, whereon to build a city, that should surpass all the emporiums of Europe, they immediately returned to Communipaw with the pleasing intelligence. Upon this a considerable colony was forthwith fitted out, who after a prosperous voyage of half an hour,arrived at Manna hata, and having previously purchased the land of the Indians, (a measure almost unparalleled in the annals of discovery and colonization) they settled upon the south-west point of the island, and fortified themselves strongly, by throwing up a mud battery, which they named FORT AMSTERDAM. A number of huts soon sprung up in the neighbourhood, to protect which, they made an enclosure of strong pallisadoes. A creek running from the East river, through what at present is called Whitehall street, and a little inlet from Hudson river to the bowling green formed the original boundaries; as though nature had kindly designated the cradle, in which the embryo of this renowned city was to be nestled. The woods on both sides of the creek were carefully cleared away, as well as from the space of ground now occupied by the bowling green. -- These precautions were taken to protect the fort from either the open attacks or insidious advances of its savage neighbours, who wandered in hordes about the forests and swamps that extended over those tracts of country, at present called broad way, Wall street, William street and Pearl street.</p> <p>No sooner was the colony once planted, than like a luxuriant vine, it took root and throve amazingly; for it would seem, that this thrice favoured island is like a munificent dung hill, where every thing finds kindly nourishment, and soon shoots up and expands to greatness. The thriving state of the settlement, and the astonishing encrease of houses, gradually awakened the leaders from a profound lethargy, into which they had fallen, after having built their mud fort. They began to think it was high time some plan should be devised, on which the encreasing town should be built; so taking pipe in mouth, and meeting in close divan, they forthwith fell into a profound deliberation on the subject.</p> <p>At the very outset of the business, an unexpected difference of opinion arose, and I mention it with regret, as being the first internal altercation on record among the new settlers. An ingenious plan was proposed by Mynheer Ten Broek to cut up and intersect the ground by means of canals; after the manner of the most admired cities in Holland; but to this Mynheer Hardenbroek was diametrically opposed; suggesting in place thereof, that they should run out docks and wharves, by means of piles driven into the bottom of the river, on which the town should be built -- By this means said he triumphantly, shall we rescue a considerable space of territory from these immense rivers, and build a city that shall rival Amsterdam, Venice, or any amphibious city in Europe. To this proposition, Ten Broek (or Ten breeches) replied, with a look of as much scorn as he could possibly assume. He cast the utmost censure upon the plan of his antagonist, as being preposterous, and against the very order of things, as he would leave to every true hollander. "For what," said he, "is a town without canals? -- it is like a body without veins and arteries, and must perish for want of a free circulation of the vital fluid" -- Tough breeches, on the contrary, retorted with a sarcasm upon his antagonist, who was somewhat of an arid, dry boned habit of body; he remarked that as to the circulation of the blood being necessary to existence, Mynheer Ten breeches was a living contradiction to his own assertion; for every body knew there had not a drop of blood circulated through his wind dried carcass for good ten years, and yet there was not a greater busy body in the whole colony. Personalities have seldom much effect in making converts in argument -- nor have I ever seen a man convinced of error, by being convicted of deformity. At least such was not the case at present. Ten Breeches was very acrimonious in reply, and Tough Breeches, who was a sturdy little man, and never gave up the last word, rejoined with encreasing spirit -- Ten Breeches had the advantage of the greatest volubility, but Tough Breeches had that invaluable coat of mail in argument called obstinacy -- Ten Breeches had, therefore, the most mettle, but Tough Breeches the best bottom -- so that though Ten Breeches made a dreadful clattering about his ears, and battered and belaboured him with hard words and sound arguments, yet Tough Breeches hung on most resolutely to the last. They parted therefore, as is usual in all arguments where both parties are in the right, without coming to any conclusion -- but they hated each other most heartily forever after, and a similar breach with that between the houses of Capulet and Montague, had well nigh ensued between the families of Ten Breeches and Tough Breeches.</p> <p>I would not fatigue my reader with these dull matters of fact, but that my duty as a faithful historian, requires that I should be particular -- and in truth, as I am now treating of the critical period, when our city, like a young twig, first received the twists and turns, that have since contributed to give it the present picturesque irregularity for which it is celebrated, I cannot be too minute in detailing their first causes.</p> <p>After the unhappy altercation I have just mentioned, I do not find that any thing further was said on the subject, worthy of being recorded. The council, consisting of the largest and oldest heads in the community, met regularly once a week, to ponder on this momentous subject. -- But either they were deterred by the war of words they had witnessed, or they were naturally averse to the exercise of the tongue, and the consequent exercise of the brains -- certain it is, the most profound silence was maintained -- the question as usual lay on the table -- the members quietly smoked their pipes, making but few laws, without ever enforcing any, and in the mean time the affairs of the settlement went on -- as it pleased God.</p> <p>As most of the council were but little skilled in the mystery of combining pot hooks and hangers, they determined most judiciously not to puzzle either themselves or posterity, with voluminous records. The secretary however, kept the minutes of each meeting with tolerable precision, in a large vellum folio, fastened with massy brass clasps, with a sight of which I have been politely favoured by my highly respected friends, the Goelets, who have this invaluable relique, at present in their possession. On perusal, however, I do not find much information -- The journal of each meeting consists but of two lines, stating in dutch, that, "the council sat this day, and smoked twelve pipes, on the affairs of the colony." -- By which it appears that the first settlers did not regulate their time by hours, but pipes, in the same manner as they measure distances in Holland at this very time; an admirably exact measurement, as a pipe in the mouth of a genuine dutchman is never liable to those accidents and irregularities, that are continually putting our clocks out of order.</p> <p>In this manner did the profound council of NEW AMSTERDAM smoke, and doze, and ponder, from week to week, month to month, and year to year, in what manner they should construct their infant settlement -- mean while, the town took care of itself, and like a sturdy brat which is suffered to run about wild, unshackled by clouts and bandages, and other abominations by which your notable nurses and sage old women cripple and disfigure the children of men, encreased so rapidly in strength and magnitude, that before the honest burgomasters had determined upon a plan, it was too late to put it in execution -- whereupon they wisely abandoned the subject altogether.</p> <p>Grievous, and very much to be commiserated, is the task of the feeling historian, who writes the history of his native land. If it falls to his lot to be the sad recorder of calamity or crime, the mournful page is watered with his tears -- nor can he recal the most prosperous and blissful eras, without a melancholy sigh at the reflection, that they have passed away forever! I know not whether it be owing to an immoderate love for the simplicity of former times, or to a certain tenderness of heart, natural to a sentimental historian; but I candidly confess, I cannot look back on the halcyon days of the city, which I now describe, without a deep dejection of the spirits. With faultering hand I withdraw the curtain of oblivion, which veils the modest merits of our venerable dutch ancestors, and as their revered figures rise to my mental vision, humble myself before the mighty shades.</p> <p>Such too are my feelings when I revisit the family mansion of the Knickerbockers and spend a lonely hour in the attic chamber, where hang the portraits of my forefathers, shrowded in dust like the forms they represent. With pious reverence do I gaze on the countenances of those renowned burghers, who have preceded me in the steady march of existence -- whose sober and temperate blood now meanders through my veins, flowing slower and slower in its feeble conduits, until its lingering current shall soon be stopped forever!</p> <p>These, say I to myself, are but frail memorials of the mighty men, who flourished in the days of the patriarchs; but who, alas, have long since mouldered in that tomb, towards which my steps are insensibly and irresistibly hastening! As I pace the darkened chamber and lose myself in melancholy musings, the shadowy images around me, almost seem to steal once more into existence -- their countenances appear for an instant to assume the animation of life -- their eyes to pursue me in every movement! carried away by the delusion of fancy, I almost imagine myself surrounded by the shades of the departed, and holding sweet converse with the worthies of antiquity!</p> <p>-- Luckless Diedrich! born in a degenerate age -- abandoned to the buffettings of fortune -- a stranger and a weary pilgrim in thy native land; blest with no weeping wife, nor family of helpless children -- but doomed to wander neglected through those crowded streets, and elbowed by foreign upstarts from those fair abodes, where once thine ancestors held sovereign empire. Alas! alas! is then the dutch spirit forever extinct? The days of the patriarchs, have they fled forever? Return -- return sweet days of simplicity and ease -- dawn once more on the lovely island of Manna hata! -- Bear with me my worthy readers, bear with the weakness of my nature -- or rather let us sit down together, indulge the full flow of filial piety, and weep over the memories of our great great grand-fathers.</p> <p>Having thus gratified those feelings irresistibly awakened by the happy scenes I am describing, I return with more composure to my history.</p> <p>The town of New Amsterdam, being, as I before mentioned, left to its own course and the fostering care of providence, increased as rapidly in importance, as though it had been burthened with a dozen panniers full of those sage laws, which are usually heaped upon the backs of young cities -- in order to make them grow. The only measure that remains on record of the worthy council, was to build a chapel within the fort, which they dedicated to the great and good St. Nicholas, who immediately took the infant town of New Amsterdam under his peculiar patronage, and has ever since been, and I devoutly hope will ever be, the tutelar saint of this excellent city. I am moreover told, that there is a little legendary book somewhere extant, written in low dutch, which says that the image of this renowned saint, which whilome graced the bowsprit of the Goede Vrouw, was placed in front of this chapel; and the legend further treats of divers miracles wrought by the mighty pipe which the saint held in his mouth; a whiff of which was a sovereign cure for an indigestion, and consequently of great importance in this colony of huge feeders. But as, notwithstanding the most diligent search, I cannot lay my hands upon this little book, I entertain considerable doubt on the subject.</p> <p>This much is certain, that from the time of the building of this chapel, the town throve with tenfold prosperity, and soon became the metropolis of numerous settlements, and an extensive territory. The province extended on the north, to Fort Aurania or Orange, now known by the name of Albany, situated about 160 miles up the Mohegan or Hudson River. Indeed the province claimed quite to the river St. Lawrence; but this claim was not much insisted on at the time, as the country beyond Fort Aurania was a perfect wilderness, reported to be inhabited by cannibals, and termed Terra Incognita. Various accounts were given of the people of these unknown parts; by some they are described as being of the race of the <i>Acephali,</i> such as Herodotus describes, who have no heads, and carry their eyes in their bellies. Others affirm they were of that race whom father Charlevoix mentions, as having but one leg; adding gravely, that they were exceedingly alert in running. But the most satisfactory account is that given by the reverend Hans Megapolensis, a missionary in these parts, who, in a letter still extant, declares them to be the Mohagues or Mohawks; a nation, according to his description, very loose in their morals, but withal most rare wags. "For," says he, "if theye can get to bedd with another mans wife, theye thinke it a piece of wit." This excellent old gentleman gives moreover very important additional information, about this country of monsters; for he observes, "theye have plenty of tortoises here, and within land, from two and three to four feet long; some with two heads, very mischievous and addicted to biting."</p> <p>Copyright © 1998 by Literary Classics of the United States, Inc.<br> <br> </p><p><P>&ldquo;Few cities,&rdquo; writes Phillip Lopate in his introduction to this historic anthology, &ldquo;have inspired as much great writing as New York.&rdquo; Here Lopate and The Library of America present a sweeping literary portrait of the city as seen through the eyes of over a hundred writers. Residents and tourists, novelists and poets, architects, politicians, social reformers, naturalists, humorists&#151;in unexpected and dazzling ways the writers in this volume take on the challenge of capturing New York's enduring spirit, its constantly changing public spectacle, its gossip, amusements, hard-luck stories, and tragedies. This paperback edition includes an expanded introduction and additional selections be Don DeLillo, Colson Whitehead, and Vijay Seshadri, bringing the story up to the present.</p><h3>Ariel Levy</h3><p>[A] collection of writings by some of the great chroniclers. . .from Edgar Allan Poe to Frank O'Hara. -- <I>New York Magazine</i></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A History of New York</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stranger at Home; or, a Tour in Broadway</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Domestic Manners of the Americans</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Journal</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Dairy</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from American Notes for General Circulation</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters from Staten Island</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Open-Air Musings in the City</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Doings of Gotham</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Satanstoe</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Our City Charities</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Eating-Houses</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Life and Writings of Grant Thorburn</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crossing Brooklyn Ferry</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Old Bowery</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bartleby, the Scrivener</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Diaries</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Passage in the Life of an Unpractical Man</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Eight Months in America</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tyrants of the Shop</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Personals</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Impostors</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Experience of a Chinese Journalist</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New York Under the Snow</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Hazard of New Fortunes</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Down Town Back-Alleys</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Opium's Varied Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adventures of a Novelist</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drowned Their Sins</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer Complaint: The Annual Strike</TD><TD WIDTH="10%" ALIGN="RIGHT">324</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Whence the Song</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Vanished Seaside Resort</TD><TD WIDTH="10%" ALIGN="RIGHT">340</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Honest Graft and Dishonest Graft</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Curse of Civil Service Reform</TD><TD WIDTH="10%" ALIGN="RIGHT">350</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boredom</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The American Scene</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Duel</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Autobiography of an Ex-Colored Man</TD><TD WIDTH="10%" ALIGN="RIGHT">387</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lungs</TD><TD WIDTH="10%" ALIGN="RIGHT">396</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gramercy Park</TD><TD WIDTH="10%" ALIGN="RIGHT">407</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Metropolitan Museum</TD><TD WIDTH="10%" ALIGN="RIGHT">407</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coney Island</TD><TD WIDTH="10%" ALIGN="RIGHT">408</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Union Square</TD><TD WIDTH="10%" ALIGN="RIGHT">408</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Broadway</TD><TD WIDTH="10%" ALIGN="RIGHT">409</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Come Into the Roof Garden, Maud"</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If I should learn</TD><TD WIDTH="10%" ALIGN="RIGHT">417</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Recuerdo</TD><TD WIDTH="10%" ALIGN="RIGHT">418</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coming, Aphrodite!</TD><TD WIDTH="10%" ALIGN="RIGHT">419</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tropics in New York</TD><TD WIDTH="10%" ALIGN="RIGHT">459</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Harlem Dancer</TD><TD WIDTH="10%" ALIGN="RIGHT">460</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New York</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Port of New York</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Finale at the Follies</TD><TD WIDTH="10%" ALIGN="RIGHT">473</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thoughts on Leaving New York for New Orleans</TD><TD WIDTH="10%" ALIGN="RIGHT">476</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brooklyn Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">479</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Brooklyn Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">485</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Exterior Street</TD><TD WIDTH="10%" ALIGN="RIGHT">487</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Up to Now</TD><TD WIDTH="10%" ALIGN="RIGHT">497</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Go Adventuring</TD><TD WIDTH="10%" ALIGN="RIGHT">505</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from New York</TD><TD WIDTH="10%" ALIGN="RIGHT">509</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Police</TD><TD WIDTH="10%" ALIGN="RIGHT">518</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roosevelt and Reform</TD><TD WIDTH="10%" ALIGN="RIGHT">528</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Diaries</TD><TD WIDTH="10%" ALIGN="RIGHT">538</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Journey to the End of the Night</TD><TD WIDTH="10%" ALIGN="RIGHT">554</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">West End Avenue</TD><TD WIDTH="10%" ALIGN="RIGHT">564</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Lost City</TD><TD WIDTH="10%" ALIGN="RIGHT">569</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Background</TD><TD WIDTH="10%" ALIGN="RIGHT">580</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Only the Dead Know Brooklyn</TD><TD WIDTH="10%" ALIGN="RIGHT">598</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sense of Humor</TD><TD WIDTH="10%" ALIGN="RIGHT">604</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Black Spring</TD><TD WIDTH="10%" ALIGN="RIGHT">614</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Millinery District</TD><TD WIDTH="10%" ALIGN="RIGHT">620</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Autobiography: New York</TD><TD WIDTH="10%" ALIGN="RIGHT">621</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from By the Well of Living and Seeing</TD><TD WIDTH="10%" ALIGN="RIGHT">621</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Apology for Breathing</TD><TD WIDTH="10%" ALIGN="RIGHT">626</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When the Negro Was In Vogue</TD><TD WIDTH="10%" ALIGN="RIGHT">632</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to N.Y.</TD><TD WIDTH="10%" ALIGN="RIGHT">640</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Atheist Hit By Truck</TD><TD WIDTH="10%" ALIGN="RIGHT">642</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Television Helps, But Not Very Much</TD><TD WIDTH="10%" ALIGN="RIGHT">644</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Welcome to the City</TD><TD WIDTH="10%" ALIGN="RIGHT">648</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Genial Host</TD><TD WIDTH="10%" ALIGN="RIGHT">661</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Story in Harlem Slang</TD><TD WIDTH="10%" ALIGN="RIGHT">680</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">As He Seemed to a Hick</TD><TD WIDTH="10%" ALIGN="RIGHT">687</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It is Sticky in the Subway</TD><TD WIDTH="10%" ALIGN="RIGHT">690</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aspects of Robinson</TD><TD WIDTH="10%" ALIGN="RIGHT">691</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Here Is New York</TD><TD WIDTH="10%" ALIGN="RIGHT">693</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cost of Living</TD><TD WIDTH="10%" ALIGN="RIGHT">712</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Red Ribbon on a White Horse</TD><TD WIDTH="10%" ALIGN="RIGHT">721</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hell's Kitchen</TD><TD WIDTH="10%" ALIGN="RIGHT">731</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Long Furlough</TD><TD WIDTH="10%" ALIGN="RIGHT">744</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Walker in the City</TD><TD WIDTH="10%" ALIGN="RIGHT">749</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Up in the Old Hotel</TD><TD WIDTH="10%" ALIGN="RIGHT">756</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Junky</TD><TD WIDTH="10%" ALIGN="RIGHT">781</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Memoirs of Bernardo Vega</TD><TD WIDTH="10%" ALIGN="RIGHT">785</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Step Away From Them</TD><TD WIDTH="10%" ALIGN="RIGHT">803</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Day Lady Died</TD><TD WIDTH="10%" ALIGN="RIGHT">805</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Steps</TD><TD WIDTH="10%" ALIGN="RIGHT">806</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Immense Journey</TD><TD WIDTH="10%" ALIGN="RIGHT">808</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fiorello H. LaGuardia</TD><TD WIDTH="10%" ALIGN="RIGHT">810</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moving Out</TD><TD WIDTH="10%" ALIGN="RIGHT">820</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The New York Diary</TD><TD WIDTH="10%" ALIGN="RIGHT">826</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Death and Life of Great American Cities</TD><TD WIDTH="10%" ALIGN="RIGHT">829</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Urban Convalescence</TD><TD WIDTH="10%" ALIGN="RIGHT">834</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Thirties</TD><TD WIDTH="10%" ALIGN="RIGHT">837</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Climate</TD><TD WIDTH="10%" ALIGN="RIGHT">842</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Minton's</TD><TD WIDTH="10%" ALIGN="RIGHT">843</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tourist Eye</TD><TD WIDTH="10%" ALIGN="RIGHT">846</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Fire Next Time</TD><TD WIDTH="10%" ALIGN="RIGHT">849</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">National Cold Storage Company</TD><TD WIDTH="10%" ALIGN="RIGHT">857</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">47th Street</TD><TD WIDTH="10%" ALIGN="RIGHT">858</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Panic in Brooklyn</TD><TD WIDTH="10%" ALIGN="RIGHT">859</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Landmarker</TD><TD WIDTH="10%" ALIGN="RIGHT">869</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Fortunate Pilgrim</TD><TD WIDTH="10%" ALIGN="RIGHT">880</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Sunday Kind of Love</TD><TD WIDTH="10%" ALIGN="RIGHT">898</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Goodbye to All That</TD><TD WIDTH="10%" ALIGN="RIGHT">904</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cafeteria</TD><TD WIDTH="10%" ALIGN="RIGHT">914</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lou Stillman</TD><TD WIDTH="10%" ALIGN="RIGHT">931</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">February</TD><TD WIDTH="10%" ALIGN="RIGHT">934</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dining Out with Doug and Frank</TD><TD WIDTH="10%" ALIGN="RIGHT">935</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mugging</TD><TD WIDTH="10%" ALIGN="RIGHT">944</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fourth Floor, Dawn, Up All Night Writing Letters</TD><TD WIDTH="10%" ALIGN="RIGHT">948</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sleepless Nights</TD><TD WIDTH="10%" ALIGN="RIGHT">949</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sketches from Life</TD><TD WIDTH="10%" ALIGN="RIGHT">960</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Movies and Other Schools</TD><TD WIDTH="10%" ALIGN="RIGHT">966</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Family Installments</TD><TD WIDTH="10%" ALIGN="RIGHT">976</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Minor Characters</TD><TD WIDTH="10%" ALIGN="RIGHT">990</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Intellectual Follies</TD><TD WIDTH="10%" ALIGN="RIGHT">995</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from World's Fair</TD><TD WIDTH="10%" ALIGN="RIGHT">1006</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New York, 1936</TD><TD WIDTH="10%" ALIGN="RIGHT">1013</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Mambo Kings Play Songs of Love</TD><TD WIDTH="10%" ALIGN="RIGHT">1022</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Approaching Eye Level</TD><TD WIDTH="10%" ALIGN="RIGHT">1032</TD></TABLE><article> <h4>Ariel Levy</h4>[A] collection of writings by some of the great chroniclers. . .from Edgar Allan Poe to Frank O'Hara. -- <i>New York Magazine</i> </article> <article> <h4>Garrison Keillor</h4>. . .[An] excellent anthology. . .[where] you get writers who love crowds and writers who hang out alone and brood, the diaries of businessmen and homages to 'the sweet slums of Bohemia and beatnikdom'. . . -- <i>The New York Times Book Review</i> </article>
97The Best American Essays 2009Mary Oliver0<p><P>Mary Oliver is one of the most celebrated and best-selling poets in America. Her books include Red Bird; Our World; Thirst; Blue Iris; New and Selected Poems, Volume One; and New and Selected Poems, Volume Two. She has also published five books of prose, including Rules for the Dance and, most recently, Long Life. She lives in Provincetown, Massachusetts.<P><P>ROBERT ATWAN has been the series editor of <i>The Best American Essays</i> since its inception in 1986. He has edited numerous literary anthologies and written essays and reviews for periodicals nationwide.</p>Mary Oliver (Editor), Robert Atwan (Editor), Mary Oliverthe-best-american-essays-2009mary-oliver97816168368631616836865PaperbackHoughton Mifflin HarcourtOctober 2009Bargain<p><P>Edited by award-winning poet and essayist Mary Oliver, the latest edition of this "rich and thoughtful collection" (<i>Publishers Weekly</i>) offers the finest essays "judiciously selected from countless publications" (<i>Chicago Tribune</i>).</p>
98The Hudson River Valley ReaderEdward C. Goodman0<p><P>Edward C Goodman is the General&nbsp; Editor of the Avery Index to Architectural Periodicals at Columbia University. He edited Carl Sanburg's <i>Abraham Lincoln&#58; The Illustrated Edition</i> and <i>Fire!&#58; The 100 Most Devastating Fires</i></p>Edward C. Goodmanthe-hudson-river-valley-readeredward-c-goodman97816168237641616823763HardcoverCider Mill PressMarch 2009Bargain<p><P>2009 marks the 400th Anniversary of the exploration of the Hudson River and it's valley, which was first discovered by Henry Hudson in 1609 while about the ship Half Moon. This literary anthology covers the history and literary heritage of the valley through its many lives.<P>&nbsp;<P>The book begins with a natural history of the valley, from it's creation, carved out my mighty glaciers between the Catskill and Berkshire mountain ranges all the way to its existing geography.<P>&nbsp;<P>The second part is a literary homage to the river and the valley including works by John Burroughs, Washington Irving, James Fennimore Cooper and many others.<br></p>
99The Best American Poetry 2009David Wagoner0<p><P><b>David Lehman</b> is the editor of <i>The Oxford Book of American Poetry</i> and the author of seven books of poetry, including <i>When a Woman Loves a Man.</i> He lives in New York City.<P></p>David Wagoner (Editor), David Lehmanthe-best-american-poetry-2009david-wagoner97807432997700743299779$16.00PaperbackSimon & Schuster Adult Publishing GroupSeptember 2009Poetry Anthologies, American Poetry, American Literature Anthologies2405.48 (w) x 8.28 (h) x 0.64 (d)<p>Award-winning poet David Wagoner and renowned editor David Lehman present the twenty-second edition of the <i>Best American Poetry</i> series—"a ‘best’ anthology that really lives up to its title" (<i>Chicago Tribune</i>).</p> <p>Eagerly anticipated by scholars, students, readers, and poets alike, Scribner’s <i>Best American Poetry</i> series has achieved brand-name status in the literary world, serving as a yearly guide to who’s who in American poetry. Known for his marvelous narrative skill and humane wit, David Wagoner is one of the few poets of his generation to win the universal admiration of his peers. Working in conjunction with series editor David Lehman, Wagoner brings his refreshing eye to this year’s anthology. With new work by established poets, such as Billy Collins, Denise Duhamel, Mark Doty, and Bob Hicok, <i>The Best American Poetry 2009</i> also features some of tomorrow’s leading luminaries. Readers of all ages and backgrounds will treasure this illuminating collection of modern American verse.</p> <p>With its high-profile editorship and its generous embrace of American poetry in all its exuberant variety, the <i>Best American Poetry</i> series continues to be, as Robert Pinsky says, "as good a comprehensive overview of contemporary poetry as there can be."</p><br> <b><big>Foreword</big></b><br> <b><i>by David Lehman</i></b><br> <p>What is a poet? In his "Defense of Poetry," Shelley writes, "A poet is a nightingale, who sits in darkness and sings to cheer its own solitude with sweet sounds; his auditors are as men entranced by the melody of an unseen musician, who feel that they are moved and softened, yet know not whence or why." The solitude and sweet darkness, the emphasis on the unseen, the nightingale as the image of the poet, the listeners entranced but bewildered: how romantic this formulation is -- and how well it fits its author. Matthew Arnold alters the metaphor but retains something of its tone when he calls Shelley "a beautiful and ineffectual angel, beating in the void his luminous wings in vain." Kierkegaard in <i>Either/Or</i> goes further than either Shelley or Arnold in accentuating the negative. In a passage I've long admired, Kierkegaard identifies the poet as one whose heart is full of anguish but whose lips transform all sighs and groans into beautiful music. Kierkegaard likens the fate of this "unhappy" individual to the cruel and unusual punishment meted out by the tyrant Phalaris, whose unfortunate victims, "slowly roasted by a gentle fire" in a huge copper bull, let out shrieks that turn into sweet melodies by the time they reach the tyrant's ears. The success of the poet, then, corresponds to the amount of agony endured. Readers clamor for more, for they are aware only of the music and not of the suffering that went into it. The critics, too, stand ready to applaud -- if, that is, the poet's work meets the requirements of the immutable "laws of aesthetics." And here Kierkegaard's parable acquires an extra layer of irony, the better to convey his contempt for critics. "Why, to be sure," he writes, "a critic resembles a poet as one pea another, the only difference being that he has no anguish in his heart and no music on his lips." And therefore, Kierkegaard concludes with a flourish, sooner would he be a swineherd understood by the swine than a poet misunderstood by men.</p> <p>Kierkegaard's argument proceeds by the logic of his similes -- the sweet music, the barbaric torture, the prosaic peas in the pod, the swineherd as an honorable profession -- and the abrupt tonal shift at the end from sarcasm to defiance. If, as Wallace Stevens asserted, "poetry is almost incredibly one of the effects of analogy," here is a gorgeous example. The passage has the virtue, moreover, of raising questions about the occupational hazards that poets face and about their relation to a world of readers and reviewers.</p> <p>In one way, at least, Kierkegaard's parable is untrue to the experience of American poets, who rarely have to fend off legions of avid admirers. But the notion that the job of the critic is to find fault with the poetry -- that the aims of criticism and of poetry are opposed -- is still with us or, rather, has returned after a hiatus. It was once erroneously thought that devastating reviews caused John Keats's untimely death in his twenty-sixth year. Lord Byron in <i>Don Juan</i> had Keats and his reviewers in mind when he wrote, "Tis strange the mind, that very fiery particle, / Should let itself be snuff'd out by an article." In reality, however, it was not criticism but consumption that cut short Keats's life.1 Many of us delight in Oscar Wilde's witty paradoxes that blur the identities of artist and critic.2 The critical essays of T. S. Eliot and W. H. Auden are continuous with their poems and teach us that criticism is a matter not of enforcing the "laws of aesthetics" or meting out sentences as a judge might pronounce them in court. Rather, the poet as critic engages with works of literature and enriches our understanding and enjoyment of them. Yet today more than a few commentators seem intent on punishing the authors they review. It has grown into a phenomenon. In the March 2009 issue of <i>Poetry</i>, the critic Jason Guriel defends "negativity" as "the poetry reviewer's natural posture, the default position she assumes before scanning a single line." The title of Guriel's piece sums it up: "Going Negative."</p> <p>The romantic image of the poet as a vulnerable personage in a hostile universe has not gone out of currency. The poet is doomed to go unrecognized and to pay dearly for his music-making powers. The gift of poetry comes not as an unalloyed blessing but as the incidental virtue of a defect or as compensation for a loss, an injury, an ailment, a deficiency. Edmund Wilson coined the phrase that readily comes to mind for this dynamic of compensatory balance: "the wound and the bow." Before it served Wilson as the title of a collection of his essays (1941), the phrase headed his study of the myth of Philoctetes, which the critic took as paradigmatic of the artist's situation. Aeschylus, Euripides, and Sophocles treated the myth in plays; the <i>Philoctetes</i> of Sophocles survives. The hero, who excels even Odysseus at archery, possesses the invincible bow that once belonged to Hercules. Philoctetes joins the Greeks in their assault on Troy but is bitten by a poisonous snake, and the suppurating wound emits so foul an odor that his comrades-in-arms abandon him on the island of Lemnos. There he is stranded for ten miserable years. But when a Trojan prophet is forced to reveal that the Greeks will fail to conquer Troy without the unerring bow of Philoctetes, a platoon is dispatched to reenlist the archer -- who is understandably reluctant to return to the fray -- and to recover his arms by any means necessary. In Sophocles, Philoctetes is cured at Troy. He goes on to kill Paris, the Trojan prince whose abduction of Helen precipitated the epic conflict, and he becomes one of the heroes of the Greek victory. One lesson, according to Wilson, is that "genius and disease, like strength and mutilation, may be inextricably bound up together." In the most speculative and provocative sentence in the essay, Wilson ventures that "somewhere even in the fortunate Sophocles there had been a sick and raving Philoctetes."</p> <blockquote><small>1. Not that the critics were blameless. The anonymous reviewer writing for <i>Blackwood's Edinburgh Magazine</i> (August 1818) called Keats's <i>Endymion</i> "imperturbable driveling idiocy." Endymion was supposed to be "a Greek shepherd loved by a Grecian goddess," but in Keats's hands, he was "merely a young Cockney rhymester."</small></blockquote> <blockquote><small>2. In <i>The Critic as Artist</i>, Wilde radically revises Matthew Arnold on the function of criticism. According to Arnold, the endeavor is "to see the object as in itself it really is." According to Wilde, the aim is "to see the object as in itself it really is not."</small></blockquote> <p>W. H. Auden's early prose poem, "Letter to a Wound" (1931), is a powerful modern statement of the theme: "You are so quiet these days that I get quite nervous, remove the dressing. I am safe, you are still there." Addressing the wound as "you" is not merely a grammatical convenience but the vehicle of a linguistic transformation; the ailment becomes an active, willful muse and companion -- albeit one whose traits include "insane jealousy," "bad manners," and a "passion for spoiling things." The letter writer has learned to live with his incurable condition as with a secret partner, an illicit lover. They have even gone through a "honeymoon stage" together. "Thanks to you," Auden writes, "I have come to see a profound significance in relations I never dreamt of considering before, an old lady's affection for a small boy, the Waterhouses and their retriever, the curious bond between Offal and Snig, the partners in the hardware shop in the front." The wound is not named, though we read of a visit to a surgeon, who begins a sentence, "I'm afraid," and need not add a word. The particular virtue of this epistolary prose poem is that "I" and "you," a pair of pronouns, are raised to the level of a universal duality and are therefore greater than any specific duality that seems appropriate -- whether "artist" and "wound," or "self" and "soul," or "ego" and "id," or "lover" and "beloved."</p> <p>It is difficult not to fall under the spell of Wilson's wound and bow or of the corresponding myth in the Hebraic tradition. In the thirty-second chapter of Genesis, Jacob -- who twice in the past had got the better of his brother Esau, both times by cunning or deceit -- must wrestle with "a man" who will not reveal his name and who must flee the scene at daybreak. The struggle takes place on the eve of his first encounter with Esau after many years, in the deep darkness of the night, and it is physical combat of a kind not associated with Jacob. When he fights the angel to a standstill, he receives a blessing and a new name, Israel (because he has "contended with God and men and has prevailed"). But he has also suffered a wound "in the hollow of his thigh" that causes him to limp thereafter. The story is rich and mysterious in inverse proportion to its length: nine biblical verses. Though each is said to be a source of power, the Hebrew blessing bestowed on Jacob is utterly different from the Greek bow. Yet at bottom we find the familiar dialectic of compensation.</p> <p>Such myths may console us. The logic of Emerson's essay "Compensation" has saved my spirits on many a dismal afternoon. "The sure years reveal the deep emotional force that underlies all facts," Emerson writes. "The death of a dear friend, wife, brother, lover, which seemed nothing but privation, somewhat later assumes the aspect of a guide or genius; for it commonly operates revolutions in our way of life, terminates an epoch of infancy or of youth which was waiting to be closed, breaks up a wonted occupation, or a household, or style of living, and allows the formation of new ones more friendly to the growth of character." It is to Emerson's essay that I turn when I need to tamp down the impulses of resentment or envy and reconcile myself to realities. There is wisdom here and truth, a counterargument if not exactly a solution to the problem of evil that Gerard Manley Hopkins stated summarily: "Why do sinners' ways prosper? And why must / Disappointment all I endeavor end?"</p> <p>There is also, however, a danger in the intimate association of genius and illness, especially mental illness, especially at a time when many of us engaged in the discourse of poetry come into contact with ever-increasing numbers of impressionable young people who want to study creative writing. The romantic conception of the poet can lead too easily to self-pity or worse, the glorification of madness and the idealization of the self-inflicted wound. We need to remember that poetry springs from joy as often as from sorrow: the impulse to praise is as strong as the impulse to mourn. Lionel Trilling's essay "Art and Neurosis" is a vital corrective to the tendency to assent too readily to propositions obscuring the differences between genius and madness. Trilling accepts the premise that all of us, including "the fortunate Sophocles," are ill; we are all neurotic. In that case, it is not the primal hurt but the ability to rise above it that distinguishes the artist. Poetry is not a matter of divine madness but the product of labor and conscious mind. "Nothing is so characteristic of the artist as his power of shaping his work, of subjugating his raw material, however aberrant it be from what we call normality," Trilling writes. "What marks the artist is his power to shape the material of pain we all have."</p> <p>My favorite sentence in Kierkegaard's parable is the one in which poets and critics are considered identical except that the latter lack the very qualities -- the anguish in the heart and the music on the lips -- that are definitive of the poet. For many years I resisted Kierkegaard's "either/ or" logic. I felt that there needn't be a structural enmity between poetry and criticism. Now I wonder.</p> <p>The characteristic badness of literary criticism in the 1980s was that it was heavily driven by theory and saddled with an unlovely vocabulary. T. S. Eliot, in "The Function of Criticism" (1923), says he "presumes" that "no exponent of criticism" has "ever made the preposterous assumption that criticism is an autotelic activity" -- that is, an activity to be undertaken as an end in itself without connection to a work of literature. Eliot did not figure on post-structuralism and the critic's declaration of independence from the text. If you wanted criticism "constantly to be confronted with examples of poetry," as R. P. Blackmur recommends in "A Critic's Job of Work," you were in for a bad time in the 1980s. The academic critics' disregard of contemporary poetry paralleled the rise of creative writing as a field of study and, partly in consequence, the writing of poetry did not suffer, though from time to time you would hear the tired refrain that poetry -- like God, the novel as a form, and the author altogether -- had died. This shibboleth itself has not perished. <i>Newsweek</i> reports that, despite "anecdotal evidence that interest in poetry is on the rise," statistics show a decline. "Is an art form dying?" the magazine asks.3 Donald Hall wrote the definitive response to these premature death notices, "Death to the Death of Poetry," which served as the introduction to <i>The Best American Poetry 1989</i>. Hall's assertion remains valid: "American poetry survives; it even prevails."</p> <blockquote><small>3. Marc Bain, "The End of Verse?" <i>Newsweek</i>, March 25, 2009.</small></blockquote> <p>Poetry criticism at its worst today is mean in spirit and spiteful in intent, as if determined to inflict the wound that will spur the artist to new heights if it does not cripple him or her. Somewhere along the line, the notion took hold that poets were reluctant to write honestly about their peers. But in the absence of critics who are not themselves poets, surely the antidote is not to encourage the habit of rejection without explanation, denunciation without a reasoned argument, and a slam of the gavel in high dudgeon as if a poem were a felony. Hostile criticism, criticism by insult, may have entertainment value, but animus does not guarantee honesty. As one who knows from firsthand experience what a book reviewer faces when writing on deadline, I can tell the real thing when I see it, and the hysterical over-the-top attack is as often as not the product of a pose. Every critic knows it is easier (and more fun) to write a ruthless review rather than a measured one. As a reviewer, you're not human if you don't give vent to your outrage once or twice -- if only to get the impulse out of you. If you have too good a time writing hostile reviews, you'll injure not only your sensibility but your soul. Frank O'Hara felt he had no responsibility to respond to a bad poem. It'll "slip into oblivion without my help," he would say.</p> <p>William Logan typifies the bilious reviewer of our day. He has attacked, viciously, a great many American poets; I, too, have been the object of his scorn. Logan is the critic as O'Hara defined the species: "the assassin of my orchards." You can rely on him to go for the most wounding gesture. Michael Palmer writes a "Baudelaire Series" of poems, for example, and Logan comments, "Baudelaire would have eaten Mr. Palmer for breakfast, with salt." The poems of Australian poet Les Murray seem "badly translated out of Old Church Slavonic with only a Russian phrase book at hand." Reviewing a book by Adrienne Rich is a task that Logan feels he could almost undertake in his sleep. Reading C. K. Williams is "like watching a dog eat its own vomit."</p> <p>For many years, Logan reserved his barbs for the poets of our time. More recently he has sneered at Emily Dickinson ("a bloodless recluse") and condescended to Emerson ("a mediocre poet"). And still the <i>New York Times Book Review</i> turned to Logan to review the new edition of Frank O'Hara's <i>Selected Poems</i> last summer. Logan's piece began with the observation that O'Hara's death at the age of forty in a freak accident was a "good career move." This is not a particularly original phrase, but in O'Hara's case it is doubly unkind, giving the false impression that he died by his own hand.</p> <p>Logan's treatment of Langdon Hammer's Library of America edition of Hart Crane's poetry and prose -- which ran in the <i>New York Times Book Review</i> in January 2007 -- provoked among many readers the feeling that here he had gone too far. The piece dwelled on Crane's "sexual appetites," which "were voracious and involved far too many sailors," and included a flip dismissal of Crane's poem "Chaplinesque" (a "dreadful mess"). The review triggered off a spate of letters that the Times duly printed. Rosanna Warren summed up what many felt: "Snide biographical snippets about homosexuality and alcoholism are not literary criticism, nor are poems illuminated by sarcastic bons mots ('a Myth of America conceived by Tiffany and executed by Disney,' 'like being stuck in a mawkish medley from <i>Show Boat</i> and <i>Oklahoma!</i>'). Crane's revelatory weaknesses as well as his, yes, genius, deserved a more responsible accounting."</p> <p>Wounded by the outcry, Logan wrote a lengthy defense of himself and his procedures in the October 2008 issue of <i>Poetry</i>. More letters to the editor followed: three pages of them in the December 2008 issue, along with a concluding comment by Logan longer than the combined efforts of the correspondents. For one who routinely seeks to give offense, Logan turns out to be thin-skinned. In the end he falls back on the argument that it is fruitless to argue in matters of taste. "The problem with taste is, yours is right and everyone else's is wrong," Logan writes. Bosh. The real problem is that Logan confuses taste with bias. Using the Romantic poets as an example, he writes: "You can't stand that ditherer Coleridge, she can't stand that whiner Keats, I can't stand that dry fussbudget Wordsworth, and we all hate Shelley." Only someone for whom poets are merely names, abstractions that never had a flesh-and-blood existence, could so gleefully reduce these poets to those epithets. But when Logan returns to "Chaplinesque," Hart Crane's "hapless little" poem (and how that unnecessary "little" rankles), he gives the game away.</p> <p>Here is "Chaplinesque":</p> <blockquote>We make our meek adjustments,</blockquote> <blockquote>Contented with such random consolations</blockquote> <blockquote>As the wind deposits</blockquote> <blockquote>In slithered and too ample pockets.</blockquote> <blockquote>For we can still love the world, who find</blockquote> <blockquote>A famished kitten on the step, and know</blockquote> <blockquote>Recesses for it from the fury of the street,</blockquote> <blockquote>Or warm torn elbow coverts.</blockquote> <blockquote>We will sidestep, and to the final smirk</blockquote> <blockquote>Dally the doom of that inevitable thumb</blockquote> <blockquote>That slowly chafes its puckered index toward us,</blockquote> <blockquote>Facing the dull squint with what innocence</blockquote> <blockquote>And what surprise!</blockquote> <blockquote>And yet these fine collapses are not lies</blockquote> <blockquote>More than the pirouettes of any pliant cane;</blockquote> <blockquote>Our obsequies are, in a way, no enterprise.</blockquote> <blockquote>We can evade you, and all else but the heart:</blockquote> <blockquote>What blame to us if the heart live on.</blockquote> <blockquote>The game enforces smirks; but we have seen</blockquote> <blockquote>The moon in lonely alleys make</blockquote> <blockquote>A grail of laughter of an empty ash can,</blockquote> <blockquote>And through all sound of gaiety and quest</blockquote> <blockquote>Have heard a kitten in the wilderness.</blockquote> <p>To Logan the poem's concluding lines are self-evidently "embarrassing," an adjective he uses twice without substantiation. In the three separate pieces in which Logan brings up the poem, he lazily repeats the same charges, uses the same modifiers: the penultimate stanza of "Chaplinesque" is "hapless and tone deaf," the ending is "schmaltz," and the poem as a whole is evidence that the poet was "star-struck" by Charlie Chaplin, whose movies inspired Crane.</p> <p>Everyone is entitled to an opinion, but a professional critic has the responsibility to develop opinions, not just to state them. Rather than make the effort to see how Crane's poem works as a response to Chaplin's film <i>The Kid</i>, Logan ridicules the "star-struck" poet, likening Chaplin then to Angelina Jolie now, a comparison of dubious value that manages to insult everyone including Chaplin, Crane, Angelina Jolie, and the "seventy-seven American poets" who, Logan says in his patented blend of self-regard and snarky wit, have written odes to Jolie because Logan wrote that Crane met Chaplin after writing "Chaplinesque."</p> <p>I do not claim to comprehend "Chaplinesque" perfectly, but I believe that the lover of poetry will recognize the genius in this poem before any irritable reaching after paraphrase. Crane's repeated use of the homonym for his first name -- "We can evade you, and all else but the heart: What blame to us if the heart live on" -- seems to me, for example, well worth pondering in the context of the lines' pronomial ambiguity. The poem's opening stanzas are so rich one wants to say them over and over, to speculate on the idea of the Chaplin persona as an image of the poet, of the "famished kitten" as an image of poetry, or to contemplate the remarkable sequence of "smirk," "thumb," and "squint" in the third stanza. The finger-in-the-eye slapstick comedy routine has never seemed so threatening, even if we can "Dally the doom of that inevitable thumb / That slowly chafes its puckered index toward us." The poem's ending is particularly memorable. You may not make easy sense of that "grail of laughter" created by the moon out of a garbage can in a deserted alley. But this arresting image that fuses the sacred and the profane, sky and slum, will not soon depart from your consciousness. The key phrase here, "a grail of laughter," is a great example of a poetic image that defies logical analysis, for we instinctively grasp it as a figure of the sublime, though we know that a grail cannot be "of" laughter in any conventional sense. The laughter is the "sound of gaiety and quest," and "we" can see the miracle, behold the grail, because we have heard the cry of the alley cat, and we know that poetry is not simply a grand visionary quest but also something very precious and vulnerable, a kitten in the wilderness.</p> <p>The critic whose take on "Chaplinesque" I'd like to see is Christopher Ricks. Ricks begins his book <i>T. S. Eliot and Prejudice</i> with a reading of the most audacious poetic debut of the twentieth century. You might have thought that "The Love Song of J. Alfred Prufrock" would require the critic to digress from a consideration of prejudice, the focal point of Ricks's study of Eliot. Not so. Ricks quotes the uncanny stand-alone couplet that Eliot uses twice: "In the room the women come and go / Talking of Michelangelo." What have scholars said about the lines? The Oxford don Helen Gardner hears "high-pitched feminine voices" that are absurdly inadequate to the "giant art" of Michelangelo. Grover Smith says he has "no doubt" the women are talking "tediously and ignorantly." To Hugh Kenner, the women are "trivial." John Crowe Ransom, discerning "contempt" in Eliot's voice, rephrases the couplet as a rhetorical question about the women: "How could they have had any inkling of that glory which Michelangelo had put into his marbles and his paintings?"</p> <p>Yet, as Ricks observes, nowhere does Eliot tell us how to react to these women entering and leaving the drawing room. He chooses "talking" to describe what they are doing when he could as easily have said "prattling." He uses no adjective to denigrate the women, though at his disposal he had those I've already given ("trivial," "ignorant," "tedious") and more ("shallow," "affected," "fashionable"). Nor does Eliot praise the "glory" of Michelangelo's "giant art" by way of emphasizing the discrepancy between the women and the object of their conversation. It is a measure of Eliot's subtlety and skill that he disdains such modifiers as would bully a reader into the desired response. But Ricks's larger point is that even redoubtable critics are unaware of "how much their sense of the lines is incited by prejudice."</p> <p>Ricks's treatment of Eliot illustrates how canny a close reader he is. It may remind us also of the pleasure to be had from such acts of critical acumen. And if, as Wordsworth insisted in the preface to the <i>Lyrical Ballads</i>, the giving of pleasure constitutes the poet's first obligation to the reader, may it not be reasonable to expect the critic of poetry to honor this same imperative? Yet what Wordsworth calls the "grand elementary principle of pleasure" is missing from discussions of contemporary poetry. Schadenfreude is a poor substitute. True delight accompanies edification when a lover of poetry shows us how to read a poem on its own terms, paying it the respect of careful attention, leaving aside the prejudices of the anathematist, the ideologue, the apostle of received opinion, or the bully on the block.</p> <p>It may just be that the most appealing alternative to the negativity of contemporary criticism is the selective inclusiveness of a dedicated editor. For thirty-six years David Wagoner edited <i>Poetry Northwest</i>. The value of a supportive editor is incalculable, and Wagoner was among the best. His editorial practice can be seen as an extension of his humane poetics. For more than a half century, he has written about ordinary lives and real landscapes with grace and emotional complexity. A master of the plain style, for whom clarity and directness are cardinal virtues, he is a poet of wisdom and wonder. In their unostentatious way, his poems remind us of what it means to be human. Although we set our sights on the heavens, what we see from the wrong end of the telescope may prove more vital, for it "shows us just how little the gods see / if they look back." Yet like actors in a grand comedy we turn and change, turn and change, "like young heavenly objects / endlessly reembodied" with "wardrobes as various / as the wonders of new stars." I am conflating quotations from two poems in Wagoner's latest collection, <i>A Map of the Night</i>, which appeared last year -- the year Wagoner spent reading for <i>The Best American Poetry 2009</i>. He has selected poems from an unprecedented number of print or electronic journals: fifty-six. The poets explore subjects ranging from love and death to God, Freud, the beauty of the matriarchs in Genesis, the animals with which we share the planet, "the land to the south of our neighbors to the north," the movies, and "The Great American Poem." A number of the poets address crises in the body politic: the damaged Mississippi Gulf Coast ("Liturgy"), the assassination of Daniel Pearl ("Forty"), the massacre at Virginia Tech ("Ringtone"). We read about the prospect of a change in government ("A Sea-Change") and are confronted with "A Democratic Vista" and the assurance that "Ultimately Justice Directs Them."</p> <p>The biggest political story of 2008, the campaign and election of Barack Obama as president of the United States, sparked great enthusiasm among American poets. No sooner had the election results come in than the speculation began as to whom the incoming administration would tap to read a poem at the inauguration. Only two previous presidents (Kennedy and Clinton) had incorporated a poem in the inaugural proceedings, but everyone was confident that Obama would renew this tradition and everyone was right. Elizabeth Alexander was entrusted with the task. But even after her name was disclosed, the print and broadcast media continued to run stories on the importance of poetry in the national discourse. Perusal of the poems written by U.S. presidents of the past revealed Lincoln to be our best presidential poet. Anecdotes surfaced on Theodore Roosevelt's admiration of Edwin Arlington Robinson and Franklin Delano Roosevelt's recognition of Archibald MacLeish's talents as a speechwriter, librarian, and adviser at large. The Associated Press reporter Nancy Benac asked a number of poets to write -- and, where practicable, recite for the camera -- ceremonial poems written with Obama's inauguration in mind. Billy Collins, Yusef Komunyakaa, Alice Walker, Christopher Funkhouser, Amiri Baraka, cowboy poet Ted Newman, Julia Alvarez, Gary Soto, Bob Holman, and I composed poems for the occasion. The results are still accessible via the Internet.</p> <p>The Internet has multiplied the number of places in which a poem may appear. If it was difficult previously to cover American poetry, even with a company of skillful readers, it is now quite impossible. As David Wagoner notes in his introduction to this year's <i>Best American Poetry</i>, there are more venues for poetry than ever before. Web sites, zines, and blogs have enabled us to close up the lag between the composition and dissemination of any piece of writing. It remains to be seen how this technological advance will affect the nature of the writing itself, although the odds are that it will abet not only the tendency toward informality but also the impulse to buck it by emphasizing new and unusual forms: the abecedarius (or double abecedarius), the lipogram, the use of "found forms" such as the index of first lines in the back of a book of poems. Poems in such forms as these have turned up in recent and current volumes of <i>The Best American Poetry</i>, as have, to be sure, sonnets, sestinas, riddles, prose poems, a villanelle, a cento, a blues poem, a pantoum. The rediscovery of old forms and the fabrication of new ones is one notable tendency in contemporary poetry. A second is the growing appeal of the conversational style that David Kirby calls "ultra talk": a poem that sounds as natural as talk -- if we could script our talk. After observing that "every revolution in poetry" is at base "a return to common speech," T. S. Eliot in "The Music of Poetry" (1942) goes on to give the rationale for this sort of "talk poetry": "No poetry, of course, is ever exactly the same speech that the poet talks and hears: but it has to be in such a relation to the speech of his time that the listener or reader can say 'that is how I should talk if I could talk poetry.' "</p> <p>In 2008, <i>The Best American Poetry</i> launched our blog, which seemed at first to be an indulgence, then a convenience, before we understood that it could function as a kind of magazine, the contents of which change daily and feature an ever-changing roster of contributing writers and columnists. We post poems and comments on poems but also news, links, photos, illustrations, and prose on any subject that engages the mind of a poet. There are certain recurring features. We like aphorisms ("There are people who are too intelligent to become authors, but they do not become critics": W. H. Auden) and brainteasers ("Lives in winter, / Dies in summer, / And grows with its root upwards").4 From time to time we have run contests. Mark Strand judged Gerald Greland the winner of the inaugural ode contest we posted a day or two after Barack Obama's electoral victory. Paul Violi judged Frank Osen the winner of the previous year's competition, in which contestants were asked to decipher an anagram and to write an acrostic poem based on the result. I am still marveling at the notion that, in contrast to the strict limitations of space in a print magazine, we can publish 365 poems in a calendar year. And we can do things like monitor the cultural markers on an acclaimed television show.</p> <blockquote><small>4. "When a riddler, using the bold weapon of metaphor, forces us to contemplate an icicle as a plant, it is an imaginative coup; briefly, and in a small way, our sense of the structure of reality is shaken." Richard Wilbur, "The Persistence of Riddles" in <i>The Catbird's Song: Prose Pieces 1963-1995</i> (New York: Harcourt Brace, 1997), p. 44.</small></blockquote> <p>The spirit of Frank O'Hara hovered over the second season of the TV series <i>Mad Men</i> on AMC in 2008. In the first episode, ad man Don Draper (played by Jon Hamm) finds himself at a Midtown bar not far from where O'Hara loitered during his lunch hours when he worked as a curator at the Museum of Modern Art. On the barstool next to Draper sits a man with horn-rimmed glasses and curly hair reading O'Hara's <i>Meditations in an Emergency</i>. It is 1962. John F. Kennedy is president. Marilyn Monroe is still alive. Draper asks the man about the book. "You probably wouldn't like it," he is told. But Don buys it, we see him reading it in his office, and as the episode concludes, he mails the book to person or persons unknown and, in a voice-over, recites the fourth and final part of O'Hara's poem "Mayakovsky" in <i>Meditations in an Emergency</i>. The unforgettable phrase "the catastrophe of my personality" occurs here. The charm of such ironic self-deprecation, which is part of O'Hara's character armor, extends to the voice-over. The last words in "Mayakovsky" imply a split in the speaker's personality: "It may be the coldest day of / the year, what does he think of / that? I mean, what do I? And if I do, / perhaps I am myself again." The grammatical fact that, in a narrative, the same person can be either "I" or "he" turns into an apt metaphor for Don Draper, who bears someone else's name -- he switched identities (we learned in season one) with a fallen comrade in a skirmish during the Korean War.</p> <p><i>Meditations in an Emergency</i> returns as the title of the thirteenth and final episode in season two of <i>Mad Men</i>. Marilyn Monroe has died. It is October. President Kennedy is addressing the nation on TV. Virtually all the characters in the show are going through an emergency of one kind or another, while the country as a whole faces the grave emergency that was the Cuban Missile Crisis. Unlike radio, which has always been a congenial medium for poems and verse plays, TV and poetry have seemed as irreconcilable as dance and architecture. Not the least of Matthew Weiner's accomplishments is the brilliant way he has used O'Hara's poetry to govern the themes of a dramatic series on TV. Mad Men is a big hit, sales of Meditations in an Emergency continue to climb, and a new generation of readers has fallen in love with the poems of Frank O'Hara.</p> <p> Copyright © 2009 by David Lehman</p><p><P>David Wagoner writes about regular lives with plain grace and transcendent humanity, and the seventy-five poems he has chosen for the 2009 edition of <i>The Best American Poetry</i> grapple with life, celebrate freedom, and teem with imaginative energy. With engaging notes from the poets, Wagoner's superb introductory essay, series editor David Lehman's astute foreword about the current state of poetry and criticism, and cover art from the beloved poet John Ashbery, <i>The Best American Poetry 2009</i> is a memorable and delightful addition to a series dedicated to showcasing the work of poets at their best.<br></p><h3>Publishers Weekly</h3><p>From the moment series editor David Lehman invokes the myth of Jacob wrestling the Angel in his introduction, the gloves are off in this year's installment of this popular annual anthology. Lehman devotes much of his introduction to throwing jabs at longtime sparring partner and professional poetry grump William Logan, whom Lehman calls &ldquo;wounded&rdquo; and &ldquo;thin skinned.&rdquo; Guest editor Wagoner chooses to abstain from the scuffle, but there's no denying the aesthetic character amassed by the poems he's selected&#58; American poets not only want to talk about their country this year, they want to talk violence in (and toward) their country. &ldquo;They came to blow up America,&rdquo; writes John Ashbery, followed hard on his heels by Mark Bibbins, who warns our fifth state, &ldquo;Connecticut! we're sawing you in half.&rdquo; Denise Duhamel envisions &ldquo;How It Will End&rdquo; (&ldquo;We look around, but no one is watching us&rdquo;) and Rob Cook, in his bold and incantatory &ldquo;Song of America,&rdquo; tells us, &ldquo;I'm raising my child to drown and drop dead and to carry buildings on his back.&rdquo; It appears our poets are at last ready to confront the hysteria and violence of the past eight years, and who can say there's a better year than 2009 to begin. (Sept.)</p><article> <h4>Publishers Weekly</h4>From the moment series editor David Lehman invokes the myth of Jacob wrestling the Angel in his introduction, the gloves are off in this year's installment of this popular annual anthology. Lehman devotes much of his introduction to throwing jabs at longtime sparring partner and professional poetry grump William Logan, whom Lehman calls “wounded” and “thin skinned.” Guest editor Wagoner chooses to abstain from the scuffle, but there's no denying the aesthetic character amassed by the poems he's selected: American poets not only want to talk about their country this year, they want to talk violence in (and toward) their country. “They came to blow up America,” writes John Ashbery, followed hard on his heels by Mark Bibbins, who warns our fifth state, “Connecticut! we're sawing you in half.” Denise Duhamel envisions “How It Will End” (“We look around, but no one is watching us”) and Rob Cook, in his bold and incantatory “Song of America,” tells us, “I'm raising my child to drown and drop dead and to carry buildings on his back.” It appears our poets are at last ready to confront the hysteria and violence of the past eight years, and who can say there's a better year than 2009 to begin. (Sept.) </article>
100Sudden Fiction Latino: Short-Short Stories from the United States and Latin AmericaRobert Shapard0<p><b>Robert Shapard</b> teaches literature and creative writing at the University of Hawaii, and co-edited <b>Flash Fiction Forward</b>.<P><b>James Thomas</b> teaches literature and creative writing in Yellow Springs, Ohio, and co-edited <b>Flash Fiction Forward</b>.<P><b>Ray Gonzalez</b> is one of America&rsquo;s foremost authors, scholars, and editors in Latino literature.</p>Robert Shapard (Editor), James Thomas (Editor), Luisa Valenzuelasudden-fiction-latinorobert-shapard9780393336450039333645X$11.05PaperbackNorton, W. W. & Company, Inc.March 2010OriginalShort Story Anthologies, General & Miscellaneous Latin American Literature - Literary Criticism, Peoples & Cultures - American Anthologies, Short Stories - Literary Criticism, Latin American Fiction3365.50 (w) x 8.20 (h) x 0.90 (d)<p class="null1">For readers who love great short-short stories, this bountiful anthology is the best of Latin American and U.S. Latino writers.</p> <p>Following on the success of the <b>Flash Fiction</b> and <b>Sudden Fiction</b> series, Robert Shapard and James Thomas join with Ray Gonzalez in selecting works that each present a complete story in less than 1,500 words. Luisa Valenzuela, one of Latin America’s most lauded writers, provides the introduction. Readers will delight in finding stars such as Junot Díaz, Sandra Cisneros, and Roberto Bolaño alongside recognized masters like Gabriel García Márquez, Isabel Allende, and Jorge Luis Borges. They will discover work from Andrea Saenz, Daniel Alarcón, and Alicita Rodriguez, as well as other writers on the rise.</p> <p>In Julio Ortega’s “Migrations,” a Peruvian writer explores how immigrant speech and ethnic origins are a force of meaning that evolves beyond language. In “Hair,” by Hilma Contreras, a Caribbean pharmacist is driven mad by a young woman’s luxuriant tresses. These stories stretch from gritty reality to the fantastical in a mix that is moving, challenging, humorous, artful, sometimes political, and altogether spectacular.</p><p>For readers who love great short-short stories, this bountiful anthology is the best of Latin American and U.S. Latino writers.</p><h3>Publishers Weekly</h3><p>After the Sudden Fiction and Flash Fiction anthologies, editors Shapard and Thomas teamed with Gonzalez to create this stunning compilation of short shorts (under 1,500 words) by venerated and emerging Latino writers. In Andrea Saenz's &ldquo;Everyone's Abuelo Can't Have Ridden with Pancho Villa,&rdquo; the narrator's Grandma Jefa discredits the family legends while holding fast to her own&#58; a prescient dream about the assassination of Bobby Kennedy. Luna Calderon writes about Dia de Los Muertos or, as the social studies teacher in her story calls it, &ldquo;Day Ah Dallas Mare Toes.&rdquo; In &ldquo;Imagining Bisbee,&rdquo; Alicita Rodriguez recounts the making of a ghost town&#58; &ldquo;Bisbee's inhabitants want to disappear. They use P.O. boxes and first names. They hide under straw mats and melt into the horizon.&rdquo; In &ldquo;Miss Clairol,&rdquo; Helena Mar&iacute;a Viramontes describes the transformative makeup ritual of a mother&#58; &ldquo;The only way Champ knows her mother's true hair color is by her roots, which, like death, inevitably rise to the truth.&rdquo; The spirited mix of writers also includes Junot D&iacute;az, Sandra Cisneros, Gabriel Garc&iacute;a M&aacute;rquez, and Jorge Luis Borges. (Mar.)</p><article> <h4>Publishers Weekly</h4>After the Sudden Fiction and Flash Fiction anthologies, editors Shapard and Thomas teamed with Gonzalez to create this stunning compilation of short shorts (under 1,500 words) by venerated and emerging Latino writers. In Andrea Saenz's “Everyone's Abuelo Can't Have Ridden with Pancho Villa,” the narrator's Grandma Jefa discredits the family legends while holding fast to her own: a prescient dream about the assassination of Bobby Kennedy. Luna Calderon writes about Dia de Los Muertos or, as the social studies teacher in her story calls it, “Day Ah Dallas Mare Toes.” In “Imagining Bisbee,” Alicita Rodriguez recounts the making of a ghost town: “Bisbee's inhabitants want to disappear. They use P.O. boxes and first names. They hide under straw mats and melt into the horizon.” In “Miss Clairol,” Helena María Viramontes describes the transformative makeup ritual of a mother: “The only way Champ knows her mother's true hair color is by her roots, which, like death, inevitably rise to the truth.” The spirited mix of writers also includes Junot Díaz, Sandra Cisneros, Gabriel García Márquez, and Jorge Luis Borges. (Mar.) </article>
101I Am the Darker Brother: An Anthology of Modern Poems by African AmericansArnold Adoff0Arnold Adoffi-am-the-darker-brotherarnold-adoff97806898086920689808690$5.84Mass Market PaperbackSimon & Schuster Children's PublishingJanuary 1997RevisedPoetry, American Literature Anthologies, Anthologies1924.10 (w) x 6.80 (h) x 0.60 (d)'I Am the Darker Brother' exposes the quintessential African American, a proud, lonely, vulnerable yet independent human being who has forged out of hardship that combination of endurance, understanding, and spirit called soul. <p>Arnold Adoff updates the classic collection I Am the Darker Brother: An Anthology of Modern Poems by African Americans, first published in 1968, with 23 new poems by Nikki Giovanni (who also contributes a foreword), Ishmael Reed, Maya Angelou and others. This anthology covers not only well-known poems by Langston Hughes, Gwendolyn Brooks, Claude McKay and Paul Laurence Dunbar, but fills in other bright spots in a strong and often neglected tradition. Illustrations, by Benny Andrews, not seen by PW. </p><p>'I Am the Darker Brother' exposes the quintessential African American, a proud, lonely, vulnerable yet independent human being who has forged out of hardship that combination of endurance, understanding, and spirit called soul.</p><h3>Children's Literature</h3><p>You couldn't have a richer collection of the most prominent contemporary African-American poets. Names like Langston Hughes, Maya Angelou, Gwendolyn Brooks, Amiri Baraka, and Rita Dove fill its pages. Through the lyrical medium of poetry, this anthology strives to illuminate the soul of the quintessential African-American. The hardship of history and the hope for the future resound from section to section. Readers follow the poets on a journey of a collective heritage that will forever affect future generations.</p><article> <h4>Children's Literature - <span class="author">Sheree Van Vreede</span> </h4>You couldn't have a richer collection of the most prominent contemporary African-American poets. Names like Langston Hughes, Maya Angelou, Gwendolyn Brooks, Amiri Baraka, and Rita Dove fill its pages. Through the lyrical medium of poetry, this anthology strives to illuminate the soul of the quintessential African-American. The hardship of history and the hope for the future resound from section to section. Readers follow the poets on a journey of a collective heritage that will forever affect future generations. </article> <article> <h4>School Library Journal</h4>Gr 5 UpCountless anthologies of African-American poetry, many with elaborate illustrations, have appeared since Adoff's I Am the Darker Brother (Macmillan, 1968) was published. It remains remarkable in its ability to present the African-American experience through poetry that speaks for itself without the distraction of artwork or the need to trumpet itself as being multicultural. This revised and updated edition has 21 new selections, representing 19 poets (9 of them women), added to the thematic sections of the original title. Now, readers can meet more contemporary writers such as Rita Dove, Maya Angelou, and Ishmael Reed as well as classic black poets like Countee Cullen, Paul Laurence Dunbar, and Langston Hughes. An introduction puts the book in historical context and a foreword offers encouragement to a new generation of readers. Notes and biographies have been updated and added where appropriate and Andrews's spare but evocative line drawings still open each section. Because of the historical context of many of the poems, the book will be much in demand during Black History Month, but it should be used and treasured as part of the larger canon of literature to be enjoyed by all Americans at all times of the year. An indispensable addition to library collections.Carrie Schadle, New York Public Library </article>
102Classic American AutobiographiesWilliam L. Andrews0<p>William L. Andrews is E. Maynard Adams Professor of English at the University of North Carolina at Chapel Hill. He is the author of <b>To Tell a Free Story</b> and editor or coeditor of more than thirty books on African American literature.</p>William L. Andrews, William L. Andrewsclassic-american-autobiographieswilliam-l-andrews97804515291520451529154$6.94Mass Market PaperbackPenguin Group (USA)November 2003ReissueHistorical Biography - United States - General & Miscellaneous, American Literature Anthologies4644.44 (w) x 6.82 (h) x 0.81 (d)Includes: <i>A True History of the Captivity and Restoration of Mrs. Mary Rowlandson, The Autobiography of Benjamin Franklin, Narrative of the Life of Frederick Douglass, Old Times on the Mississippi by Mark Twain</i>, and <i>Four Autobiographical Narratives of Zitkala-Sa</i>. <p>This classic collection of American autobiographies brings together five frequently-taught texts that offer the widest variety of the American experience: A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson; The Autobiography of Benjamin Franklin; Narrative of the Life of Frederick Douglass; Four Autobiographical Narratives by Gertrude Bonnin; and Mark Twain's Old Times on the Mississippi. Original. </p><p><P>Includes&#58; <i>A True History of the Captivity and Restoration of Mrs. Mary Rowlandson, The Autobiography of Benjamin Franklin, Narrative of the Life of Frederick Douglass, Old Times on the Mississippi by Mark Twain</i>, and <i>Four Autobiographical Narratives of Zitkala-Sa</i>.</p>
103Mental Floss: ScatterbrainedEditors Of Mental Floss0<p><P>Will Pearson and Mangesh Hattikudur met as first year students at Duke University. Ignoring the lures of law school and investment banking, the pair co-founded mental_floss and have been grinning ever since. Maggie Koerth-Baker is a freelance journalist and a former assistant editor at mental_floss magazine, where she consistently astounded Will and Mangesh with her amazingness.</p>Editors Of Mental Floss, Gre, Ransom Riggs, Will Hickman, John Greenmental-flosseditors-of-mental-floss97800608825010060882506$10.72PaperbackHarperCollins PublishersJuly 2006Humor, American Literature Anthologies, General Reference2567.18 (w) x 10.90 (h) x 0.68 (d)<p>The bathroom read to end all bathroom reads!</p> <p>What does Greece (the country) have to do with <b>Grease</b> (the movie)? And what does <b>Grease</b> (the movie) have to do with greasy food? Plenty, if you ask the folks at <b>mental_floss</b>.</p> <p>Based on the magazine's "Scatterbrained" section, the <b>mental_floss</b> gang has taken on the Mount Everest of trivia challenges: connecting the entire world through the juiciest facts they could find. How do you get from Puppies to Stalin; from Humpty Dumpty to Elizabeth Taylor; from the Hundred Years' War to 8 Minute Abs; or even from Schoolhouse Rock to Abstract Expressionism? You'll just have to open up the book to find out.</p><h1>Mental Floss: Scatterbrained</h1> <hr noshade size="1"> <b>By Virginia Editors of Mental Floss</b> <h4 class="null1">HarperCollins Publishers, Inc.</h4> <b>Copyright © 2006</b> <b>Virginia Editors of Mental Floss<br> All right reserved.</b><br> <b>ISBN: 0060882506</b> <br> <hr noshade size='1'> <p class="null2">Chapter One</p> <p><b>01 Greece (the Country):</b><br> <i>The Only Facts You Need to Know</i></p> <p>Everyone knows the story of the marathon: Some Greek guy ran for about 20 miles from the city of Marathon to neighboring Athens, whereupon he gasped, "<i>Nike</i>," and promptly died. (That wasn't an early form of product placement, just the Greek word for "victory.") You might not know, however, that at the first modern Olympics in 1896, the marathon distance was set at 24.85 miles (40 kilometers). So why is it 26.2 today? To please the King of England, of course! For the 1908 Olympics in London, the distance was lengthened to 26 miles so the course could go from Windsor Castle to White City Stadium and then lengthened another 385 yards so the race could finish right in front of Kind Edward VII's stadium box. Now you know whose name to curse when staggering those last miserable marathon steps.</p> <p>The first winner of the modern Olympic marathon, incidentally, was a Greek. Spyridon Louis, a postal worker (who trained, we imagine, by running away from ferocious dogs). He finished in 2:58:50.</p> <p>And you thought 99 bottles of beer on the wall was bad: The Greek national anthem, with its 158 stanzas, is the longest national anthemin the world.</p> <p>If you've ever found yourself legs akimbo, feet in stirrups, wondering why they call it a "Pap" smear: Greek-American George Papanicolaou created the test, which has helped reduce cervical cancer fatality rates by almost 50 percent since its introduction in the 1940s. (For some reason, "Papanicolaou smear" never caught on.)</p> <p><b>02 Means to an End:</b><br> <i>Unpleasant Execution Methods Throughout History<br> (In Reverse Order of Preference!)</i></p> <p><i><b>Ling Chi:</b></i> A slow, excruciating death, implemented a millennium ago by China's Song dynasty, <i>ling chi</i> (or "slicing") entails a piecemeal disassembling of the arms and legs by knife, culminating in decapitation. On the upside, luckier victims got to indulge in a good bit of opium beforehand, as an act of mercy. We'd argue that a better act of mercy would be not to carve up living people, but that's just us. The good news is <i>ling chi</i> was abolished. The bad news is that it wasn't until 1905, only 900 years late.</p> <p><b>Sawing:</b> Employed by historical free spirits like Caligula, Spanish Inquisitors, and--whaddya know--the ancient Chinese, death by sawing is kind of like the horror franchise <i>Saw</i>, except more horrific and not a movie. The convicted was strung up by the feet and sawed in twain, beginning at the crotch; his upside-down position ensured a continuous flow of blood (or whatever blood remained) to the brain, so he barely had to miss a moment of the terror until it was over. Recipients included such heinous criminals as adulterers and sodomites, plus a few saints, maybe the prophet Isaiah, and any young woman thought to be carrying Satan in her womb. That's the thing about the Beelzebaby--you never can be too sure, so kudos to the Spanish, because during the entire Inquisition, Satan's spawn wasn't born even once.</p> <p><b>Boiling Alive:</b> Fairly self-explanatory. Historically, execution by boiling is far more widespread than you'd think. In fact, it was prevalent in the Roman Empire, ancient China, Egypt, throughout the Middle East (where to conserve water they used oil), classical Japan, 17th-century India, England under Henry VIII, and Uganda under Idi Amin in the 1970s. More recently, the gruesome act seemed relegated exclusively to members of the crustacean family---until an autopsy report emerged from Uzbekistan in 2002 implicating the practice in at <i>least</i> one political prisoner's demise.</p> <p>Burning at the Stake: Particularly effective in the elimination of witches, heretics, Christians, Zoroastrians, Nordic thugs, British traitors (females only, please), homosexuals, and anyone else whose flesh is not flame-retardant, burning at the stake is the straightforward but reliable, the Toyota Corolla of capital punishment. Its advantages are obvious: It's easy to do--all you need is a stake and some burning--and it makes for a flashy public-service message. The upside of death by fire: You may die of carbon dioxide poisoning before you're engulfed by flame. The downside: You might not. Given the choice, we'd rather go like '30s movie star Lupe Velez, who committed suicide in 1944 by overdosing on sleeping pills and then reportedly drowning in her toilet. . . .</p> <p class="null2">03 Toilet Facts</p> <p>Toilets are like oxygen or boyfriends: You tend not to think much about them until the moment you can't find any. Maybe it's time to give your W.C. a little R-E-S-P-E-C-T. After all, you probably don't notice but you pay respect to the porcelain god six to eight times per day, on average--or thirty to forty times per day, if you're a six-year-old on a road trip (just joshing, kids). That makes for 2,500 trips to Flushville per year, comprising an average of three full years of your life. That's enough time to get a law degree . . . if only you hadn't spent it reading <i>mental_floss.</i></p> <p>Nazi war criminal and Gestapo founder Hermann Göring despised toilet paper (seriously). He refused to use it and instead bought handkerchiefs in bulk.</p> <p>In 1993, an Argentinian prankster switched the "Women's" and "Men's" signs in a series of public toilets. We don't see why this is particularly clever--the gender divide is the same whether you all go to Room A or Room B (except that women will get to peek at some urinals). Apparently, the Argentine government wasn't impressed by it either: They sentenced the bathroom bandit to three years in the clink (which supposedly left him flushed).</p> <p>The separate stall, a welcome innovation if ever there was one, is a relatively modern concept. The Romans and Greeks, for instance, saw toilet time as a social occasion and sat down in groups at their open-air toilets. That brings us back to the Greeks, which brings us to . . .<br> <br> <i>Continues...</i> <br> </p> <blockquote> <hr noshade size='1'> Excerpted from <b>Mental Floss: Scatterbrained</b> by <b>Virginia Editors of Mental Floss</b> Copyright © 2006 by Virginia Editors of Mental Floss. Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br> Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site. <hr noshade size='1'> </blockquote><p><P>The bathroom read to end all bathroom reads! <P>What does Greece (the country) have to do with <i>Grease</i> (the movie)? And what does <i>Grease</i> (the movie) have to do with greasy food? Plenty, if you ask the folks at <i>mental_floss</i>. <P>Based on the magazine's "Scatterbrained" section, the <i>mental_floss</i> gang has taken on the Mount Everest of trivia challenges&#58; connecting the entire world through the juiciest facts they could find. How do you get from Puppies to Stalin; from Humpty Dumpty to Elizabeth Taylor; from the Hundred Years' War to 8 Minute Abs; or even from Schoolhouse Rock to Abstract Expressionism? You'll just have to open up the book to find out.</p><h3>Chicago Tribune</h3><p>&ldquo;For the discerning intellect, Mental Floss cleans out the cobwebs.&rdquo;</p><article> <h4>From Barnes & Noble</h4>Based on a popular feature in <i>mental_floss</i> magazine, <i>Scatterbrained</i> regathers facts in a most entertaining way. For example, the opening chapter begins with riffs on Greek marathons, the world's longest national anthem (158 stanzas), and the Father of the Pap Smear. From there, the book launches into discussions of toga parties, methods of execution, and the meaning of Latin phrases. </article> <article> <h4>Newsweek</h4>"The titans of trivia." </article><article> <h4>Calgary Herald</h4>"An ideal reference to settle arguments or jog your memory." </article> <article> <h4>Chicago Tribune</h4>"For the discerning intellect, Mental Floss cleans out the cobwebs." </article> <article> <h4>Washington Post</h4>"A delightfully eccentric and eclectic new magazine." </article> <article> <h4>Charlotte Observer</h4>"Part scholarly journal, part Spy magazine protégé." </article> <article> <h4>Chicago Tribune</h4>“For the discerning intellect, Mental Floss cleans out the cobwebs.” </article> <article> <h4>Washington Post</h4>“A delightfully eccentric and eclectic new magazine.” </article> <article> <h4>Newsweek</h4>“A lot like that professor of yours who peppered his tests with raunchy jokes: it makes learning fun.” </article> <article> <h4>Charlotte Observer</h4>“Part scholarly journal, part Spy magazine protégé.” </article> <article> <h4>Calgary Herald</h4>“An ideal reference to settle arguments or jog your memory.” </article>
104The Portable Sixties ReaderAnn Charters10<p>Scholar, editor, and biographer of Beat generation writer Jack Kerouac -- she even penned the preface to his groundbreaking <I>On the Road</I> -- Ann Charters captures the passion and promise of one of the most culturally influential decades of the century.</p>Ann Charters, Variousthe-portable-sixties-readerann-charters97801420019430142001945$13.79PaperbackPenguin Group (USA)December 2002American Fiction & Literature Classics, Post-World War II American History - General & Miscellaneous, American Literature Anthologies6725.20 (w) x 7.80 (h) x 1.16 (d)<p>From civil rights to free love, JFK to LSD, Woodstock to the Moonwalk, the Sixties was a time of change, political unrest, and radical experiments in the arts, sexuality, and personal identity. In this anthology of more than one hundred selections of essays, poetry, and fiction by some of America’s most gifted writers, Ann Charters sketches the unfolding of this most turbulent decade.</p> <p><b>The Portable Sixties Reader</b>&nbsp;is organized into thematic chapters, from the Civil Rights movement to the Anti-Vietnam movement, the Free Speech movement, the Counterculture movement, drugs and the movement into Inner Space, the Beats and other fringe literary movements, the Black Arts movement, the Women’s movement, and the Environmental movement. The concluding chapter, “Elegies for the Sixties,” offers tributes to ten figures whose lives—and deaths—captured the spirit of the decade.</p> <p class="null1">Contributors include:</p> <p>Edward Abbey, Sherman Alexie, James Baldwin,&nbsp;Richard Brautigan,&nbsp;Lenny Bruce, Charles Bukowski, William Burroughs, Jim Carroll, Rachel Carson, Carlos Castenada, Bob Dylan, Betty Friedan,&nbsp;Nikki Giovanni,&nbsp;Michael Herr, Abbie Hoffman, Robert Hunter, Ken Kesey,&nbsp;Martin Luther King, Jr., Timothy Leary,&nbsp;Denise Levertov,&nbsp;Norman Mailer, Malcolm X, Country Joe McDonald, Kate Millet, Tim O’Brien, Sylvia Plath, Susan Sontag, Gloria Steinem, Hunter S. Thompson, Calvin Trillin, Alice Walker, Eudora Welty and more.</p><p>Compiled by a lifelong scholar of the Beat generation, this anthology contains excerpts from essays, speeches, poetry, and fiction representative of the American counterculture of the 1960s. Included are the words of Allen Ginsberg on conducting a demonstration, Gloria Steinem on unlearning sexism, and Malcolm X on fighting for voting rights. The volume concludes with a selection of ten elegies, including Archibald MacLeish's "Hemingway" and a poem for Janis Joplin by Marilyn Hacker. Annotation (c)2003 Book News, Inc., Portland, OR</p><h3>Seattle Times</h3><p>Absorbing...a collection to be read...seething with emotion and urgency...</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sixties: A Chronology</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">Pt. 1</TD><TD WIDTH="70%">Struggling to be Free: The Civil Rights Movement</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Dangerous Road Before Martin Luther King"</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Letter from a Birmingham Jail"</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Rosa Parks: My Story</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Coming of Age in Mississippi</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Where Is the Voice Coming From?"</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The March"</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Lonesome Death of Hattie Carroll"</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Ballad of Birmingham"</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"For the Union Dead"</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Ballot or the Bullet"</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Civil Rights Movement: What Good Was It?"</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Dreamer</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%">Pt. 2</TD><TD WIDTH="70%">End it! And End it Now! The Anti-Vietnam War Movement</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Original Child Bomb"</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"What's Happening in America (1966)"</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Life at War"</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Overheard over S.E. Asia"</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Teeth Mother Naked at Last"</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Let Sleeping Dogs Lie"</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"How to Maintain a Peaceful Demonstration"</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Armies of the Night: "A Confrontation by the River"</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "On the Perimeter"</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Dispatches</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Man I Killed"</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Born on the Fourth of July</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Attack the Water"</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Tunnels"</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hanoi Hannah"</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"'You and I Are Disappearing'"</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"2527th Birthday of the Buddha"</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Prisoners"</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Nude Interrogation"</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Facing It"</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%">Pt. 3</TD><TD WIDTH="70%">Why Can We Not Begin New? The Free Speech Movement and Beyond</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Battle of Berkeley Talking Blues"</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Put My Name Down"</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hey Mr. Newsman"</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"There's a Man Taking Names"</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Walked Out in Berkeley"</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Free Speech Movement</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Rules of the Game ... When You're Busted"</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Wanted: Hip Cops"</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Demonstration or Spectacle As Example, As Communication - or How to Make a March/Spectacle"</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Hell's Angels: "The Dope Cabala and a Wall of Fire"</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Testament for My Students, 1968-1969"</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Smoking Dope with Thomas Pynchon: A Sixties Memoir"</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Police Band"</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Che's Last Letter"</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Coming of the Purple Better One"</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Yeats in the Gas"</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%">Pt. 4</TD><TD WIDTH="70%">"I Feel Like I'm Fixin' to Die": The Counterculture Movement</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Feel Like I'm Fixin'-to-Die Rag"</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Talking Non-Violence"</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Superbird"</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Janis"</TD><TD WIDTH="10%" ALIGN="RIGHT">265</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"THE little PHENOMENA"</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Ringolevio</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Minstrel Show or: Civil Rights in a Cracker Barrel"</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Psychedelic Rock Posters: History, Ideas, and Art"</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Rolling Stones - At Play in the Apocalypse"</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"New Speedway Boogie"</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play 'The Star-Spangled Banner' at Woodstock"</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%">Pt. 5</TD><TD WIDTH="70%">Adrift in the Age of Aquarius: Drugs and the Movement Into Inner Space</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Turning On the World"</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Holidays at Millbrook - 1966"</TD><TD WIDTH="10%" ALIGN="RIGHT">343</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Teachings of Don Juan</TD><TD WIDTH="10%" ALIGN="RIGHT">350</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from House Made of Dawn</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Letters from Mexico"</TD><TD WIDTH="10%" ALIGN="RIGHT">367</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Pills and Shit: The Drug Scene"</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Basketball Diaries</TD><TD WIDTH="10%" ALIGN="RIGHT">388</TD><TR><TD WIDTH="20%">Pt. 6</TD><TD WIDTH="70%">Living in the Revolution: The Beats and Some Other Literary Movements at the Edge</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Hustings"</TD><TD WIDTH="10%" ALIGN="RIGHT">397</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters to Allen Ginsberg, Gregory Corso, and Peter Orlovsky, 1961-1962</TD><TD WIDTH="10%" ALIGN="RIGHT">400</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Kral Majales"</TD><TD WIDTH="10%" ALIGN="RIGHT">404</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Revolutionary Letters #1, 3, 5, 8"</TD><TD WIDTH="10%" ALIGN="RIGHT">408</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Poke Hole Fishing After the March"</TD><TD WIDTH="10%" ALIGN="RIGHT">412</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Ghost Tantras</TD><TD WIDTH="10%" ALIGN="RIGHT">414</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Grandfather Was Queer, Too"</TD><TD WIDTH="10%" ALIGN="RIGHT">420</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Visitor: Jack Kerouac in Old Saybrook"</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Cleveland Wrecking Yard"</TD><TD WIDTH="10%" ALIGN="RIGHT">429</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Notes of a Dirty Old Man</TD><TD WIDTH="10%" ALIGN="RIGHT">435</TD><TR><TD WIDTH="20%">Pt. 7</TD><TD WIDTH="70%">Out of the Fire: The Black Arts Movement and the Reshaping of Black Consciousness</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Black Arts Movement"</TD><TD WIDTH="10%" ALIGN="RIGHT">446</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Think Black 1965-1967</TD><TD WIDTH="10%" ALIGN="RIGHT">454</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Malcolm Spoke/who listened?"</TD><TD WIDTH="10%" ALIGN="RIGHT">456</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Idea of Ancestry"</TD><TD WIDTH="10%" ALIGN="RIGHT">458</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Conjugal Visits"</TD><TD WIDTH="10%" ALIGN="RIGHT">460</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Dance for Ma Rainey"</TD><TD WIDTH="10%" ALIGN="RIGHT">462</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"My Poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"It Is Deep"</TD><TD WIDTH="10%" ALIGN="RIGHT">466</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Numbers, Letters"</TD><TD WIDTH="10%" ALIGN="RIGHT">469</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Eldridge Cleaver - Writer"</TD><TD WIDTH="10%" ALIGN="RIGHT">471</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Soul on Ice</TD><TD WIDTH="10%" ALIGN="RIGHT">478</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Song"</TD><TD WIDTH="10%" ALIGN="RIGHT">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Why They Are in Europe?"</TD><TD WIDTH="10%" ALIGN="RIGHT">486</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">["We Knew Our Loneliness and Told It"]</TD><TD WIDTH="10%" ALIGN="RIGHT">486</TD><TR><TD WIDTH="20%">Pt. 8</TD><TD WIDTH="70%">With Our Arms Upraised: The Women's Movement and the Sexual Revolution</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Feminine Mystique</TD><TD WIDTH="10%" ALIGN="RIGHT">493</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sexual Politics</TD><TD WIDTH="10%" ALIGN="RIGHT">504</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">512</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Lady Lazarus"</TD><TD WIDTH="10%" ALIGN="RIGHT">513</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Abortion"</TD><TD WIDTH="10%" ALIGN="RIGHT">518</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Addict"</TD><TD WIDTH="10%" ALIGN="RIGHT">520</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Ballad of the Lonely Masturbator"</TD><TD WIDTH="10%" ALIGN="RIGHT">522</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"About Marriage"</TD><TD WIDTH="10%" ALIGN="RIGHT">523</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Mutes"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Belly Dancer"</TD><TD WIDTH="10%" ALIGN="RIGHT">527</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Ringless"</TD><TD WIDTH="10%" ALIGN="RIGHT">528</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from How I Became Hettie Jones</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from SCUM Manifesto</TD><TD WIDTH="10%" ALIGN="RIGHT">536</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A New Egalitarian Life Style"</TD><TD WIDTH="10%" ALIGN="RIGHT">539</TD><TR><TD WIDTH="20%">Pt. 9</TD><TD WIDTH="70%">In Defense of the Earth: The Environmental Movement</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Silent Spring</TD><TD WIDTH="10%" ALIGN="RIGHT">547</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Wildlife in America</TD><TD WIDTH="10%" ALIGN="RIGHT">549</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Revolutionary Letter #16"</TD><TD WIDTH="10%" ALIGN="RIGHT">559</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"What You Should Know to Be a Poet"</TD><TD WIDTH="10%" ALIGN="RIGHT">560</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Revolution in the Revolution in the Revolution"</TD><TD WIDTH="10%" ALIGN="RIGHT">561</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Smokey the Bear Sutra"</TD><TD WIDTH="10%" ALIGN="RIGHT">562</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Preface To Hermit Poems, The Bath"</TD><TD WIDTH="10%" ALIGN="RIGHT">565</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">["I Know a Man's Supposed to Have His Hair Cut Short"]</TD><TD WIDTH="10%" ALIGN="RIGHT">567</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">["Apparently Wasps"]</TD><TD WIDTH="10%" ALIGN="RIGHT">568</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">["I Burn Up the Deer in My Body"]</TD><TD WIDTH="10%" ALIGN="RIGHT">569</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">["Whenever I Make a New Poem"]</TD><TD WIDTH="10%" ALIGN="RIGHT">569</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">["Step Out onto the Planet"]</TD><TD WIDTH="10%" ALIGN="RIGHT">570</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Song Mt. Tamalpais Sings"</TD><TD WIDTH="10%" ALIGN="RIGHT">571</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"To the Unseeable Animal"</TD><TD WIDTH="10%" ALIGN="RIGHT">572</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Serpents of Paradise"</TD><TD WIDTH="10%" ALIGN="RIGHT">574</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Way to Rainy Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">581</TD><TR><TD WIDTH="20%">Pt. 10</TD><TD WIDTH="70%">Ten Elegies for the Sixties</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Ernest Hemingway</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hemingway"</TD><TD WIDTH="10%" ALIGN="RIGHT">589</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Marilyn Monroe</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Ghost Tantras, #39</TD><TD WIDTH="10%" ALIGN="RIGHT">590</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for John F. Kennedy</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Kennedy Blues"</TD><TD WIDTH="10%" ALIGN="RIGHT">591</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Sylvia Plath</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Dream Songs, #172</TD><TD WIDTH="10%" ALIGN="RIGHT">593</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Malcolm X</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Sun Came"</TD><TD WIDTH="10%" ALIGN="RIGHT">594</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Martin Luther King, Jr.</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Assassination"</TD><TD WIDTH="10%" ALIGN="RIGHT">595</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Robert F. Kennedy</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Assassination Raga"</TD><TD WIDTH="10%" ALIGN="RIGHT">596</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Neal Cassady</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Neal's Ashes"</TD><TD WIDTH="10%" ALIGN="RIGHT">600</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Janis Joplin</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Elegy"</TD><TD WIDTH="10%" ALIGN="RIGHT">601</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Jack Kerouac</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Kerouac, 1922-1969"</TD><TD WIDTH="10%" ALIGN="RIGHT">604</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Selected Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">607</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">615</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Alphabetical List of Authors and Titles</TD><TD WIDTH="10%" ALIGN="RIGHT">623</TD></TABLE><article> <h4>San Francisco Chronicle</h4>A compulsively readable collection. </article> <article> <h4>Seattle Times</h4>Absorbing...a collection to be read...seething with emotion and urgency... </article><article> <h4>Kirkus Reviews</h4>Kerouac biographer and veteran anthologist Charters (The Portable Beat Reader, not reviewed, etc.) successfully conveys the atmosphere of the 1960s for those who lived through it, and those who did not. The four-page preface clearly explains her choices. Charters, who came of age during the 1960s, concedes that some of the pieces are very personal, meant to reflect her intense emotional and intellectual experiences. The selections and omissions are determined to some extent by the ten topical sections: civil rights, war resistance, free speech, the counterculture (largely in music as rendered here), mind-altering drugs, Beat literature, African-American arts, the women's movement (especially the sexual revolution), environmental protection, and "elegies" (portraits of ten people who died during the decade). Charters (English/Univ. of Connecticut) gives short shrift to innovative pieces of narrative journalism--Tom Wolfe, Gay Talese, Joan Didion, Truman Capote are all excluded--but otherwise her choices seem unarguable. The introductions to each selection provide pertinent context, which is especially important because many of the selections are excerpts from books. A 25-page chronology of the decade will prove useful for those born after 1960, as well as offering forgotten tidbits for middle-aged and elderly readers. </article>
105Modern American MemoirsAnnie Dillard0<p><P>Annie Dillard has written eleven books, including the memoir of her parents, <i>An American Childhood</i>; the Northwest pioneer epic <i>The Living</i>; and the nonfiction narrative <i>Pilgrim at Tinker Creek</i>. A gregarious recluse, she is a member of the American Academy of Arts and Letters.</p>Annie Dillard, Cort Conleymodern-american-memoirsannie-dillard97800609276390060927631$11.99PaperbackHarperCollins PublishersOctober 1996ReprintHistorical Biography - United States - General & Miscellaneous, U.S. Authors - 20th Century - Literary Biography, American Literature Anthologies4645.31 (w) x 8.00 (h) x 1.04 (d)<p>In <b>Modern American Memoirs,</b> two very discerning writers and readers have selected samples from 35 of the finest memoirs written in this century, including contributions by such diverse writers as Margaret Mead, Malcolm X, Maxine Hong Kingston, Loren Eisely, and Zora Neale Hurston. Chosen for their value as excellent examples of the art of biography as well as for their superb writing, the excerpts present a broad range of American life, and offer vivid insight into the real-life events that shaped their authors. Here, readers can learn about the time when Harry Crews, playing as a boy, fell into a vat of boiling water with a dead hog; Chris Offutt joined the circus and watched a tattooed woman swallow a fluorescent light; and Frank Conroy practiced yo-yo tricks.</p><b>Harry Crews(1935)</b><br> <p><i>Harry Crews was born the son of a farmer in Bacon County, Georgia, and grew up there. He served in the U.S. Marine Corps as a sergeant, then attended the University of Florida, where he became a professor of English in 1974.</i></p> <p>Author of more than a dozen novels, from The Gospel Singer (1968) to Scar Lover (1992), Crews has also written stories, essays, and nonfiction.</p> <p>Crews's memoir, A Childhood: The Biography of a Place, describes the first six years of his life, under circumstances "where there wasn't enough money to close up a dead man's eyes." His family lived on a series of tenant farms in Bacon County. His father died when he was two. The "daddy" in this memoir is his stepfather, whom he loved. Later he learned that this man was his uncle.</p> <b>From A Childhood</b><br> <p>It has always seemed to me that I was not so much born into this life as I awakened to it. I remember very distinctly the awakening and the morning it happened. It was my first glimpse of myself, and all that I know now—the stories, and everything conjured up by them, that I have been writing about thus far—I obviously knew none of then, particularly anything about my real daddy, whom I was not to hear of until I was nearly six years old, not his name, not even that he was my daddy. Or if I did hear of him, I have no memory of it.</p> <p>I awoke in the middle of the morning in early summer from the place I'd been sleeping in the curving roots of a giant oak tree in front of a large white house. Off to the right, beyond the dirt road, my goats were trailing along in the ditch, grazing in the tough wire grass that grew there.Their constant bleating shook the warm summer air. I always thought of them as my goats although my brother usually took care of them. Before he went to the field that morning to work, he had let them out of the old tobacco barn where they slept at night. At my feet was a white dog whose name was Sam. I looked at the dog and at the house and at the red gown with little pearl-colored buttons I was wearing, and I knew that the gown had been made for me by my Grandma Hazelton and that the dog belonged to me. He went everywhere I went, and he always took precious care of me.</p> <p>Precious. That was my mama's word for how it was between Sam and me, even though Sam caused her some inconvenience from time to time. If she wanted to whip me, she had to take me in the house, where Sam was never allowed to go. She could never touch me when I was crying if Sam could help it. He would move quietly—he was a dog not given to barking very much—between the two of us and show her his teeth. Unless she took me somewhere Sam couldn't go, there'd be no punishment for me.</p> <p>The house there just behind me, partially under the arching limbs of the oak tree, was called the Williams place. It was where I lived with my mama and my brother, Hoyet, and my daddy, whose name was Pascal. I knew when I opened my eyes that morning that the house was empty because everybody had gone to the field to work. I also knew, even though I couldn't remember doing it, that I had awakened sometime in midmorning and come out onto the porch and down the steps and across the clean-swept dirt yard through the gate weighted with broken plow points so it would swing shut behind me, that I had come out under the oak tree and lain down against the curving roots with my dog, Sam, and gone to sleep. It was a thing I had done before. If I ever woke up and the house was empty and the weather was warm—which was the only time I would ever awaken to an empty house—I always went out under the oak tree to finish my nap. It wasn't fear or loneliness that drove me outside; it was just something I did for reasons I would never be able to discover.</p> <p>I stood up and stretched and looked down at my bare feet at the hem of the gown and said: "I'm almost five and already a great big boy." It was my way of reassuring myself, but it was also something my daddy said about me and it made me feel good because in his mouth it seemed to mean I was almost a man.</p> <p>Sam immediately stood up too, stretched, reproducing, as he always did, every move I made, watching me carefully to see which way I might go. I knew I ought not to be outside lying in the rough curve of root in my cotton gown. Mama didn't mind me being out there under the tree, but I was supposed to get dressed first. Sometimes I did; often I forgot.</p> <p>So I turned and went back through the gate, Sam at my heels, and across the yard and up the steps onto the porch to the front door. When I opened the door, Sam stopped and lay down to wait. He would be there when I came out, no matter which door I used. If I went out the back door, he would somehow magically know it and he would be there. If I came out the side door by the little pantry, he would know that, too, and he would be there. Sam always knew where I was, and he made it his business to be there, waiting.</p> <p>I went into the long, dim, cool hallway that ran down the center of the house. Briefly I stopped at the bedroom where my parents slept and looked in at the neatly made bed and all the parts of the room, clean, with everything where it was supposed to be, just the way mama always kept it. And I thought of daddy, as I so often did because I loved him so much. If he was sitting down, I was usually in his lap. If he was standing up, I was usually holding his hand. He always said soft funny things to me and told me stories that never had an end but always continued when we met again.</p> <p>He was tall and lean with flat high cheekbones and deep eyes and black thick hair which he combed straight back on his head. And under the eye on his left cheek was the scarred print of a perfect set of teeth. I knew he had taken the scar in a fight, but I never asked him about it and the teeth marks in his cheek only made him seem more powerful and stronger and special to me.</p> <p>He shaved every morning at the water shelf on the back porch with a straight razor and always smelled of soap and whiskey. I knew mama did not like the whiskey, but to me it smelled sweet, better even than the soap. And I could never understand why she resisted it so, complained of it so, and kept telling him over and over again that he would kill himself and ruin everything if he continued with the whiskey. I did not understand about killing himself and I did not understand about ruining everything, but I knew the whiskey somehow caused the shouting and screaming and the ugly sound of breaking things in the night. The stronger the smell of whiskey on him, though, the kinder and gentler he was with me and my brother.</p> <p>I went on down the hallway and out onto the back porch and finally into the kitchen that was built at the very rear of the house. The entire room was dominated by a huge black cast-iron stove with six eyes on its cooking surface. Directly across the room from the stove was the safe, a tall square cabinet with wide doors covered with screen wire that was used to keep biscuits and fried meat and rice or almost any other kind of food that had been recently cooked. Between the stove and the safe sat the table we ate off of, a table almost ten feet long, with benches on each side instead of chairs, so that when we put in tobacco, there would be enough room for the hired hands to eat.</p> <p>I opened the safe, took a biscuit off a plate, and punched a hole in it with my finger. Then with a jar of cane syrup, I poured the hole full, waited for it to soak in good, and then poured again. When the biscuit had all the syrup it would take, I got two pieces of fried pork off another plate and went out and sat on the back steps, where Sam was already lying in the warm sun, his ears struck forward on his head. I ate the bread and pork slowly, chewing for a long time and sharing it all with Sam.</p> <p>When we had finished, I went back into the house, took off my gown, and put on a cotton undershirt, my overalls with twin galluses that buckled on my chest, and my straw hat, which was rimmed on the edges with a border of green cloth and had a piece of green cellophane sewn into the brim to act as an eyeshade. I was barefoot, but I wished very much I had a pair of brogans because brogans were what men wore and I very much wanted to be a man. In fact, I was pretty sure I already was a man, but the only one who seemed to know it was my daddy. Everybody else treated me like I was still a baby.</p> <p>I went out the side door, and Sam fell into step behind me as we walked out beyond the mule barn where four mules stood in the lot and on past the cotton house and then down the dim road past a little leaning shack where our tenant farmers lived, a black family in which there was a boy just a year older than I was. His name was Willalee Bookatee. I went on past their house because I knew they would be in the field, too, so there was no use to stop.</p> <p> I went through a sapling thicket and over a shallow ditch and finally climbed a wire fence into the field, being very careful of my overalls on the barbed wire. I could see them all, my family and the black tenant family, far off there in the shimmering heat of the tobacco field. They were pulling cutworms off the tobacco. I wished I could have been out there with them pulling worms because when you found one, you had to break it in half, which seemed great good fun to me. But you could also carry an empty Prince Albert tobacco can in your back pocket and fill it up with worms to play with later.</p><p><P>In <i>Modern American Memoirs,</i> two very discerning writers and readers have selected samples from 35 of the finest memoirs written in this century, including contributions by such diverse writers as Margaret Mead, Malcolm X, Maxine Hong Kingston, Loren Eisely, and Zora Neale Hurston. Chosen for their value as excellent examples of the art of biography as well as for their superb writing, the excerpts present a broad range of American life, and offer vivid insight into the real-life events that shaped their authors. Here, readers can learn about the time when Harry Crews, playing as a boy, fell into a vat of boiling water with a dead hog; Chris Offutt joined the circus and watched a tattooed woman swallow a fluorescent light; and Frank Conroy practiced yo-yo tricks.</p><h3>Library Journal</h3><p>Annie Dillard and publisher Cort Conley have collected excerpts from the memoirs of 35 20th-century American authors. The selections represent the best in autobiographical writing published between 1917 and 1992. Included are nine women and 26 men, both black and white, some better known than others, all distinguished writers and wonderful storytellers. Chris Offutt's "The Same River Twice" tells about the author's stint working in the circus; Anne Moody's "Coming of Age in Mississippi" describes her participation in the 1963 Woolworth sit-in. The editors precede each entry with a biographical and contextual note. There's an opening essay on the art of the memoirist and an afterword listing additional classics in the genre. This rich collection serves as an introduction to the nation's best modern writers and a primer on the American experience. Highly recommended for all libraries.-Carol A. McAllister, Coll. of William and Mary Lib., Williamsburg, Va.</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Childhood</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Memoir of a Modernist's Daughter</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Wolf Willow</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Bronx Primitive</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Growing Up</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Facts of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Sacred Journey</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Fierce Attachments</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Confessions of a Knife</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Art and Ardor</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Son of the Middle Border</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Stop-time</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Autobiography of Malcolm X</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Earth Is Enough</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Clear Pictures</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Black Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from This Boy's Life</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shoot the Piano Player</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Will's Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Woman Warrior</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Notes of a Native Son</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from This Stubborn Soil</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Going to the Territory</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Duke of Deception</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Same River Twice</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Left Handed</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Coming of Age in Mississippi</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Court of Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Who Owns the West?</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Replacing Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">372</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Dust Tracks on a Road</TD><TD WIDTH="10%" ALIGN="RIGHT">390</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Blackberry Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">396</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Brothers and Keepers</TD><TD WIDTH="10%" ALIGN="RIGHT">407</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Star Thrower</TD><TD WIDTH="10%" ALIGN="RIGHT">416</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Education of Henry Adams</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Afterword</TD><TD WIDTH="10%" ALIGN="RIGHT">441</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">447</TD></table><article> <h4>Library Journal</h4>Annie Dillard and publisher Cort Conley have collected excerpts from the memoirs of 35 20th-century American authors. The selections represent the best in autobiographical writing published between 1917 and 1992. Included are nine women and 26 men, both black and white, some better known than others, all distinguished writers and wonderful storytellers. Chris Offutt's "The Same River Twice" tells about the author's stint working in the circus; Anne Moody's "Coming of Age in Mississippi" describes her participation in the 1963 Woolworth sit-in. The editors precede each entry with a biographical and contextual note. There's an opening essay on the art of the memoirist and an afterword listing additional classics in the genre. This rich collection serves as an introduction to the nation's best modern writers and a primer on the American experience. Highly recommended for all libraries.-Carol A. McAllister, Coll. of William and Mary Lib., Williamsburg, Va. </article>
106Best American Spiritual Writing 2007Philip Zaleski0<p><p>HARVEY COX is the author of the groundbreaking The Secular City and many other books, including The Seduction of the Spirit, which was nominated for the National Book Award. A professor of theology at Harvard Divinity School, he lives in Cambridge, Massachusetts.<p></p>Philip Zaleski, Harvey Coxbest-american-spiritual-writing-2007philip-zaleski97806419741200641974124PaperbackHoughton Mifflin CompanyOctober 2007Bargain<p><p>The latest edition of this annual, assembled by the acclaimed writer and editor Philip Zaleski, not only showcases some of the finest writing of the year but offers astute perceptions on subjects that are universal, timeless, and yet deeply personal. Culled from an impressive variety of sources and ranging over topics as disparate as Shaker furniture, perfume, and the monastic life, the essays and poems collected here share a search for purpose beyond the mundane -- and find answers in the likeliest and unlikeliest of sources.<p>Here you will find George Packer&#8217;s &#147;The Moderate Martyr,&#8221; a profile of the peaceful Islamic visionary Mahmoud Muhammad Taha, alongside Sridhar Pappu&#8217;s report on &#147;the Preacher,&#8221; Bishop T. D. Jakes, the entrepreneurially inclined leader of one of the largest churches in the country. Garry Wills questions whether it is possible (or even desirable) to live according to the maxim &#147;What would Jesus do?&#8221; In response to the recent spate of atheist attacks on organized religion, Marilynne Robinson offers an insightful critique of &#147;Hysterical Scientism.&#8221; Adam Gopnik explores the link between Shaker beliefs and the austere beauty of Shaker creations, and Joseph Epstein muses on the reasons for broken friendships. Some of the essays are deeply personal&#58; Mary Gordon examines her complex relationship with her mother, and Pico Iyer reveals the place where he goes to be himself.<p>Including powerful poetry from notable contributors such as Deborah Digges, Galway Kinnell, and John Updike, and an introduction by Harvey Cox, The Best American Spiritual Writing 2007 is one of those transformative &#147;magical books&#8221; that Zaleski describes in his foreword, a volume that gracefully probes the role of faith in modern life while offering both spiritual insight and literary excellence.<p></p><br>Foreword&nbsp;&nbsp;&nbsp;Philip Zaleski&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;x<br>Introduction&nbsp;&nbsp;&nbsp;Harvey Cox&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xvi<br>"And All Shall Be Well; And All Shall Be Well; and All Manner of Thing Shall Be Well": from The Hudson Review&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1<br>On Constantin Brancusi: from Raritan&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3<br>Climbing the Sphinx: from Fugue&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;16<br>The Head of Barley: from The American Poetry Review&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;31<br>Christmas in New York: from First Things&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;32<br>The Ends of Science: from First Things&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;35<br>Luna Moths: from The Southern Review&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;49<br>The Magdalen with the Nightlight by Georges de La Tour: from Image&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;51<br>The Birthing: from The New Yorker&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;52<br>What Is the Worth of the Wind River Mountains?: from Shambhala Sun&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;54<br>Friendship Among the Intellectuals: from Commentary&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;61<br>Faithful to Mystery: from The Journal for Anthroposophy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;70<br>On the Shores of Lake Biwa: from Shambhala Sun&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;87<br>Shining Tree of Life: from The New Yorker&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;97<br>My Mother's Body: from The American Scholar&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;109<br>What Philosopher: from The American Scholar&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;128<br>Tomorrow Is Another Day: from The American Scholar&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;129<br>This Is Who I Am When No One Is Looking: from Portland&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;141<br>In the Footsteps ofWalter Benjamin: from Harvard Divinity Bulletin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;145<br>Liberating Word: from Christian Century&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;167<br>Everyone Was in Love: from The Atlantic Monthly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;176<br>On Laughing: from Portland&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;177<br>Loving the Storm-Drenched: from Christianity Today&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;182<br>Love Divine: from Tricycle&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;188<br>Idol-Smashing and Immodesty in the Groves of Academe: from In Character&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;197<br>Reaching for the End of Time: from Image&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;209<br>The Moderate Martyr: from The New Yorker&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;225<br>The Preacher: from The Atlantic Monthly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;244<br>Hysterical Scientism: from Harper's Magazine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;264<br>The Universal Grammar of Religion: from Sophia&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;276<br>Storm: from The New Yorker&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;282<br>Half Moon, Small Cloud: from The Atlantic Monthly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;283<br>Jaroslav Pelikan, Doctor Ecclesiae: from First Things&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;284<br>What Jesus Did: from The American Scholar&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;289<br>Music Heard in Illness: from Ploughshares&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;298<br>Contributors' Notes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;301<br>Other Notable Spiritual Writing of 2006&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;305
107The Norton Anthology of American Literature: Volume D: 1914-1945Jerome Klinkowitz0<p><b>Nina Baym</b> (General Editor), Ph.D. Harvard, is Swanlund Endowed Chair and Center for Advanced Study Professor Emerita of English, and Jubilee Professor of Liberal Arts and Sciences at The University of Illinois at Urbana-Champaign. She is author of <b>The Shape of Hawthorne&rsquo;s Career</b>; <b>Woman's Fiction&#58; A Guide to Novels by and About Women in America</b>; <b>Novels, Readers, and Reviewers&#58; Responses to Fiction in Antebellum America</b>; <b>American Women Writers and the Work of History, 1790-1860</b>; and <b>American Women of Letters and the Nineteenth-Century Sciences</b>. Some of her essays are collected in <b>Feminism and American Literary History</b>; she has also edited and introduced many reissues of work by earlier American women writers, from Judith Sargent Murray through Kate Chopin. In 2000 she received the MLA&rsquo;s Hubbell medal for lifetime achievement in American literary studies.<P><b>Jerome Klinkowitz</b> (co-editor, American Literature since 1945), Ph.D. Wisconsin, is University Distinguished Scholar and Professor of English at the University of Northern Iowa. He is the author or editor of over forty books in postwar culture and literature, among them, <b>Structuring the Void&#58; The Struggle for Subject in Contemporary American Fiction</b>; <b>Slaughterhouse Five&#58; Reforming the Novel and the World</b>; <b>Literary Subversions&#58; New American Fiction and the Practice of Criticism</b>; and <b>The Practice of Fiction in America&#58; Writers from Hawthorne to the Present</b>.<P><b>Arnold Krupat</b> (editor, Native American Literatures), Ph.D. Columbia, is Professor of Literature at Sarah Lawrence College. He is the author, among other books, of <b>Ethnocriticism&#58; Ethnography, History, Literature</b>, <b>The Voice in the Margin&#58; Native American Literature and the Canon</b>, <b>Red Matters</b>, and most recently, <b>All That Remains&#58; Native Studies</b> (2007). He is the editor of a number of anthologies, including <b>Native American Autobiography&#58; An Anthology and New Voices in Native American Literary Criticism</b>. With Brian Swann, he edited <b>Here First&#58; Autobiographical Essays by Native American Writers</b>, which won the Wordcraft Circle of Native Writers and Storytellers Award for best book of nonfiction prose in 2001.<P><b>Mary Loeffelholz</b> (editor, 1914-1945), Ph.D. Yale, is Professor of English at Northeastern University. She is the author of <b>Dickinson and the Boundaries of Feminist Theory</b>; <b>Experimental Lives&#58; Women and Literature, 1900-1945</b>; and, most recently, <b>From School to Salon&#58; Reading Nineteenth-Century American Women&rsquo;s Poetry</b>. Her essays have appeared in such journals as <b>American Literary History</b>, <b>English Literary History</b>, the <b>Yale Journal of Criticism</b>, and <b>Modern Language Quarterly</b>. Since 1991 she has been the editor of <b>Studies in American Fiction</b>.<P><b>Patricia B. Wallace</b> (co-editor, American Literature since 1945), Ph.D. Iowa, is Professor of English at Vassar College. She is a contributing editor of <b>The Columbia History of American Poetry</b>; her essays and poems have appeared in such journals as <b>The Kenyon Review</b>, <b>The Sewanee Review</b>, <b>MELUS</b> and <b>PEN America</b>. She has been a recipient of fellowships from the NEA, the Mellon Foundation, and the ACLS.</p>Jerome Klinkowitz (Editor), Mary Loeffelholz (Editor), Arnold Krupat (Editor), Philip F. Gura (Editor), Bruce Michelsonthe-norton-anthology-of-american-literaturejerome-klinkowitz97803939274290393927423$37.77PaperbackNorton, W. W. & Company, Inc.April 20077th EditionAmerican Literature Anthologies9106.00 (w) x 9.20 (h) x 1.00 (d)<p><b>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field,</b> The Norton Anthology of American Literature has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p> <p>Under Nina Baym’s direction, the editors have considered afresh each selection and all the apparatus to make the anthology an even better teaching tool.</p><p>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field, <b>The Norton Anthology of American Literature</b> has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p>
108Making Literature Matter: An Anthology for Readers and WritersJohn Schilb0<p><p><B>JOHN SCHILB</B> (Ph.D., State University of New York &#8212; Binghamton) is a professor of English at Indiana University, Bloomington, where he holds the Culbertson Chair in Writing. He has co-edited <I>Contending with Words&#58; Composition and Rhetoric in a Postmodern Age</I> and, with John Clifford, <I>Writing Theory and Critical Theory</I>. He is author of <I>Between the Lines&#58; Relating Composition Theory and Literary Theory</I> and <I>Rhetorical Refusals&#58; Defying Audiences&#8217; Expectations. <p></I><p><B>JOHN CLIFFORD</B> (Ph.D., New York University) is a professor of English at the University of North Carolina at Wilmington. Editor of <I>The Experience of Reading&#58; Louis Rosenblatt and Reader-Response Theory</I>, he has published numerous scholarly articles on pedagogy, critical theory and composition theory, most recently in <I>College English</I>, in<I> Relations, Locations, Positions&#58; Composition Theory for Writing Teachers </I>and in <I>The Norton Book of Composition Studies.</I><p></p>John Schilb, John Cliffordmaking-literature-matterjohn-schilb97803124749110312474911PaperbackBedford/St. Martin'sAugust 20084th EditionLanguage Arts &amp; Disciplines, General<p><p><p>Prepared by editors whose scholarship fuses literary and composition studies, <I>Making Literature Matter </I>combines a comprehensive writing text with a uniquely organized anthology for introductory literature courses that emphasize critical and academic writing. <p><p><B>What makes literature matter? <p></B><p><B>Writing about it &#8212; argumentatively.</B> The writing text helps students learn to analyze literature and develop responsible and persuasive claims about it &#8212; making it matter to them as it hasn&#8217;t before. <p><p><B>Reading it &#8212; when it explores issues that matter.</B> The stories, poems, plays and essays in the anthology are uniquely organized into thematic clusters focusing on life issues that speak to students and evoke their engaged response.<p><p></p><p><B>Preface for Instructors <p><p>Contents by Genre <p><p><p><I>Part One&#58; Working with Literature <p><p></B></I><p><p><B>1. What Is Literature? How and Why Does It Matter? <p><p>James Wright</B>, "Lying in a Hammock at William Duffy&#8217;s Farm in Pine Island, Minnesota" (poem) <p><p>How Have People Defined Literature? <p><p><B>*</B>Why Study Literature in a College Writing Course? <p><p>What Can You Do to Make Literature Matter to Others? <p><p><B>*J. Robert Lennon</B>, <I>When I married, I became an old woman. . . .</I> (story) <p><p><I><p></I><B><LI>How to Read Closely <p>*</B>Strategies for Close Reading <p><B>*</B>Close Readings of a Poem <p><B>*Sharon Olds</B>, "Summer Solstice, New York City" (poem) <p>Using Topics of Literary Studies to Get Ideas <p><B>Lynda Hull</B>, Night Waitress (poem) <p><p><B><LI>How to Make Arguments about Literature <p>Daniel Orozco</B>, <I>Orientation</I> (story) <p><B>Jamaica Kincaid</B>, <I>Girl</I> (story) <p>Strategies for Making Arguments about Literature <p>Looking at Literature as Argument <p><B>John Milton</B>, "When I Consider How My Light Is Spent" (poem) <p><B>W. H. Auden</B>, "The Unknown Citizen" (poem) <p><B>*Robert Frost</B>, "Mending Wall" (poem) <p><p><B>4. The Writing Process <p>William Wordsworth</B>, "The Solitary Reaper" (poem) <p>Strategies for Exploring <p>Strategies for Planning <p>Strategies for Composing <p>First Draft of a Student Paper <p><B>Abby Hazelton</B>, The Passage of Time in "The Solitary Reaper" <p>Strategies for Revising <p>Revised Draft of a Student Paper <p><B>Abby Hazelton</B>, The Passage of Time in "The Solitary Reaper" <p>Strategies for Writing a Comparative Paper <p><B>Ted Kooser</B>, "Four Secretaries" (poem) <p>A Student Comparative Paper <p><B>Marla Tracy</B>, <I>When Singing Is Not Singing <p></I>A Writing Exercise <p><B>*C. K. Williams</B>, The Singing (poem) <p><p><B>5. How to Write about Stories <p>Eudora Welty</B>, A Visit of Charity <p><B>William Carlos Williams</B>, The Use of Force <p><B>*Anton Chekhov</B>, Sleepy<B> <p></B>Students&#8217; Personal Responses to the Stories <p>The Elements of Short Fiction <p>Final Draft of a Student Paper <p><B>Alison Caldwell</B>, Forms of Blindness in "The Use of Force" <p><p><B>6. How to Write about Poems <p></B><B>Rosanna Warren</B>, In Creve Coeur, Missouri <p><B>Charles Fort</B>, We Did Not Fear the Father <p><B>Philip Levine</B>, What Work Is <p><B>Mary Oliver</B>, Singapore <p><B>Yusef Komunyakaa</B>, Blackberries <p><B>Edwin Arlington Robinson</B>, The Mill <p><B>Jimmy Santiago Baca</B>, So Mexicans Are Taking Jobs Away from Americans <p><B>Louise Erdrich</B>, The Lady in the Pink Mustang <p><B>*Marge Piercy</B>, The Secretary Chant <p>A Student&#8217;s Personal Responses to the Poems <p><B>Michaela Fiorruci</B>, Boundaries in Robinson, Komunyakaa, and Oliver <p>The Elements of Poetry <p>Revised Draft of a Student Paper <p><B>Michaela Fiorruci</B>, Negotiating Boundaries <p><p><B>7. How to Write about Plays <p></B><B>Tennessee Williams</B>, From <I>The Glass Menagerie</I> (scene) <p><B>Marsha Norman</B>, from &#8216;<I>night Mother</I> (scene) <p>The Elements of Drama <p>Final Draft of a Student Paper <p><B>Tim Kerwin</B>, The Significance of What Jessie "Thinks" <p><B><p>8. How to Write about Essays <p><LI>June Jordan</B>, Many Rivers to Cross <p><B><LI>Alice Walker</B>, In Search of Our Mother&#8217;s Gardens <p>A Student&#8217;s Personal Response <p>The Elements of Essays <p>Final Draft of a Student Paper <p><B>Isla Bravo</B>, Resisting Women&#8217;s Roles <p><B><p>9. How to Write a Research Paper <p></B>Strategies for Identifying an Issue and a Tentative Claim <p>Strategies for Finding and Using Secondary Sources <p>Strategies for Working with Sources <p>Strategies for Integrating Sources <p>Strategies for Documenting Sources (MLA Format) <p>Three Annotated Student Research Papers <p><B>*Katie Johnson</B>, The Meaning of the Husband&#8217;s Fainting in "The Yellow Wall-Paper" <p><B>*Brittany Thomas</B>, Substitution in Mitchell&#8217;s "The Evolution of the Rest Treatment" and Gilman&#8217;s "The Yellow Wall-Paper" <p><B>*Keith Alexander</B>, What the Argument between Tom Cruise and Brooke Shields Demonstrated about the Media <p><B><I><p>Part Two&#58; Literature and Its Issues <p></I><p>10. Families <p></B><I><p>Memories of Family&#58; Essays <p></I><B>Brent Staples</B>, The Runaway Son <p><B>Rick Moody</B>, Demonology <p><B>*Paule Marshall</B>, Poets in the Kitchen <p><B>*Jos&#233; Raul Bernardo</B>, Happy Blue Crabs <p><p><I>Reconciling with Fathers&#58; Poems <p></I><B>Lucille Clifton</B>, forgiving my father <p><B>Robert Hayden</B>, Those Winter Sundays <p><B>Theodore Roethke</B>, My Papa's Waltz <p><B>*Li-Young Lee</B>, My Father, in Heaven, Is Reading Out Loud <p><B>Louise Gluck</B>, Terminal Resemblance <p><p><I>Exorcising the Dead&#58; Critical Commentaries on a Poem <p></I><B>Sylvia Plath</B>, Daddy <p>Critical Commentaries&#58; <p><B>Mary Lynn Broe</B>, From <I>Protean Poetic&#58; The Poetry of Sylvia Plath <p></I><B>Lynda K. Bundtzen</B>, From <I>Plath's Incarnations <p></I><B>Steven Gould Axelrod</B>, From <I>Sylvia Plath&#58; The Wound and the Cure of Words <p></I><B>Tim Kendall</B>, from <I>Sylvia Plath&#58; A Critical Study <p><p>Mothers and Daughters&#58; Stories <p></I><B>Tillie Olsen</B>, I Stand Here Ironing <p><B>Amy Tan</B>, Two Kinds <p><B>Alice Walker</B>, Everyday Use <p><p><I>Siblings in Conflict&#58; Stories <p></I><B>Tobias Wolff</B>, The Rich Brother <p><B>James Baldwin</B>, Sonny&#8217;s Blues <p><p><B><I></B>Family Dramas&#58; Re-Visions of a Play <p></I><B>Tennessee Williams</B>, <I>The Glass Menagerie</I> <p><B>Christopher Durang</B>, For Whom the Southern Belle Tolls <p><p><I>Grandparents and Legacies&#58; Poems <p></I><B>Elizabeth Cook-Lynn</B>, Grandfather at the Indian Health Clinic <p><B>Nikki Giovanni</B>, Legacies <p><B>Linda Hogan</B>, Heritage <p><B>Gary Soto</B>, Behind Grandma's House <p><B>Alberto Rios</B>, Mi Abuelo <p><B>Yvonne V. Sapia</B>, Grandmother, a Caribbean Indian, Described by My Father <p><B>*Judith Ortiz Cofer</B>, Claims <p><I><p>Family Bonds&#58; A Collection of Essays by bell hooks <p></I><B>bell hooks</B>, Inspired Eccentricity <p><B>bell hooks</B>, Talking Back <p><B>bell hooks</B>, Spirit <p><p><I>A Family&#8217;s Dreams&#58; Cultural Contexts for a Play <p></I><B>Lorraine Hansberry</B>, <I>A Raisin in the Sun <p></I>Cultural Contexts&#58; <p><I>The Crisis,</I> The Hansberrys of Chicago&#58; They Join Business Acumen with Social Vision <p><B>Lorraine Hansberry</B>, April 23, 1964, Letter to the <I>*York Times <p></I><B>Alan Ehrenhalt</B>, From <I>The Lost City&#58; Discovering the Forgotten Virtues of Community in the Chicago of the 1950s <p></I><B>Sidney Poitier</B>, from <I>The Measure of a Man&#58; A Spiritual Autobiography <p></I><p><I>Parental Crisis&#58; Stories <p></I><B>Ernest Hemingway</B>, Hills Like White Elephants <p><B>T. Coraghessan</B> <B>Boyle</B>, The Love of My Life <p><B>Kate Braverman</B>, Pagan Night <p><I><p>Gays and Lesbians in Families&#58; Poems <p></I><B>Essex Hemphill</B>, Commitments <p><B>Kitty Tsui</B>, A Chinese Banquet <p><B>Minnie Bruce Pratt</B>, Two Small-Sized Girls <p><B>*Rane Arroyo</B>, My Transvestite Uncle Is Missing <p><I><p>The Family as Prison&#58; A Story and Images <p></I><B>*Art Spiegelman</B>, Prisoner on the Hell Planet <p><B>*</B>Images from <I>Maus <p></I><p><p><B>11. Love <p><p></B><I>True Love&#58; Poems <p></I><B>William Shakespeare</B>, Let me not to the marriage of true minds <p><B>Anne Bradstreet</B>, To My Dear and Loving Husband <p><B>e. e. cummings</B>, somewhere i have never travelled <p><B>Wislawa Szymborska</B>, True Love <p><B>Sharon Olds</B>, True Love <p><B>Michael S. Harper</B>, Discovery <p><B>*Emily Dickinson</B>, Wild Nights &#8212; Wild Nights! <p><B>*Wendy Rose</B>, Julia <p><p><I>Romantic Dreams&#58; Stories <p></I><B>Leslie Marmon Silko</B>, Yellow Woman <p><B>James Joyce</B>, Araby <p><B>John Updike</B>, A & P <p><B>*Sherwood Anderson</B>, Adventure <p><p><I>Love and Myth&#58; Essays <p></I><B>Diane Ackerman</B>, Orpheus and Eurydice <p><B>Carol Gilligan</B>, Psyche and Cupid <p><p><I>A Seductive Argument&#58; Re-Visions of a Poem <p></I><B>Andrew Marvell</B>, To His Coy Mistress <p><B>Peter De Vries</B>, To His Importunate Mistress <p><p><I>To Love or Not to Love&#58; Critical Commentaries on a Poem <p></I><B>T.S. Eliot</B>, The Love Song of J. Alfred Prufrock <p>Critical Commentaries&#58; <p><B>Charles Child Walcutt</B>, Eliot&#8217;s "The Love Song of J. Alfred Prufrock" <p><B>Bruce Hayman</B>, How Old is Prufrock? Does He Want to Get Married? <p><B>Leon Waldoff</B>, Prufrock&#8217;s Defenses and Our Response <p><B>Heather Brown</B>, The Ambiguity of Romance in "The Love Song of J. Alfred Prufrock" <p><B>Melinda Hollis</B>, Prufrock&#8217;s Road to Love Is Paved with Irony <p><p><I>The Appearance of Love&#58; A Collection of Stories by Kate Chopin <p></I><B>Kate Chopin</B>, The Storm <p><B>Kate Chopin</B>, The Story of an Hour <p><B>Kate Chopin</B>, D&#233;sir&#233;e's Baby <p><p>I<I>s This Love?&#58; Stories <p></I><B>William Faulkner</B>, A Rose for Emily <p><B>Raymond Carver</B>, What We Talk About When We Talk About Love <p><B>Zora Neale Hurston</B>, The Gilded Six-Bits <p><B>*William Trevor</B>, The Room <p><I><p>Jealous Love&#58; A Play and Images <p></I><B>William Shakespeare</B>, <I>Othello</I> <p><B><I></B></I>Images&#58; <p><B>Eugene Delacroix</B>, Desdemona Cursed by Her Father (painting) <p><B>Eugene Delacroix</B>, Othello and Desdemona (painting) <p><p><I>The Need for Romantic Illusions&#58; Cultural Contexts for a Story <p></I><B>Tim O&#8217;Brien</B>, The Things They Carried <p>Cultural Contexts <p><B>*Sullivan Ballou</B>, "My very dear Sarah" <p><B>*Brian Sullivan</B>, Letter to Tobie <p><B>*Tyrone Parnell</B>, Letter to Tracy <p><I><p>Looking Back on Past Love&#58; Stories <p></I><B>Edith Wharton</B>, Roman Fever <p><B>Alice Elliott Dark</B>, The Secret Spot <p><p><I>Love as a Have? Poems <p></I><B>Matthew Arnold</B>, Dover Beach <p><B>*Susan Minot</B>, My Husband&#8217;s Back <p><p><B>12. Freedom and Confinement <p><p></B><I>Freedom for Animals&#58; Poems <p></I><B>Maxine Kumin</B>, Woodchucks <p><B>D. H. Lawrence</B>, Snake <p><B>Elizabeth Bishop</B>, The Fish <p><B>*Thomas Lux</B>, To Help the Monkey Cross the River <p><p><I>Can Tradition Be a Trap?&#58; Critical Commentaries on a Story <p></I><B>*Shirley Jackson</B>, The Lottery <p>Critical Commentaries <p><B>*Nick Crawford</B>, Learning from "The Lottery"&#58; How Jackson&#8217;s Story Might Help Us Rethink Tradition <p><B>*Joe Romano</B>, Sacrifice, Solidarity, and Senselessness <p><B>*Jon Schneiderman</B>, Tradition, Justice, and Bloodlust in American Society <p><B>*Aimee Wilson</B>, Under the Guise of Tradition&#58; "The Lottery" and Female Circumcision <p><p><I>The Marriage Trap&#58; Plays</I> <p><B>Henrik Ibsen</B>, <I>A Doll House</I> <p><B>Susan Glaspell</B>, <I>Trifles <p></I><p><I>Confined for Her Own Good&#58; Cultural Contexts for a Story <p></I><B>Charlotte Perkins Gilman</B>, The Yellow Wallpaper <p>Cultural Contexts <p><B></B><B>Charlotte Perkins Gilman</B>, Why I Wrote "The Yellow Wallpaper" <p><B>S. Weir Mitchell</B>, From <I>The Evolution of the Rest Treatment <p></I><B>John Harvey Kellogg</B>, From <I>The Ladies&#8217; Guide in Health and Disease <p></I><p><I>Hobbled by Language&#58; Essays <p></I><B>Richard Rodriguez</B>, Aria <p><B>Tomas Rivera</B>, On Richard Rodriguez&#8217;s <I>Hunger of Memory <p></I><B>Victor Villaneuva, Jr.</B>, Reflecting on Richard Rodriguez <p><I><p>Trapped in Stereotypes&#58; Poems <p></I><B>Chrystos</B>, Today Was s Good Day Like TB <p><B>Louise Erdrich</B>, Dear John Wayne <p><B>Dwight Okita</B>, In Response to Executive Order 9066 <p><B>David Hernandez</B>, Pigeons <p><B>Sonia Sanchez</B>, Song No. 3 <p><B>*Pat Mora</B>, Legal Alien <p><B>*Naomi Shihab Nye</B>, Blood <p><p><I>A Torturous Confinement&#58; Re-Visions of a Story <p></I><B>*Franz Kafka</B>, In the Penal Colony <p><B>*R. Crumb</B>, In the Penal Colony <p><p><I>Remembering the Death Camps&#58; Poems <p></I><B>Pastor Martin Niemoller</B>, "First They Came for the Jews" <p><B>Nelly Sachs</B>, "A Dead Child Speaks" <p><B>Yevgeny Yevtuchenko</B>, "Babii Yar" <p><B>Karen Gershon</B>, "Race" <p><B>Anne Sexton</B>, "After Auschwitz" <p><I><p>Prisoners of War&#58; Stories <p></I><B>Frank O'Connor</B>, Guests of the Nation <p><B>Haruki Murakami</B>, Another Way to Die <p><p><I>A Letter from Jail&#58; An Essay and Images <p></I><B>Martin Luther King, Jr.</B>, Letter from Birmingham Jail <p><B></B>Images&#58; <p>Protesting Desegregation in Montgomery, Alabama (photograph) <p>The Arrest of Martin Luther King, Jr. (photograph) <p>Martin Luther King, Jr. in Birmingham Jail (photograph) <p><B><p><I></B>A Dream of Freedom&#58; A Collection of Poems by Langston Hughes <p></I><B>Langston Hughes</B>, Let America Be America Again <p><B>Langston Hughes</B>, Open Letter to the South <p><B>Langston Hughes</B>, Theme for English B <p><B>Langston Hughes</B>, Harlem <p><p><I>The Cage of Socialization&#58; Stories <p></I><B>*Karen Russell</B>, St. Lucy&#8217;s Home for Girls Raised by Wolves <p><B>Steven Millhauser</B>, Kaspar Hauser Speaks <p><p><p><B>13. Doing Justice <p></B><I><p>On Trial&#58; Essays <p></I><B>Scott Russell Sanders</B><I>, </I>Doing Time in the Thirteenth Chair <p><B>*Kathleen Alcala</B>, The Woman Who Loved Water <p><B>*Slavenka Drakulic</B>, He Would Never Hurt a Fly <p><B>Maxine Hong Kingston</B>, No Name Woman <p><p><I>Discovering Injustice&#58; Stories <p></I><B>Nathaniel Hawthorne</B>, Young Goodman Brown <p><B>Toni Cade Bambara</B>, The Lesson <p><p><I>Punishments&#58; Poems <p></I><B>Carolyn Forch&#233;</B>, The Colonel <p><B>Seamus Heaney</B>, Punishment <p><B>Rita Dove</B>, Parsley <p><B>Sherman Alexie</B>, Capital Punishment <p><p><I>He Said/She Said&#58; Re-Visions of a Poem <p></I><B>Robert Browning</B>, My Last Duchess <p><B>Gabriel Spera</B>, My Ex-Husband <p><p><I>Avenging a Killing&#58; Stories <p></I><B>Andre Dubus,</B> Killings <p><B></B><B>Yiyun Li</B>, Persimmons <p><p><I>Issues of Guilt&#58; A Collection of Stories by Edgar Allan Poe <p></I><B>Edgar Allan Poe</B>, The Cask of Amontillado <p><B>Edgar Allan Poe</B>, The Telltale Heart <p><B>*Edgar Allan Poe</B>, Hop-Frog <p><I><p>Eyewitness Testimony&#58; Cultural Contexts for a Play <p></I><B>*Ida Fink</B>, The Table <p>Cultural Contexts <p><B>*Wladyslaw Szpilman</B>, The <I>Umschleagplatz <p></I><B>*Inga Clendinnen</B>, Assessing Witness Testimony&#58; Flilip Muller <p><B>*Dori Laub</B> and <B>Shoshana Felman</B>, Bearing Witness <p><B><p></B><I>Misfit Justice&#58; Critical Commentaries on a Story <p></I><B>Flannery O&#8217;Connor</B>, A Good Man Is Hard to Find <p>Critical Commentaries <p><B>Flannery O&#8217;Connor</B>, from <I>Mystery and Manners <p></I><B>Martha Stephens</B>, from <I>The Question of Flannery O&#8217;Connor <p></I><B>Madison Jones</B>, from "A Good Man&#8217;s Predicament" <p><B>Stephen Bandy</B>, from "&#8217;One of My Babies&#8217;&#58; The Misfit and the Grandmother" <p><p><I>Conscience on Trial&#58; A Play and Images <p></I><B>Sophocles</B>, Antigone <p>Images&#58; <p><B>Jose Domjan</B>, Poster for a Production of <I>Antigone <p></I><B>Wieslaw Grzegorczyk</B>, Poster for a Production of <I>Antigone <p></I><B>Moreland Theatre Company</B>, Poster for a Production of <I>Antigone <p></I><p><I>Religious Justice&#58; Stories <p></I><B>Hanif Kureishi</B>, My Son, The Fanatic <p><B>*Rishi Reddi</B>, Lord Krishna <p><p><I>Racial Injustice&#58; Poems <p></I><B>Countee Cullen</B>, Incident <p><B>*Natasha Trethewey</B>, Incident <p><B><p>14. Journeys <p></B><I><p>An Errand of Love? Critical Commentaries on a Story <p></I><B>*Eudora Welty</B>, A Worn Path <p>Critical Commentaries&#58; <p><B>*Roland Bartel</B>, Life and Death in Eudora Welty&#8217;s "A Worn Path" <p><B>*Neil Isaacs</B>, Life for Phoenix <p><B>*Eudora Welty</B>, Is Phoenix Jackson&#8217;s Grandson Really Dead? <p><p><I>Dangerous Journeys&#58; Stories <p></I><B>*Joyce Carol Oates</B>, Where Are You Going, Where Have You Been? <p><B>*Tim O&#8217;Brien</B>, Sweetheart of the Song Tra Bong <p><B>*Sherman Alexie</B>, What You Pawn I Will Redeem <p><p><p><I>Roads Taken&#58; A Collection of Poems by Robert Frost <p></I><B>*Robert Frost</B>, Stopping by Woods on a Snowy Evening <p><B>*Robert Frost</B>, The Road Not Taken <p><B>*Robert Frost</B>, Acquainted with the Night <p><p><I>Journeys to the Past&#58; Essays <p></I><B>*Joan Didion</B>, On Going Home <p><B>*E. B. White</B>, Once More to the Lake <p><B>N. Scott Momaday</B>, The Way to Rainy Mountain <p><B>*Marianna De Marco Torgovnick</B>, On Being White, Female, and Born in Bensonhurst <p><p><I>Inner Journeys&#58; Stories <p></I><B>*Willa Cather</B>, Wagner Matinee <p><B>*Bobbie Ann Mason</B>, Shiloh <p><B>*John Cheever</B>, The Swimmer <p><p><I>A Journey&#8217;s Terrifying Beginning&#58; Cultural Contexts for a Story <p></I><B>Ralph Ellison</B>, "Battle Royal" <p>Cultural Contexts&#58; <p><B>Booker T. Washington</B>, Atlanta Exposition Address <p><B>W.E. B. DuBois</B>, Of Mr. Booker T. Washington <p><B>Gunnar Myrdal</B>, Social Equality <p><p><I>Journeys to a Dark Future&#58; Stories <p></I><B>*Octavia Butler</B>, Human Evolution <p><B>*Douglas Coupland</B>, Shopping Is Not Creating <p><B>*Ursula LeGuin</B>, The Ones Who Walk Away from Omelas <p><B>*Kurt Vonnegut, Jr.</B>, Harrison Bergeron <p><p><I>Accidental Journeys&#58; Poems <p></I><B>*William Stafford</B>, Traveling Through the Dark <p><B>*John Burnside</B>, Penitence <p><B>*Robert Wrigley</B>, Highway 12, Just East of Paradise, Idaho <p><B>*James Tate</B>, Thinking Ahead to Possible Options and the Worse Case Scenario <p><B>*Loren Goodman</B>, Traveling Through the Dark (2005) <p><p><I>End of a Journey&#58; A Play and Images <p></I><B>Marsha Norman</B>, <I>&#8217;night, Mother <p></I>Images of Jessie and Thelma <p><B>*</B>Kathy Bates and Anne Pituiak (1983; photograph) <p><B>*</B>Edie Falco and Brenda Blethyn (2004; photograph) <p><B>*</B>Oracle Theatre Production (2006; photograph) <p><B><I><p></B>A Journey to Death&#58; Poems <p></I><B>*Mary Oliver</B>, When Death Comes <p><B>John Donne</B>, Death Be Not Proud <p><B>Dylan Thomas</B>, Do Not Go Gentle into That Good Night <p><B>Wislawa Szymborska</B>, On Death, without Exaggeration <p><I><p>Journey to Experience&#58; Re-Visions of a Story <p></I><B>Charles Perrault</B>, Little Red Riding Hood <p><B>Jakob</B> and <B>Wilhelm Grimm</B>, Little Red Cap <p><B>Angela Carter</B>, The Company of Wolves <p><p><I>Crossing the Waters&#58; Poems <p></I><B>*Katia Kapovich</B>, The Ferry <p><B>*Linda Pastan</B>, Leaving the Island <p><B>*Anne Sexton</B>, Letter Written on a Ferry While Crossing Long Island Sound <p><B>Mark Doty</B>, Night Ferry <p><p><B>Appendix&#58; Critical Approaches to Literature <p></B>Contemporary Schools of Criticism <p><B></B>Working with the Critical Approaches <p><B>James Joyce</B>, Counterparts (story) <p><B>Ann Petry</B>, Like a Winding Sheet (story) <p><p><B>Index of Authors, Titles, and First Lines</B> <p><B>Index of Key Terms</B> <p><P><B>* new to this edition<p><p></B>
109Luis Valdez - Early Works: Actos, Bernabe and Pensamiento SerpentinoLuis Valdez0Luis Valdez, Teatro Campesinoluis-valdez-early-worksluis-valdez97815588500331558850031$4.90HardcoverArte Publico PressJanuary 19901st EditionPeoples & Cultures - American Anthologies1894.88 (w) x 8.66 (h) x 0.50 (d)<p>Drama. EARLY WORKS: ACTOS, BERNABE AND PENSAMIENTO SERPENTINE is three books in one: 1) a collection of one act plays by Valdez and the famous farmworker theater, El Teatro Campesino, 2) one of the first fully realized, full-length plays by Valdez alone, and 3) an original narrative poem by Luis Valdez. In the first part are collected the original, improvised works of El Teatro Campesino that deal with the exploitation of Mexican farm labor in the California fields, the discrimination found by Mexicans in the schools, and Mexicans being turned into cannon fodder by the U.S. Army in Vietnam. Bernabe is a touching, Lorcaesque poetic drama about a town fool's enchantment and ultimate unity with the earth. Pensamiento serpentino is a long, philosophical poem, based on Mayan thought and cosmology, which analyzes the cultural, religious and political circumstances of Mexican Americans and prepares a metaphysical framework for their future.</p>
110In Our Own Words: Student Writers at WorkRebecca Mlynarczyk0Rebecca Mlynarczyk, Steven B. Haberin-our-own-wordsrebecca-mlynarczyk97805215402850521540283$33.09PaperbackCambridge University PressApril 20053rd EditionNonfiction Writing - General & Miscellaneous, English Language Readers, Rhetoric - English Language, American Literature Anthologies, ESL (English as a Second Language) - Reference2887.01 (w) x 10.04 (h) x 0.59 (d)<p>In Our Own Words takes the unique approach of using student writing as a resource for writing instruction and idea development. The defining characteristic of this unique high-intermediate to advanced writing text is the use of non-native student writing to teach writing. This feature makes the text easily accessible to and popular with students. The third edition features 15 new readings by student writers, five new readings by professional writers, updated writing topics, Internet activities to support the writing process, and contextualized revising and editing activities.</p><p>In Our Own Words takes the unique approach of using student writing as a resource for writing instruction and idea development.</p><TABLE><TR><TD WIDTH="20%">Ch. 1</TD><TD WIDTH="70%">Thinking of yourself as a writer</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%">Ch. 2</TD><TD WIDTH="70%">Experiences</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%">Ch. 3</TD><TD WIDTH="70%">People</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%">Ch. 4</TD><TD WIDTH="70%">Places</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%">Ch. 5</TD><TD WIDTH="70%">Oral history : writing based on interviews</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%">Ch. 6</TD><TD WIDTH="70%">Families in transition : writing based on reading</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%">Ch. 7</TD><TD WIDTH="70%">Issues of identity : writing based on research</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD></TABLE>
111TouchToni Press-Coffman0Toni Press-Coffmantouchtoni-press-coffman97808222205580822220555$7.20PaperbackDramatists Play Service, IncorporatedNovember 2005Drama Anthologies, American Drama, Love & Relationships - Drama, American Literature Anthologies5152.50 (w) x 75.00 (h) x 2.50 (d)Kyle Kalke, an astronomer since childhood, a high school "science nerd," falls in love with flamboyant, outspoken, openhearted Zoe, who—astonishingly—loves him back. When she is kidnapped and murdered, Kyle barricades himself by devoting himself more feverishly to the cosmos and losing himself in loveless sex. TOUCH is about a man in despair questioning whether there is any point to rediscovering passion, risking connection, groping toward the touch that will rekindle joy.<p>Kyle Kalke, an astronomer since childhood, a high school "science nerd," falls in love with flamboyant, outspoken, openhearted Zoe, who astonishingly loves him back. When she is kidnapped and murdered, Kyle barricades himself by devoting himself more feverishly to the cosmos and losing himself in loveless sex. TOUCH is about a man in despair questioning whether there is any point to rediscovering passion, risking connection, groping toward the touch that will rekindle joy.</p><h3>NY Times</h3><p>...a gripping, heart-wrenching, tender drama whose scenes shift seamlessly, character to character, past to present.</p><article> <h4>Miami Herald</h4>So often these days, theater aspires to nothing more than sheer escapism. But now and then, a deeply touching play comes along. TOUCH is one of those. </article> <article> <h4>NY Times</h4>...a gripping, heart-wrenching, tender drama whose scenes shift seamlessly, character to character, past to present. </article><article> <h4>Portland Oregonian</h4>Toni Press-Coffman's play celebrates the beauty of survival with eloquence and grace. </article>
112The American Tradition in Literature, Volume 1(book alone)George Perkins0<p><P>George Perkins is Professor of English at Eastern Michigan University and an Associate Editor of<P>Narrative. He holds degrees from Tufts and Duke universities and received his Ph.D. from Cornell.<P>He has been a Fulbright Lecturer at the University of Newcastle in Australia and has held a Fellowship at the Institute for Advanced Studies in the Humanities at the University of Edinburgh. In addition to Newcastle and Edinburgh, he has taught at Washington University, Baldwin-Wallace College and Fairleigh Dickinson University. His books include THE THEORY OF THE AMERICAN NOVEL, REALISTIC AMERICAN SHORT FICTION, AMERICAN POETIC THEORY, THE HARPER HANDBOOK TO LITERATURE (with Northrup Frye and Sheridan Baker), THE PRACTICAL<P>IMAGINATION (with Frye, Baker and Barbara Perkins), BENET'S READER'S ENCYCLOPEDIA OF AMERICAN LITERATURE (with Barbara Perkins), KALEIDOSCOPE&#58; Stories of the American<P>Experience (with Barbara Perkins), WOMEN'S WORK; An Anthology of American Literature (with<P>Barbara Perkins and Robyn Warhol), and THE AMERICAN TRADITION IN LITERATURE, 9TH edition <P>(with Barbara Perkins).<P>Barbara Perkins is Adjunct Professor of English at the University of Toledo and Associate Editor of Narrative. Since its founding, she has served as Secretary-Treasurer of the Society for the Study of Narrative Literature. She received her Ph.D. from the University of Pennsylvania and has taught at Baldwin-Wallace College, The University of Pennsylvania, Fairleigh Dickinson University, Eastern Michigan University, and the University of Newcastle, Australia. She has contributed essays to several reference works including CONTEMPORARY NOVELISTS, GREAT WRITERS OF THE ENLGISH LANGUAGE, and THE WORLD BOOK ENCYCLOPEDIA. Her books include CONTEMPORARY AMERICAN LITERATURE (with George Perkins), BENET'S READER'S ENCYCLOPEDIA OF<P>AMERICAN LITERATURE (with George Perkins and Phillip Leininger), KALEIDOSCIPE&#58; Stories<P>Of the American Experience (with George Perkins), WOMEN'S WORK&#58; An Anthology of American Literature (with George Perkins and Robyn Warhol) and THE AMERICAN TRADITION IN LITERATURE, 9th edition (with George Perkins).</p>George Perkins, Barbara Perkinsthe-american-tradition-in-literature-volume-1george-perkins97800772390460077239040$100.79PaperbackMcGraw-Hill Companies, TheOctober 200812nd EditionAmerican Literature Anthologies20405.90 (w) x 9.10 (h) x 2.00 (d)<p>Widely known as the anthology that best unites tradition with innovation, The American Tradition in Literature is proud to enter its fifth decade of leadership among textbook anthologies of American literature.</p> <p>Each volume continues to offer a flexible organization, with literary merit as the guiding principle of selection. The new photos and illustrations illuminate the texts and literary/historical timelines help students put works in context.</p><p><P>Widely known as the anthology that best unites tradition with innovation, The American Tradition in Literature is proud to enter its fifth decade of leadership among textbook anthologies of American literature.<P>Each volume continues to offer a flexible organization, with literary merit as the guiding principle of selection. The new photos and illustrations illuminate the texts and literary/historical timelines help students put works in context.</p><P>List of illustrations</p>Preface <br><br>EXPLORATION AND THE COLONIES, 1492-1791 </p>Virginia and the South </p>New England </p>Timeline: Exploration and the Colonies<br><br></p>NATIVES AND EXPLORERS</p>NATIVE LITERATURE: THE ORAL TRADITION </p>A Tale of the Sky World </p>The Chief&#8217;s Daughters </p>Coyote and Bear </p>Twelfth Song of the Thunder </p>The Corn Grows Up </p>At the Time of the White Dawn </p>Snake the Cause </p>The Weaver&#8217;s Lamentation </p>CHRISTOPHER COLUMBUS (1451&#8211;1506) </p>[Report on the First Voyage] </p>GIOVANNI DA VERRAZZANO (1485?&#8211;1528) </p>From Verrazzano's Voyage: 1524 </p>ALVAR N&#218;&#209;EZ CABEZ DE VACA (c. 1490&#8211;c. 1557) </p>From The Narrative of Cabeza de Vaca </p>Chapter 12: The Indians Bring Us Food </p>Chapter 16: The Christians Leave the Island of Malhado </p>RICHARD HAKLUYT (1552&#8211;1616) </p>From The Famous Voyage of Sir Francis Drake </p>[Nova Albion] </p>SAMUEL DE CHAMPLAIN (c. 1567&#8211;1635) </p>From Voyages of Samuel de Champlain: The Voyages of 1604&#8211;1607 </p>Chapter 8: Continuation of the discoveries along the coast of the Almouchiquois, and what we observed in detail <br><br></p>THE COLONIES</p>JOHN SMITH (1580&#8211;1631) </p>From The General History of Virginia, New England, and the Summer Isles </p>From The Third Book: The Proceedings and Accidents of the English Colony in Virginia </p>Chapter II: What Happened till the First Supply </p>From The Fourth Book: The Proceedings of the English after the Alteration of the Government of Virginia </p>John Smith's Relation to Queen Anne of Pocahontas (1616) </p>From The Sixth Book: The General History of New England </p>The Description of New England </p>WILLIAM BRADFORD (1590&#8211;1657) </p>From Of Plymouth Plantation, Book I </p>Chapter IX: Of Their Voyage, and How They Passed the Sea; and of Their Safe Arrival at Cape Cod </p>Chapter X: Showing How They Sought Out a Place of Habitation; and What Befell Them Thereabout </p>From Of Plymouth Plantation, Book II </p>[The Mayflower Compact (1620)] </p>[Compact with the Indians (1621)] </p>[First Thanksgiving (1621)] </p>[Narragansett Challenge (1622)] </p>[Thomas Morton of Merrymount (1628)] </p>THOMAS MORTON (c. 1579&#8211;1647) </p>New English Canaan </p>From The First Book: Containing the Original of the Natives, Their Manners, and Customs, with Their Tractable Nature and Love towards the English </p>Chapter IV: Of Their Houses and Habitations </p>Chapter XV: Of Their Admirable Perfection in the Use of the Senses </p>From The Third Book Containing a Description of the People That Are Planted There, What Remarkable Accidents Have Happened There Since They Were Settled, What Tenants They Hold, Together with the Practice of Their Church </p>Chapter XIV: Of the Revels of New Canaan </p>Chapter XV: Of a Great Monster Supposed to be at Ma&#8211;re Mount and the Preparation Made to Destroy It </p>JOHN WINTHROP (1588&#8211;1649) </p>From A Model of Christian Charity </p>Chapter 1, A Model Hereof </p>ROGER WILLIAMS (1603?&#8211;1683) </p>From The Bloody Tenet of Persecution for Cause of Conscience </p>Preface </p>Chapter XCIII </p>Letter to the Town of Providence <br><br></p>PURITANISM</p>ANNE BRADSTREET (1612?&#8211;1672) </p>The Prologue </p>The Flesh and the Spirit </p>Contemplations </p>The Author to Her Book </p>Before the Birth of One of Her Children </p>To My Dear and Loving Husband </p>A Letter to Her Husband, Absent upon Public Employment </p>Another [Letter of Her Husband, Absent upon Public Employment] </p>In Memory of My Dear Grandchild Elizabeth Bradstreet, Who Deceased August, 1665 Being a Year and a Half Old </p>Upon the Burning of Our House, July 10th, 1666 </p>MICHAEL WIGGLESWORTH (1631&#8211;1705) </p>From The Day of Doom </p>MARY ROWLANDSON (1636?&#8211;1711?) </p>From A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson </p>SAMUEL SEWALL (1652&#8211;1730) </p>From The Diary of Samuel Sewall </p>[Customs, Courts, and Courtships] </p>EDWARD TAYLOR (1642?&#8211;1729) </p>The Preface </p>Meditation 1, First Series </p>Upon Wedlock, and Death of Children </p>The Experience </p>Huswifery </p>Meditation 8, First Series </p>Upon a Spider Catching a Fly </p>A Fig for Thee Oh! Death <br><br></p>CROSSCURRENTS: Puritans, Indians, and Witchcraft</p>WILLIAM WOOD (FL 1628&#8211;1635) </p>[Native Religion] </p>JOHN WINTHROP (1588&#8211;1649) </p>[The Trial of Margaret Jones] </p>COTTON MATHER (1663&#8211;1728) </p>[Indian Powaws and Witchcraft] </p>MARY TOWNE EASTY (1634?&#8211;1692) </p>[The Petition of Mary Easty] </p>SAMUEL SEWALL (1652&#8211;1730) </p>[A Witchcraft Judge&#8217;s Confession of Guilt] <br><br></p>COTTON MATHER (1663&#8211;1728) </p>From The Wonders of the Invisible World </p>Enchantments Encountered </p>The Trial of Bridget Bishop, alias Oliver, at the Court of Oyer and Terminer, Held at Salem, June 2, 1692 </p>A Third Curiosity </p>From Magnalia Christi Americana </p>The Life of John Winthrop </p>From Bonifacius: Essays to Do Good </p>On Internal Piety and Self&#8211;Examination </p>SARAH KEMBLE KNIGHT (1666&#8211;1727) </p>From The Journal of Madam Knight </p>[New England Frontier] </p> [Connecticut] </p> [New York City] <br><br></p>THE SOUTH AND THE MIDDLE COLONIES</p>WILLIAM BYRD (1674&#8211;1744) </p>From The History of the Dividing Line </p>[The Marooner] </p>[Lubberland] </p>[Indian Neighbors] </p>JOHN WOOLMAN (1720&#8211;1772) </p>From The Journal of John Woolman </p>1720&#8211;1742 [Early Years] </p>1749&#8211;1756 [On Merchandise] </p>1757 [Evidence of Divine Truth] </p>[Slavery] </p>1755&#8211;1758 [Taxes and Wars] </p>ST JEAN DE CR&#200;VECOEUR (1735&#8211;1813) </p>From Letters from an American Farmer </p>What Is an American? </p>Description of Charles&#8211;Town; Thoughts on Slavery; On Physical Evil; A </p>Melancholy Scene </p>From Sketches of Eighteenth Century America </p>Manners of the Americans </p>WILLIAM BARTRAM (1739&#8211;1823) </p>From Travels through North and South Carolina, Georgia, East and West Florida </p> [Alligators] </p> [The Amazing Crystal Fountain] <br><br>REASON AND REVOLUTION, 1725-1800</p>The Enlightenment and the Spirit of Rationalism </p>From Neoclassical to Romantic Literature </p>Timeline: Reason and Revolution </p>JONATHAN EDWARDS (1703&#8211;1758) </p>Sarah Pierrepont </p>From A Divine and Supernatural Light </p>Sinners in the Hands of an Angry God </p>Personal Narrative </p>BENJAMIN FRANKLIN (1706&#8211;1790) </p>From The Autobiography </p>From Poor Richard's Almanack </p>Preface to Poor Richard, 1733 </p>The Way to Wealth: Preface to Poor Richard, 1758 </p>The Speech of Polly Baker </p>An Edict by the King of Prussia </p>From Information to Those Who Would Remove to America </p>Letter to Ezra Stiles [Here Is My Creed] </p>Speech in the [Constitutional] Convention, at the Conclusion of Its Deliberations </p>THOMAS PAINE (1737&#8211;1809) </p>From Common Sense </p>Thoughts on the Present State of American Affairs </p>The American Crisis </p>From The Age of Reason </p>[Profession of Faith] </p>[Of Myth and Miracle] </p>[Christian Revelation and Nature] </p>[First Cause: God of Reason] </p>[Recapitulation] </p>JOHN ADAMS (1735&#8211;1826) and ABIGAIL ADAMS (1744&#8211;1818) </p>Letters </p>THOMAS JEFFERSON (1743&#8211;1826) </p>The Declaration of Independence </p>First Inaugural Address </p>From Notes on the State of Virginia </p>[A Southerner on Slavery] </p>[Speech of Logan] </p>Letter to Dr Benjamin Rush [The Christian Deist] </p>Letter to John Adams [The True Aristocracy] </p>OLAUDAH EQUIANO (1745?&#8211;1797?) </p>From The Interesting Narrative of the Life of Olaudah Equiano </p>Chapter 2 [Horrors of a Slave Ship] </p>Chapter 3 [Travels from Virginia to England] </p>Chapter 7 [He Purchases His Freedom] </p>PHILLIS WHEATLEY (1753?&#8211;1784) </p>To the University of Cambridge, in New-England </p>On Being Brought from Africa to America </p>On the Death of the Reverend Mr. George Whitefield </p>An Hymn to the Evening </p>To S. M. a Young African Painter, on Seeing His Works </p>To His Excellency General Washington </p>THE FEDERALIST (1787&#8211;1788) </p>The Federalist No. 1 [Alexander Hamilton] </p>The Federalist No. 10 [James Madison] </p>PHILIP FRENEAU (1752&#8211;1832) </p>To Sir Toby </p>To the Memory of the Brave Americans </p>On Mr. Paine's Rights of Man </p>The Wild Honey Suckle </p>The Indian Burying Ground </p>On the Universality and Other Attributes of the God of Nature </p>JOEL BARLOW (1754&#8211;1812) </p>The Hasty&#8211;Pudding </p>ROYALL TYLER (1757&#8211;1826) </p>The Contrast </p>SUSANNA HASWELL ROWSON (1762&#8211;1824) </p>From Charlotte Temple: A Tale of Truth </p>Preface </p>Chapter I A Boarding School </p>Chapter VI An Intriguing Teacher </p>Chapter VII Natural Sense of Propriety Inherent in the Female Bosom </p>Chapter IX We Know Not What a Day May Bring Forth </p>Chapter XII </p>Chapter XVIII Reflections </p>Chapter XX </p>Chapter XXXIII Which People Void of Feeling Need Not Read </p>Chapter XXXIV Retribution </p>CHARLES BROCKDEN BROWN (1771&#8211;1810) </p>From Edgar Huntly </p>Chapter XV </p>Chapter XVI <br><br>THE ROMANTIC TEMPER, 1800-1870</p>Regional Influences </p>Nature and the Land </p>The Original Native Americans </p>Timeline: The Romantic Temper </p>RED JACKET (c. 1752&#8211;1830) </p> [The Great Spirit Has Made Us All] </p>TECUMSEH (1768&#8211;1813) </p> [The White Men Are Not Friends to the Indians] </p>WASHINGTON IRVING (1783&#8211;1859) </p>From The Sketch Book </p>The Author's Account of Himself </p>Rip Van Winkle </p>The Legend of Sleepy Hollow <br><br></p>CROSSCURRENTS: Romanticism and the American Indian </p>SIR WALTER SCOTT (1771&#8211;1832) </p> [The Novel and the Romance] </p>WASHINGTON IRVING (1783&#8211;1859)</p>*Traits of Indian Character</p>JANE JOHNSTON SCHOOLCRAFT [BAMEWAWAGEZHIKAQUAY] (1800&#8211;1842)</p>*Invocation: To My Material Grandfather on Hearing of His Descent from Chippewa Ancestors Misrepresented</p>WILLIAM GILMORE SIMMS (1806&#8211;1870)</p> [The American Romance]</p>LYDIA MARIA CHILD (1802&#8211;1880) </p>*The Lone Indian </p>LYDIA HOWARD HUNTLEY SIGOURNEY (1791&#8211;1865) </p>The Indian&#8217;s Welcome to the Pilgrim Fathers</p>Indian Names<br><br></p>JAMES FENIMORE COOPER (1789&#8211;1851) </p>From The Pioneers, or The Sources of the Susquehanna </p>Chapter I </p>Chapter III </p>Chapter IV </p>Chapter V </p>Chapter VII </p>Chapter XVII </p>Chapter XVIII </p>Chapter XXII </p>Chapter XXIII </p>Chapter XXIV </p>Chapter XXVI </p>Chapter XXVII </p>Chapter XXVIII </p>Chapter XXX </p>Chapter XXXI </p>Chapter XXXIII </p>Chapter XXXV </p>Chapter XXXVI </p>Chapter XXXVII </p>Chapter XXXVIII </p>Chapter XXXIX </p>Chapter XL </p>Chapter XLI </p>CATHERINE MARIA SEDGWICK (1789&#8211;1867) </p>From Hope Leslie, or Early Times in Massachusetts </p>Chapter II </p>Chapter III </p>Chapter IV </p>Chapter V </p>Chapter VI </p>Chapter VII </p>WILLIAM CULLEN BRYANT (1794&#8211;1878) </p>Thanatopsis </p>The Yellow Violet </p>Inscription for the Entrance to a Wood </p>To a Waterfowl </p>A Forest Hymn </p>To Cole, the Painter, Departing for Europe </p>To the Fringed Gentian </p>The Prairies </p>The Poet </p>The Death of Lincoln </p>HENRY ROWE SCHOOLCRAFT (1793&#8211;1864) </p>Manabozho or, The Great Incarnation of the North </p>CAROLINE STANSBURY KIRKLAND (1801&#8211;1864) </p>From A New Home: Who'll Follow? </p>Chapter I </p>Chapter II </p>Chapter V </p>Chapter VI </p>FRANCIS PARKMAN (1823&#8211;1893) </p>From The Oregon Trail </p>Chapter XXIV: The Chase <br><br></p>*CROSSCURRENTS: Nature and the Environment in a New World</p>FRANCIS HIGGINSON (1586&#8211;1630)</p>From New England&#8217;s Plantation</p>WILLIAM BARTRAM (1739&#8211;1832)</p>From Travels through North and South Carolina, Georgia, East and West Florida </p>[Indian Corn, Green Meadows, and Strawberry Fields]</p>JOHN JAMES AUDUBON (1785&#8211;1851)</p>*From The Ornithological Biography </p>Kentucky Sports</p>FRANCIS PARKMAN (1823&#8211;1893)</p>*From The Oregon Trail </p>Chapter VII: The Buffalo</p>JANE JOHNSTON SCHOOLCRAFT [BAMEWAWAGEZHIKAQUAY] (1800&#8211;1842)</p>*On Leaving My Children John and Jane at School, in the Atlantic States, and Preparing to Return to the Interior<br><br></p>ROMANTICISM AT MID-CENTURY</p>EDGAR ALLAN POE (1809&#8211;1849) </p>Romance </p>Sonnet&#8212;To Science </p>Lenore </p>The Sleeper </p>Israfel </p>To Helen </p>The City in the Sea </p>Sonnet&#8212;Silence </p>The Raven </p>Ulalume </p>The Bells </p>Annabel Lee </p>Ligeia </p>The Fall of the House of Usher </p>*The Tell-Tale Heart </p>The Purloined Letter </p>The Cask of Amontillado </p>The Philosophy of Composition </p>NATHANIEL HAWTHORNE (1804&#8211;1864) </p>My Kinsman, Major Molineux </p>Young Goodman Brown </p>The Minister's Black Veil </p>The Maypole of Merry Mount </p>The Birthmark </p>Rappaccini's Daughter </p>Ethan Brand </p>Preface to The House of the Seven Gables </p>Preface to the Second Edition of The Scarlet Letter </p>The Custom-House </p>The Scarlet Letter </p>HERMAN MELVILLE (1819&#8211;1891) </p>From Hawthorne and His Mosses </p>Bartleby the Scrivener </p>Benito Cereno </p>The Portent </p>The March into Virginia </p>A Utilitarian View of the Monitor's Fight </p>The College Colonel </p>An Uninscribed Monument </p>The Maldive Shark </p>Lone Founts</p>Art </p>Billy Budd, Sailor <br><br></p>TRANSCENDENTALISM</p>RALPH WALDO EMERSON (1803&#8211;1882) </p>Nature </p>The American Scholar </p>The Divinity School Address </p>Self-Reliance </p>The Over-Soul </p>The Poet </p>Concord Hymn </p>Each and All </p>The Rhodora </p>The Snow-Storm </p>Hamatreya </p>The Apology </p>Ode (Inscribed to W. H. Channing) </p>Brahma </p>Days </p>MARGARET FULLER (1810&#8211;1850) </p>From Woman in the Nineteenth Century <br><br></p>CROSSCURRENTS: Transcendentalism, Women, and Social Ideals </p>ELIZABETH PEABODY (1804&#8211;1894) </p> [Labor, Wages, and Leisure] </p>CHARLES DICKENS (1812&#8211;1870) </p>From American Notes </p>[The Mill Girls of Lowell] </p>ELIZABETH CADY STANTON (1815&#8211;1902) </p>Declaration of Sentiments [Seneca Falls, 1848] </p>SOJOURNER TRUTH (C 1797&#8211;1883) </p> [Ar&#8217;n&#8217;t I a Woman?] </p>FANNY FERN (1811&#8211;1872) </p>Aunt Hetty on Matrimony </p>The Working&#8211;Girls of New York <br><br></p>HENRY DAVID THOREAU (1817&#8211;1862) </p>Walden </p>Civil Disobedience </p>Life without Principle <br><br> THE HUMANITARIAN SENSIBILITY AND THE INEVITABLE CONFLICT, 1800-1870 </p>Democracy and Social Reform </p>Inevitable Conflict </p>Timeline: The Humanitarian Sensibility and the Inevitable Conflict <br><br></p>CROSSCURRENTS: Slavery, the Slave Trade, and the Civil War </p>BRITON HAMMON (fl 1760) </p>From Narrative of the Uncommon Sufferings, and Surprizing Deliverance of Britton Hammon, a Negro Man </p>WILLIAM CUSHING (1732&#8211;1810) </p> [Slavery Inconsistent with Our Conduct and Constitution] </p>ALEXANDER FALCONBRIDGE (1760&#8211;1792)</p>*From An Account of the Slave Trade, on the Coast of Africa</p>HENRY WADSWORTH LONGFELLOW (1807&#8211;1882)</p>The Witnesses </p>The Quadroon Girl</p>LYDIA MARIA CHILD (1802&#8211;1880) </p>[Reply to Margaretta Mason] </p>SARAH MORGAN (1842&#8211;1909) </p>From The Civil War Diary of Sarah Morgan </p>SARAH MORGAN BRYAN PIATT (1836&#8211;1919)</p>*Army of Occupation<br><br></p>HENRY WADSWORTH LONGFELLOW (1807&#8211;1882) </p>A Psalm of Life</p>The Arsenal at Springfield </p>From The Song of Hiawatha </p>III Hiawatha's Childhood </p>IV Hiawatha and Mudjekeewis </p>V Hiawatha's Fasting </p>VII Hiawatha's Sailing </p>XXI The White Man's Foot </p>The Jewish Cemetery at Newport </p>My Lost Youth </p>Divina Commedia </p>The Tide Rises, the Tide Falls </p>The Cross of Snow </p>JOHN GREENLEAF WHITTIER (1807&#8211;1892) </p>Massachusetts to Virginia </p>First-Day Thoughts </p>Telling the Bees </p>Laus Deo </p>Snow-Bound </p>OLIVER WENDELL HOLMES (1809&#8211;1894) </p>Old Ironsides </p>The Last Leaf </p>My Aunt </p>The Chambered Nautilus </p>ABRAHAM LINCOLN (1809&#8211;1865) </p>Farewell Address at Springfield </p>Reply to Horace Greeley </p>Address at the Dedication of the Gettysburg National Cemetery </p>Second Inaugural Address </p>HARRIET BEECHER STOWE (1811&#8211;1896) </p>From Uncle Tom's Cabin; or Life among the Lowly </p>Chapter VII: The Mother's Struggle </p>Chapter XIX: Miss Ophelia's Experiences and Opinions, Continued </p>Chapter XL: The Martyr </p>Chapter XLI: The Young Master </p>From Oldtown Folks </p>Miss Asphyxia </p>HARRIET JACOBS (1813&#8211;1897) </p>From Incidents in the Life of a Slave Girl </p>VI: The Jealous Mistress </p>XVII: The Flight </p>XVIII: Months of Peril </p>XIX: The Children Sold </p>FREDERICK DOUGLASS (1817?&#8211;1895) </p>Narrative of the Life of Frederick Douglass </p>JAMES RUSSELL LOWELL (1819&#8211;1891) </p>From A Fable for Critics </p></p>From The Biglow Papers, First Series </p>No I: A Letter </p>From Ode Recited at the Harvard Commemoration </p>REBECCA HARDING DAVIS (1831&#8211;1910) </p>Life in the Iron-Mills <br><br></p>CROSSCURRENTS: Faith and Crisis</p>HERMAN MELVILLE (1819&#8211;1981)</p>*From Moby-Dick, or, The Whale</p> From Chapter 41, Moby-Dick</p>SARAH MORGAN BRYAN PIATT (1836&#8211;1919)</p>*No Help</p>EMILY DICKINSON (1830&#8211;1886)</p>*338 [I know that He exists]</p>376 [Of course&#8212;I prayed&#8212;] <br><br>PIONEERS OF A NEW POETRY, 1855-1892</p>WALT WHITMAN (1819&#8211;1892) </p>Preface to the 1855 Edition of Leaves of Grass </p>Song of Myself </p>Once I Pass'd Through a Populous City </p>Facing West from California's Shores </p>For You O Democracy </p>I Saw in Louisiana a Live-Oak Growing </p>I Hear It Was Charged Against Me </p>Crossing Brooklyn Ferry </p>Out of the Cradle Endlessly Rocking </p>As I Ebb'd with the Ocean of Life </p>When I Heard the Learn'd Astronomer </p>The Dalliance of the Eagles </p>Beat! Beat! Drums! </p>Cavalry Crossing a Ford </p>Vigil Strange I Kept on the Field One Night </p>A March in the Ranks Hard-Prest, and the Road Unknown </p>A Sight in Camp in the Daybreak Gray and Dim </p>The Wound-Dresser </p>Reconciliation </p>When Lilacs Last in the Dooryard Bloom'd </p>There Was a Child Went Forth </p>To a Common Prostitute </p>The Sleepers </p>A Noiseless Patient Spider </p>To a Locomotive in Winter </p>So Long! </p>Good-bye My Fancy! </p>From Specimen Days</p>Abraham Lincoln </p>The Million Dead, Too, Summ'd Up </p>EMILY DICKINSON (1830&#8211;1886) </p>49 [I never lost as much but twice] </p>67 [Success is counted sweetest] </p>130 [These are the days when Birds come back&#8212;] </p>214 [I taste a liquor never brewed&#8212;] </p>241 [I like a look of Agony] </p>249 [Wild Nights&#8212;Wild Nights!] </p>252 [I can wade Grief&#8212;] </p>258 [There's a certain Slant of light] </p>280 [I felt a Funeral, in my Brain] </p>285 [The Robin's my Criterion for Tune&#8212;] </p>288 [I'm Nobody! Who are you?] </p>290 [Of Bronze&#8212;and Blaze&#8212;] </p>303 [The Soul selects her own Society&#8212;] </p>320 [We play at Paste&#8212;] </p>324 [Some keep the Sabbath going to Church] </p>328 [A Bird came down the Walk&#8212;] </p>341 [After great pain, a formal feeling comes&#8212;] </p>401 [What Soft&#8212;Cherubic Creatures&#8212;] </p>435 [Much Madness is divinest Sense&#8212;] </p>441 [This is my letter to the World] </p>448 [This was a Poet&#8212;It is That] </p>449 [I died for Beauty&#8212;but was scarce] </p>465 [I heard a Fly buzz&#8212;when I died&#8212;] </p>511 [If you were coming in the Fall] </p>556 [The Brain, within its Groove] </p>579 [I had been hungry, all the Years&#8212;] </p>585 [I like to see it lap the Miles&#8212;] </p>632 [The Brain&#8212;is wider than the Sky&#8212;] </p>636 [The Way I read a Letter's&#8212;this&#8212;] </p>640 [I cannot live with You&#8212;] </p>650 [Pain&#8212;has a Element of Blank&#8212;] </p>657 [I dwell in Possibility&#8212;] </p>701 [A Thought went up my mind today&#8212;] </p>712 [Because I could not stop for Death&#8212;] </p>732 [She rose to His Requirement&#8212;dropt] </p>754 [My Life had stood&#8212;a Loaded Gun&#8212;] </p>816 [A Death blow is a Life blow to Some] </p>823 [Not what We did, shall be the test] </p>986 [A narrow Fellow in the Grass] </p>1052 [I never saw a Moor&#8212;] </p>1078 [The Bustle in a House] </p>1082 [Revolution is the Pod] </p>1100 [The last Night that She lived] </p>1129 [Tell all the Truth but tell it slant&#8212;] </p>1207 [He preached upon "Breadth" till it argued him narrow&#8212;] </p>1263 [There is no Frigate like a Book] </p>1304 [Not with a Club, the Heart is broken] </p>1463 [A Route of Evanescence] </p>1540 [As imperceptibly as Grief] </p>1587 [He ate and drank the precious Words&#8212;] </p>1624 [Apparently with no surprise] </p>1732 [My life closed twice before its close&#8212;] </p>1760 [Elysium is as far as to] </p>Letters </p> [To Recipient Unknown, about 1858] </p> [To Recipient Unknown, about 1861] </p> [To Recipient Unknown, early 1862?] </p> [To TW Higginson, 15 April 1862] </p> [To TW Higginson, 25 April 1862] </p> [To TW Higginson, 7 June 1862] </p> [To TW Higginson, July 1862] </p> [To TW Higginson, August 1862] <br><br></p>Historical-Literary Timeline</p>Bibliography </p>Acknowledgments
113The Four Seasons: PoemsJ. D. McClatchy0<p><P>J. D. McClatchy is a poet and Professor of English at Yale University. He is a Fellow of the American Academy of Arts and Sciences and a member of the American Academy of Arts and Letters. His book <i>Hazmat</i> (Alfred A. Knopf, 2002) was nominated for the 2003 Pulitzer Prize. He edits the &quot;Voice of the Poet&quot; series for Random House AudioBooks; and has written texts for musical settings, including eight opera libretti, for such composers as William Schuman, Ned Rorem, Lorin Maazel, Bruce Saylor, Lowell Liebermann, and Elliot Goldenthal. His honors include an Award in Literature from the American Academy of Arts and Letters, and fellowships from the Guggenheim Foundation and the National Endowment for the Arts. He has also been one of the New York Public Literary Lions, and received the 2000 Connecticut Governor's Arts Award. He received the 1991 fellowship from the Academy of American Poets, and served as an Academy Chancellor from 1996 until 2003.&#160; He has edited or co-edited four previous Everyman's Library Pocket Poet volumes.</p>J. D. McClatchythe-four-seasonsj-d-mcclatchy97803072683410307268349$11.16HardcoverKnopf Doubleday Publishing GroupJune 2008Poetry Anthologies, American Poetry, English Poetry, Literature Anthologies - General & Miscellaneous, English & Irish Literature Anthologies, American Literature Anthologies2566.48 (w) x 4.38 (h) x 0.73 (d)For the poet, even the most minute details of the natural world are starting points for flights of the imagination, and the pages of this collection celebrating the four seasons are brimming with an extraordinary range of observation and imagery.&nbsp; <p>Here are poets past and present, from Chaucer, Shakespeare, and Wordsworth to Whitman, Dickinson, and Thoreau, from Keats, Blake, and Hopkins to Elizabeth Bishop, Ted Hughes, Amy Clampitt, Mary Oliver, and W. S. Merwin. Here are poems that speak of the seasons as measures of earthly time or as states of mind or as the physical expressions of the ineffable. From Robert Frost’s tribute to the evanescence of spring in “Nothing Gold Can Stay” to Langston Hughes’s moody “Summer Night” in Harlem, from the “stopped woods” in Marie Ponsot’s “End of October” to the chilling “mind of winter” in Wallace Stevens’s “The Snow Man,” the poems in this volume engage vividly with the seasons and, through them, with the ways in which we understand and engage the world outside ourselves.</p>FROM THE INTRODUCTION <p>The seasons are both segments of time and states of mind. Though ourword ‘‘season’’ derives from the Latin for ‘‘sowing’’ and refers thereby only to spring, every culture has had terms – whether winter and summer, or rainy and dry – for the sequence of great climatic changes by which the world transforms itself every year. But it’s more than what is going on outside. Our hearts have seasons as well. Mostly, we call them moods, and we lay our plans by their accustomed recurrences. We recall the crucial moments in our lives by the weather that still swirls around them in memory. Weddings and family reunions, getaways and homecomings are most often scheduled by the season. Yes, we have urgent appointments and traditional holidays, our deadlines and habits. But our bodies and their tides of desire seem to move more slowly, and are governed by the larger, more dramatic and decisive movements of the sun itself – the arrival of light and the opulence of warmth, then their slow fading and cold withdrawal. Aren’t, in fact, the seasons like the stages of a love affair?</p> <p>This is where the poets come in. They are enthusiasts and brooders. Love and death are their stock-in-trade. But first of all, they are observers. A strong imagination begins with a keen eye. The poet is interested in both the detail and the scheme, in both the streak on the tulip and the nature of beauty which the flower represents. This is why the seasons have, down the centuries, had a special appeal for poets. (It’s interesting though obvious to note that modern poets from England and especially from New England, where weather patterns are more extreme, are more likely to write about the seasons than poets from more steadily temperate parts.) This book is a virtual anthology of small details, because the seasons invite us to catalogue the terms of our love for the world. It takes hours of observation to get the tiniest half-line right that describes, say, the precise shade of a bird’s wing in flight. And such details are then the starting-point of metaphor. We can’t see anything exactly as it is unless we first see it as something else.</p><p><P>For the poet, even the most minute details of the natural world are starting points for flights of the imagination, and the pages of this collection celebrating the four seasons are brimming with an extraordinary range of observation and imagery.&#160; <P>Here are poets past and present, from Chaucer, Shakespeare, and Wordsworth to Whitman, Dickinson, and Thoreau, from Keats, Blake, and Hopkins to Elizabeth Bishop, Ted Hughes, Amy Clampitt, Mary Oliver, and W. S. Merwin. Here are poems that speak of the seasons as measures of earthly time or as states of mind or as the physical expressions of the ineffable. From Robert Frost&#8217;s tribute to the evanescence of spring in &#8220;Nothing Gold Can Stay&#8221; to Langston Hughes&#8217;s moody &#8220;Summer Night&#8221; in Harlem, from the &#8220;stopped woods&#8221; in Marie Ponsot&#8217;s &#8220;End of October&#8221; to the chilling &#8220;mind of winter&#8221; in Wallace Stevens&#8217;s &#8220;The Snow Man,&#8221; the poems in this volume engage vividly with the seasons and, through them, with the ways in which we understand and engage the world outside ourselves.</p><P>Spring<P>First Sight of Spring John Clare Clare, John 23<P>The Year's Awakening Thomas Hardy Hardy, Thomas 24<P>"A Light exists in Spring" Emily Dickinson Dickinson, Emily 25<P>Spring Mary Oliver Oliver, Mary 26<P>"It was a lover and his lass" William Shakespeare Shakespeare, William 28<P>Nothing Gold Can Stay Robert Frost Frost, Robert 29<P>March Richard Wilbur Wilbur, Richard 30<P>Spring Gerard Manley Hopkins Hopkins, Gerard Manley 31<P>Black March Stevie Smith Smith, Stevie 32<P>Spring Pools Robert Frost Frost, Robert 34<P>"Loveliest of trees" A. E. Housman Housman, A. E. 35<P>March Morning Unlike Others Ted Hughes Hughes, Ted 36<P>Putting in the Seed Robert Frost Frost, Robert 37<P>Spring William Shakespeare Shakespeare, William 38<P>The Lent Lily A. E. Housman Housman, A. E. 39<P>Spring Song II Jean Garrigue Garrigue, Jean 40<P>Another April James Merrill Merrill, James 41<P>Resurrections A. R. Ammons Ammons, A. R. 42<P>A Cold Spring Elizabeth Bishop Bishop, Elizabeth 43<P>Lines Written in Early Spring William Wordsworth Wordsworth, William 45<P>My Father Paints the Summer Richard Wilbur Wilbur, Richard 106<P>Falling Asleep in a Garden David Wagoner Wagoner, David 108<P>Dog-Days Amy Lowell Lowell, Amy 109<P>August Moon Robert Penn Warren Warren, Robert Penn 110<P>Blackberry-Picking Seamus Heaney Heaney, Seamus 113<P>Late August on the Lido John Hollander Hollander, John 114<P>Hyla Brook Robert Frost Frost, Robert 115<P>Summer is Ended Christina Rossetti Rossetti, Christina 116<P>"As imperceptibly as Grief" Emily Dickinson Dickinson, Emily 117<P>"When summer's end is nighing" A. E. Housman Housman, A. E. 118<P>Autumn<P>To Autumn John Keats Keats, John 123<P>"Summer begins to have thelook" Emily Dickinson Dickinson, Emily 125<P>"Fall, leaves, fall" Emily Bronte Bronte, Emily 126<P>Unharvested Robert Frost Frost, Robert 127<P>Autumn Walter De La Mare Mare, Walter De La 128<P>Autumn John Clare Clare, John 129<P>Autumn Amy Lowell Lowell, Amy 130<P>Autumn Chant Edna St. Vincent Millay Millay, Edna St. Vincent 131<P>Ode to the West Wind Percy Bysshe Shelley Shelley, Percy Bysshe 132<P>The Seven Sorrows Ted Hughes Hughes, Ted 136<P>An Autumn Sunset Edith Wharton Wharton, Edith 138<P>Autumn Alexander Pushkin Pushkin, Alexander 140<P>Simple Autumnal Louise Bogan Bogan, Louise 145<P>The Flux of Autumn Jean Garrigue Garrigue, Jean 146<P>"Turn me to my yellow leaves" William Stanley Braithwaite Braithwaite, William Stanley 150<P>The Latter Rain Jones Very Very, Jones 151<P>To Autumn William Blake Blake, William 152<P>Hoar-Frost Amy Lowell Lowell, Amy 153<P>Written in Autumn Mary Tighe Tighe, Mary 154<P>The Fall of the Leaf Henry David Thoreau Thoreau, Henry David 155<P>Autumn Refrain Wallace Stevens Stevens, Wallace 163<P>The Dying Garden Howard Nemerov Nemerov, Howard 164<P>An Autumnal Anthony Hecht Hecht, Anthony 165<P>Aftermath Henry Wadsworth Longfellow Longfellow, Henry Wadsworth 167<P>The Love for October W. S. Merwin Merwin, W. S. 168<P>October Dawn Ted Hughes Hughes, Ted 169<P>October Helen Hunt Jackson Jackson, Helen Hunt 171<P>Last Week in October Thomas Hardy Hardy, Thomas 172<P>End of October Marie Ponsot Ponsot, Marie 173<P>Heart of Autumn Robert Penn Warren Warren, Robert Penn 175<P>No! Thomas Hood Hood, Thomas 177<P>November William Dean Howells Howells, William Dean 178<P>November Phyllis McGinley McGinley, Phyllis 179<P>November Night Adelaide Crapsey Crapsey, Adelaide 181<P>Late November A. R. Ammons Ammons, A. R. 182<P>During Wind and Rain Thomas Hardy Hardy, Thomas 183<P>Crow's Nests Richard Wilbur Wilbur, Richard 185<P>Spring and Fall Gerard Manley Hopkins Hopkins, Gerard Manley 186<P>An Old-Fashioned Song John Hollander Hollander, John 187<P>"That time of year thou mayst in me behold" William Shakespeare Shakespeare, William 188<P>[1(a] E. E. Cummings Cummings, E. E. 189<P>Winter<P>Whiter William Shakespeare Shakespeare, William 193<P>Winter Thomas Sackville Sackville, Thomas 194<P>"It sifts from Leaden Sieves" Emily Dickinson Dickinson, Emily 196<P>"Pray to what earth does this sweet cold belong" Henry David Thoreau Thoreau, Henry David 197<P>Winter Anne Bradstreet Bradstreet, Anne 198<P>"The night is freezing fast" A. E. Housman Housman, A. E. 200<P>Winter Walk John Clare Clare, John 201<P>The First Snow-Fail James Russell Lowell Lowell, James Russell 202<P>From a Notebook James Merrill Merrill, James 204<P>The Snow-Storm Ralph Waldo Emerson Emerson, Ralph Waldo 205<P>The Paperweight Gjertrud Schnackenberg Schnackenberg, Gjertrud 207<P>From Snow-Bound John Greenleaf Whittier Whittier, John Greenleaf 208<P>The Snow Donald Hall Hall, Donald 211<P>Lines Written on a Window at the Leasowes at a Time of Very Deep Snow William Shenstone Shenstone, William 213<P>Silver Filigree Elinor Wylie Wylie, Elinor 214<P>To a Leaf Falling in Winter W. S. Merwin Merwin, W. S. 215<P>Runes, Blurs, Sap Rising Amy Clampitt Clampitt, Amy 217<P>Crows in Winter Anthony Hecht Hecht, Anthony 218<P>Snow-Flakes Henry Wadsworth Longfellow Longfellow, Henry Wadsworth 219<P>Afterflakes Robert Frost Frost, Robert 220<P>The Snow Man Wallace Stevens Stevens, Wallace 221<P>"Now winter nights enlarge" Thomas Campion Campion, Thomas 222<P>A Winter Twilight Angelina Weld Grimke Grimke, Angelina Weld 223<P>Winter Fear Kay Ryan Ryan, Kay 224<P>Sestina d'Inverno Anthony Hecht Hecht, Anthony 225<P>Winter Scene A. R. Amnions Amnions, A. R. 227<P>"There's a certain Slant of light" Emily Dickinson Dickinson, Emily 228<P>Year's End Richard Wilbur Wilbur, Richard 229<P>Snow and Snow Ted Hughes Hughes, Ted 231<P>"The night is darkening round me" Emily Bronte Bronte, Emily 233<P>Stopping by Woods on a Snowy Evening Robert Frost Frost, Robert 234<P>California Winter Karl Shapiro Shapiro, Karl 235<P>Winter William Carlos Williams Williams, William Carlos 237<P>"The Sky is low - the Clouds are mean" Emily Dickinson Dickinson, Emily 238<P>Orchard Trees, January Richard Wilbur Wilbur, Richard 239<P>February Afternoon Edward Thomas Thomas, Edward 240<P>February 13, 1975 James Schuyler Schuyler, James 241
114The American Stage: Writing on Theater from Washington Irving to Tony KushnerLawrence Senelick0<p>Laurence Senelick is Fletcher Professor of Drama and Oratory at Tufts University and a recipient of the George Jean Nathan Prize for dramatic criticism. His award-winning books include <i>The Age and Stage of George L. Fox; The Chekhov Theatre: A Century of the Plays in Performance;</i> and <i>The Changing Room: Sex, Drag and Theatre.</i> He is also a professional actor, director, and translator who has staged a number of American premieres.</p>Lawrence Senelick (Editor), John Lithgowthe-american-stagelawrence-senelick97815985306981598530690$29.30HardcoverLibrary of AmericaApril 2010U.S. & Canadian Drama - Literary Criticism, United States - Theater - History & Criticism, American Literature Anthologies8505.32 (w) x 8.14 (h) x 1.49 (d)Here is the story, told firsthand through electric, deeply engaged writing, of America's living theater, high and low, mainstream and experimental. Drawing on history, criticism, memoir, fiction, poetry, and parody, editor Laurence Senelick presents writers with the special knack "to distill both the immediate experience and the recollected impression, to draw the reader into the charmed circle and conjure up what has already vanished." Through the words of playwrights and critics, actors and directors, and others behind the footlights, the entertainments and high artistic strivings of successive eras come vividly, sometimes tumultuously, to life. <br> Observers from Washington Irving and Fanny Trollope to Walt Whitman and Mark Twain evoke the world of the 19th-century playhouse in all its raucous vitality. Henry James confesses his early enthusiasm for playgoing; Willa Cather reviews provincial productions of <i>Uncle Tom's Cabin</i> and <i>Antony and Cleopatra</i>. The increasing diversity and ambition of the American theater is reflected in Hutchins Hapgood's account of New York's Yiddish theaters at the turn of the century, Carl Van Vechten's review of the Sicilian actress Mimi Aguglia, Alain Locke's comments on the emerging African-American theater in the 1920s, and Ezra Pound's response to James Joyce's play Exiles and theatrical modernism. Enthusiasts for the New Stagecraft, such as Lee Simonson and Djuna Barnes, are matched by champions of pop culture such as Gilbert Seldes and Fred Allen. S. J. Perelman lampoons Clifford Odets; Edmund Wilson acclaims Minsky's Burlesque; Harold Clurman explains Stanislavski's Method; Gore Vidal dissects the compromises of commercial playwriting. A host of playwrights-among them Thornton Wilder, Arthur Miller, Tennessee Williams, Lorraine Hansberry, Edward Albee, Wendy Wasserstein, David Mamet, and Tony Kushner-are joined by such renowned critics as Stark Young, George Jean Nathan, Brooks Atkinson, and Eric Bentley. <p>"A dazzling collection of the greatest writing on theater ever assembled in one book."<br> -Andre Bishop, Artistic Director, Lincoln Center Theater</p><p>Here is the story, told firsthand through electric, deeply engaged writing, of America's living theater, high and low, mainstream and experimental. Drawing on history, criticism, memoir, fiction, poetry, and parody, editor Laurence Senelick presents writers with the special knack "to distill both the immediate experience and the recollected impression, to draw the reader into the charmed circle and conjure up what has already vanished." Through the words of playwrights and critics, actors and directors, and others behind the footlights, the entertainments and high artistic strivings of successive eras come vividly, sometimes tumultuously, to life.<p> Observers from Washington Irving and Fanny Trollope to Walt Whitman and Mark Twain evoke the world of the nineteenth-century playhouse in all its raucous vitality. Henry James confesses his early enthusiasm for playgoing; Willa Cather reviews provincial productions of <i>Uncle Tom's Cabin</i> and <i>Antony and Cleopatra</i>. The increasing diversity and ambition of the American theater is reflected in Hutchins Hapgood's account of New York's Yiddish theaters at the turn of the century, Carl Van Vechten's review of the Sicilian actress Mimi Aguglia, Alain Locke's comments on the emerging African-American theater in the 1920s, and Ezra Pound's response to James Joyce's play Exiles and theatrical modernism. Enthusiasts for the New Stagecraft, such as Lee Simonson and Djuna Barnes, are matched by champions of pop culture such as Gilbert Seldes and Fred Allen. S. J. Perelman lampoons Clifford Odets; Edmund Wilson acclaims Minsky's Burlesque; Harold Clurman explains Stanislavski's Method; Gore Vidal dissects the compromises of commercial playwriting. A host of playwrights&#151;among them Thornton Wilder, Arthur Miller, Tennessee Williams, Lorraine Hansberry, Edward Albee, Wendy Wasserstein, David Mamet, and Tony Kushner&#151;are joined by such renowned critics as Stark Young, George Jean Nathan, Brooks Atkinson, and Eric Bentley.</p><article> <h4>Library Journal</h4>Editor Senelick (recipient of the George Jean Nathan Prize for dramatic criticism) has done an excellent job of selecting a wide-ranging, historically significant selection of theater reviews, essays, memoirs, diary entries, and criticism. Extending through time with pieces by such recognizable writers as Washington Irving, Walt Whitman, and Mark Twain, as well as Henry Louis Gates, Susan Sontag, and Tony Kushner, this collection also includes lesser-known writers such as Olive Logan, who wrote "About Nudity in the Theatre" in 1866, and Congregational minister Rollin Lynde Hartt, who discusses melodrama as a positive benefit to the working class and its newfound leisure. Many of the writings included here can be found only in volumes that are not indexed and are housed in archives and rare-book collections. VERDICT This is not a documentary history or a survey of American theater and therefore stands somewhat alone on the theater studies shelf. Nevertheless, there is much to enjoy here, and readers who love theater as well as history will be entertained for many hours.—Susan Peters, Univ. of Texas, Galveston </article>
115Bum Rush the Page: A Def Poetry JamTony Medina0<p><P>Tony Medina is a poet, professor, activist, and author of ten books, including <b>DeShawn Days,</b> <b>Love to Langston</b>, and <b>Role Call&#58; A Generational Anthology of Social and Political Black Literature & Art</b>. <P>Louis Reyes Rivera is a professor of Pan African, Caribbean, Puerto Rican, and African American history and literature. A noted poet and essayist, he is the recipient of more than twenty citations, including a Special Congressional Recognition Award for his work as an activist poet. Def Poetry Jam is a multimedia poetry project featuring live showcases and jams across the country, a website, and other projects aimed at bringing poetry to new audiences.</p>Tony Medina, Louis Reyes Rivera (Editor), Sonia Sanchezbum-rush-the-pagetony-medina97806098084050609808400$14.95PaperbackCrown Publishing GroupOctober 20011STPoetry, American Literature Anthologies, Anthologies3206.10 (w) x 9.15 (h) x 0.80 (d)<b>Bum Rush the Page</b> is a groundbreaking collection, capturing the best new work from the poets who have brought fresh energy, life, and relevance to American poetry. <p>“Here is a democratic orchestration of voices and visions, poets of all ages, ethnicities, and geographic locations coming together to create a dialogue and to jam–not slam. This is our mouth on paper, our hearts on our sleeves, our refusal to shut up and swallow our silence. These poems are tough, honest, astute, perceptive, lyrical, blunt, sad, funny, heartbreaking, and true. They shout, they curse, they whisper, and sing. But most of all, they tell it like it is.”<br> –Tony Medina, from the Introduction</p><b>The Way We Move</b><br> the way we move, funk groove beat the rhythm out some pavement,<br> our elegant violent attitude, quick slow motion movement in quicksand in somebody else's shit house shanty town shingly jingly chains clamped on our neck,<br> hang to the floor scrape spark and clink and we make music out of this cool behind dark shades, taught to fear the sun, hiding in beauty parlors and bars draggy face with hatred and ugliness,<br> and it only comes when you don't accept the natural gifts, the fingerprints of a higher order of peace and simple logic, what makes us phenomenal is that we can sleep walk in harmony, never breaking a sweat 'cept in factories or bars, prisons we even build systems for, our own street logic and survival, but this is not where we're meant to be, not on the operating table of extinction or at the broken doorstep of finality stumbling drunk confused scagged out on whiteness and greed and stupidity into the bleeding face of our dead father, and we are not supposed to move this way, slow mumbling suicide in quicksand and defeat we must refocus, we must see again <p class="null1">Tony Medina (New York)</p> <p><b>. . . And the Saga Continues</b><br> for Gary Graham</p> <p>From Guinea to Haiti to Brooklyn And back From Guinea to Haiti to the Bronx And back From Brooklyn to the Bronx to LA And back From Philly to Haiti to the New Jersey Turnpike And back From village to hamlet to Borough And back From LA to Orange to Newark to Guinea And back From PR to the Bronx Brooklyn Queens Guinea And back From Soundview to no view of the anguish of . . .<br> Mother Mother why have you forsaken me</p> <p>Bless me father for they are winning And my mutter is crying Bless me father for my mutter is crying At the sight of my dying Save me Lord from being vanquished Save my mutter from this anguish</p> <p>From Harlem to the Bronx to Brooklyn Queens Newark San Juan and the nation's highways I languish In my blood and tears of my mother's anguish And back</p> <p>Call the name . . . Call the names I say you know them better than I</p> <p>Shaka Sankofa Malcolm Ferguson Patrick Doresmond Abner Louima Amadou Diallo Kevin Cedeno James Byrd Matthew Sheppard Anthony Baez Michael Stewart Earl Faison . . . etc. etc. etc.</p> <p>And the list gets longer week by week An African got lynched today Juneteenth 2000</p> <p>From Texas to Chicago to Watts to Newark And back From PR to Cuba to the Dominican Republic And back</p> <p>Africa calls from the bottom of the Atlantic And back From Ghanaian fields smooth black skin Turns purplish under lash under water And back</p> <p>Can you hear them gurgle . . . Abnerrrrr Can you hear them scream . . . Amadouuuuuuuu Can you hear the windpipe snap . . . Antonyyyyyyyyap</p> <p>Blessed be Blessed be Blessed be Dear Lord have mercy Lord have mercy Have mercy on me bless me father for I have sinned . . .<br> with my mind I daily will demise of the western ways and all of its compatriots</p> <p>Bless me father with a bottle of scupernog or Wild Irish Rose to soften the blow of this monster's breath upon my neck And back</p> <p>in harlem in havana in charleston in Porto Prince the saga continues . . .<br> blood blood I say blood in the rectum bullets in the gut in the head the chest neck And back</p> <p>A rope a nightstick pepper spray Or a lethal illegal injection from the State the state of tex ass where seldom is heard an encouraging word and the sky is cloudy all year how 'bout florida or new jersey or new york the city so nice they kill you twice</p> <p>Next stop Ghana to the Congo to Zimbabwe And back</p> <p class="null1">Ted Wilson (Orange, NJ)</p><p><P><b>Bum Rush the Page</b> is a groundbreaking collection, capturing the best new work from the poets who have brought fresh energy, life, and relevance to American poetry.<P>&#8220;Here is a democratic orchestration of voices and visions, poets of all ages, ethnicities, and geographic locations coming together to create a dialogue and to jam&#8211;not slam. This is our mouth on paper, our hearts on our sleeves, our refusal to shut up and swallow our silence. These poems are tough, honest, astute, perceptive, lyrical, blunt, sad, funny, heartbreaking, and true. They shout, they curse, they whisper, and sing. But most of all, they tell it like it is.&#8221; <br>&#8211;Tony Medina, from the Introduction</p><h3>Publishers Weekly</h3><p>To most readers, the hundreds of tightly rhymed, orally friendly poems here will read as "slam." But in his introduction, Medina, a poet and activist, takes great pains to separate the poems from slam's crowd-pleasing limitations, and uses the term "def jam" to describe the political spoken-word poetry he and Rivera, also a poet-activist, have collected. Medina's and Rivera's emphasis is on the poem and its subject matter, not the poet, which makes for a remarkably democratic anthology. Every poet has about the same page and a half of space. The book's design puts the poets' names in a very small type. None of the big names June Jordan, Reg E. Gaines, Edwin Torres, Wanda Coleman, Patricia Smith and Amiri Baraka are given more attention than the less published. Organized by subjects such as "Blood, I Say, Study our Story, Sing this Song," "Drums Drown Out Our Sorrow" and "Seeds of Resistance," most of the poems use urban imagery, tough talk and declaration. Most are identity-centered, anti-racist and pro-activist. Many focus on current events. There are, for instance, at least four poems about Amadou Diallo, the unarmed Ghanaian immigrant killed by New York policemen as he stood in his doorway. All mention the 41 shots; all include the word "mother." There are poems about Shaka Sankofa (convicted of murder at 17, and executed nearly 20 years later under Texas's then-Governor George W. Bush), and homages to Cuban bandleader Tito Puente. Some readers will wish for more variation of theme and for more layered meanings, but the topicality and directness of the poems make this an ideal textbook for introductory poetry classes, especially for urban high school students, and for anyone interestedin poetry as a social art. (Oct.) Copyright 2001 Cahners Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">xv</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">xix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Invocation</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Have Been Believers</TD><TD WIDTH="10%" ALIGN="RIGHT">xxv</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Poet Is Not a Juke Box</TD><TD WIDTH="10%" ALIGN="RIGHT">xxvi</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nommo</TD><TD WIDTH="10%" ALIGN="RIGHT">xxvii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Jive</TD><TD WIDTH="10%" ALIGN="RIGHT">xxviii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">failure of an invention</TD><TD WIDTH="10%" ALIGN="RIGHT">xxviii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Building</TD><TD WIDTH="10%" ALIGN="RIGHT">xxix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Disdirected</TD><TD WIDTH="10%" ALIGN="RIGHT">xxxi</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood I Say, Study Our Story, Sing This Song</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Way We Move</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">... And the Saga Continues</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bad Times</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Do</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Like a Dog</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lonely Women</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Other Side</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">N</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Her Scream Has Been Stolen</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crater Face</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">susu</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Asian Am Anthem</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scout</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This Old Man</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Afternoon Train</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beginning at the End: Capital/Capitol Punishment</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Open Your Mouth--and Smile</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Chinese Man in Smyma</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">450 Years of Selective Memory (Smile)</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">the n-word</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">an open letter to the entertainment industry</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Metropolitan Metaphysics</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">America Eats Its Young</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">laughin at cha</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rosa's Beauty</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Overworked</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nintendo</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stealth-Pirates of Cyberia</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Death of Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Last Visit to Chestnut Middle School</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Learning to Drive at 32</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. BOOM BOOM Man</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Road to the Presidency</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For What It's Worth</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Every Word Must Conjure</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It's Called Kings</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Billy</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Become Unconscious</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to an Unconceived Son</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Usual Suspects</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blooming Death ... Blossoms</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What the Oracle Said</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The U.S.A. Court of No Appeal</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">on the state-sanctioned murder of shaka sankofa</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Epistle to the Revolutionary Bible</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Warrior Womb</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cowboynomics</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Demockery</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Executive Privilege</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Question</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">georgia avenue, washington d.c.</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Palace of Mourners</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Palestine</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Road from Khartoum</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Modern Love Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Praise of the Seattle Coalition</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood Is the Argument</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drums Drown Out the Sorrow</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amadou Diallo from Guinea to the Bronx Dead on Arrival</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Another Scream</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Well-Bred Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amadou</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">BLS</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">after diana died</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dudley Randall (1914-2000)</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hoodoo Whisper</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sammy Davis, Jr.</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glad All Over</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dancing after Sanchez</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The 13th Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Black Churches</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Gwendolyn Brooks</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">tonal embryology</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Zizwe</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All, Bomaye</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Phyllis</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Timbalero</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puente</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Somalia</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">epitaph for Etheridge Knight</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Farewell Queen Mother Moore</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Palenque Queen by Habana's Shores</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When the Definition of Madness Is Love</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">January Hangover</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">the hardest part about love</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lies We Tell Ourselves</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">8 ways of looking at pussy</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Temporary Insanity</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">alone in belize</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">footprints</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Big World Look Out</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bullet Hole Man: A Love Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dreadlocks</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roots</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Six Minutes Writing</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Diner</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fullness</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wet Dream</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">foursomes</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wishing You</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shunning an Imperative</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">January 8, 1996</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Poem for You</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Throbs for the Instructress</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the Frenchman's</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mata Hari Blues or Why I Will Never Be a Spy</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yellah</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Extremes Ain't My Thing As Salaam Alaikum</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">13</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">rock candy</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Jam</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cocaine Mad-Scream Article #33 LoveSong</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Whose Fathers Are Hidden</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Elders Are Gods</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What the Dead Do</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">creation is a cycle</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Birth</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Daughter-to-Father Talk</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tattooing the Motherline</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Our Fathers</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mama's Magic</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Father's Day</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Momma in Red</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wildlife</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chicago on the Day Brother Increases His Chances of Reaching Age 21</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lest We Forget</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The African Burial Ground Called Tribeca</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">fatherless townships</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Waiting for the Results of a Pregnancy Test</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sitting in the Doctor's Office the Next Day</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Circa</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seed of Resistance</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cooking</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ben Hur</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">in 5th grade</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Complected</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Broken Ends Broken Promises</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Name's Not Rodriguez</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Water from the Well</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tragic Mulatto Is Neither</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beauty Is Moving Us Forward</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm Sayin Though</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">beauty rituals 2000</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Medusa</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stariette</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">exceptions</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What the deal, son?</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Plain Ole Brother Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Be a Goddess</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm the Man</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dare to Be Different</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thoughts from a Bar Stool</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Blue Black Pearl</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">runnin</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">conversations in the struggle</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Harvest: A Line Drawing</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">joseph speaks to gericault in the studio</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Entrancielo</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New York Seizures</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hey Yo / Yo Soy!</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Flying over America</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It Was the Music That Made Us</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm a Hip Hop Cheerleader</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">kill the dj</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ms. Cousins' Rap</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">all up in there</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Doin'</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Trash Talker</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Owed to Eminem</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Psychoalphadiscobetabioaquadoloop</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">rapid transit</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">hold it steady</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conversation with Duke Ellington and Louis (Pops) Armstrong</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Lady and Prez</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">breath</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Flow</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bebop Trumpet</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">conjugation of the verb: to blow</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Creed of a Graffiti Writer</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sonido Ink(quieto)</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">because I am it's a race thing trip</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grasshopper</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Low End</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">rep/resent</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">2G (Another Millennium Poem)</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">enter(f*#@ckin)tained</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Children of the Word</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Motherseed</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wake Up, My Little Pretties</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">nommo: how we come to speak</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">spaNglisH</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New Boogaloo</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mi Negrito</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">News of the World</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Much of Your Poetry Is Beautiful</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ginsberg</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Bed with James Tate</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">soulgroovin ditty #7</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sundays</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Aretha Franklin from Sparkle</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lumumba Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All the shoes are shined and the cotton is picked</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In this day age</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Trouble I've Seen</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Having Lost My Son, I Confront the Wreckage</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bensonhurst</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Michael Griffith, Murdered Dec. 21, 1986, Howard Beach, NY</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lift Every Fist and Swing</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">TV Dinner</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bluesman</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We're Not Well Here</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nickel Wine and Deep Kisses</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Coward</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strip</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sex</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">enemies</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">American Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">So Many Books, So Little Time</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Be a Street Poet</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Adventures of Grandmaster Flash</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">X</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tradition</TD><TD WIDTH="10%" ALIGN="RIGHT">265</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">There It Is</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD></TABLE><article> <h4>Publishers Weekly</h4>To most readers, the hundreds of tightly rhymed, orally friendly poems here will read as "slam." But in his introduction, Medina, a poet and activist, takes great pains to separate the poems from slam's crowd-pleasing limitations, and uses the term "def jam" to describe the political spoken-word poetry he and Rivera, also a poet-activist, have collected. Medina's and Rivera's emphasis is on the poem and its subject matter, not the poet, which makes for a remarkably democratic anthology. Every poet has about the same page and a half of space. The book's design puts the poets' names in a very small type. None of the big names June Jordan, Reg E. Gaines, Edwin Torres, Wanda Coleman, Patricia Smith and Amiri Baraka are given more attention than the less published. Organized by subjects such as "Blood, I Say, Study our Story, Sing this Song," "Drums Drown Out Our Sorrow" and "Seeds of Resistance," most of the poems use urban imagery, tough talk and declaration. Most are identity-centered, anti-racist and pro-activist. Many focus on current events. There are, for instance, at least four poems about Amadou Diallo, the unarmed Ghanaian immigrant killed by New York policemen as he stood in his doorway. All mention the 41 shots; all include the word "mother." There are poems about Shaka Sankofa (convicted of murder at 17, and executed nearly 20 years later under Texas's then-Governor George W. Bush), and homages to Cuban bandleader Tito Puente. Some readers will wish for more variation of theme and for more layered meanings, but the topicality and directness of the poems make this an ideal textbook for introductory poetry classes, especially for urban high school students, and for anyone interestedin poetry as a social art. (Oct.) Copyright 2001 Cahners Business Information. </article>
116The Outlaw Bible of American LiteratureAlan Kaufmann0Alan Kaufmann (Editor), Barney Rosset (Editor), Neil Ortenbergthe-outlaw-bible-of-american-literaturealan-kaufmann97815602555051560255501$16.92PaperbackBasic BooksDecember 2004First Trade Paper EditionAmerican Literature Anthologies9206.12 (w) x 9.00 (h) x 1.61 (d)<p>The Outlaw Bible of American Literature will serve as a primer for generational revolt and an enduring document of the visionary tradition of authenticity and nonconformity in literature. This exuberant manifesto includes lives of the writers, on-the-scene testimony, seminal underground articles never before collected, photographs, cartoons, drawings, interviews, and, above all, the writings. Beat, Punk, Noir, Prison, Porn, Cyber, Queer, Anarchist, Blue Collar, Pulp, Sci-Fi, Utopian, Mobster, Political—all are represented. The Bible includes fiction, essays, letters, memoirs, journalism, lyrics, diaries, manifestoes, and selections from seminal film scripts, including Easy Rider, Apocalypse Now, and Taxi Driver. The editors have brought together an extravagant, eclectic, searing, and unforgettable body of work, showcasing Hustlers, Mavericks, Contrarians, Rockers, Barbarians, Gangsters, Hedonists, Provocateurs, Hipsters, and Revolutionaries—all in one raucous cauldron of rebellion and otherness. This prose companion to the best-selling award-winning Outlaw Bible of American Poetry features selections from Hunter S. Thompson, Exene Cervenka, Patti Smith, Dennis Cooper, Malcolm X, Sonny Barger, Maggie Estep, Lenny Bruce, Henry Miller, R. Crumb, Philip K. Dick, Iceberg Slim, Gil Scott-Heron, Kathy Acker, Jim Carroll, Charles Mingus, Norman Mailer, and many others.</p><p><P>The Outlaw Bible of American Literature will serve as a primer for generational revolt and an enduring document of the visionary tradition of authenticity and nonconformity in literature. This exuberant manifesto includes lives of the writers, on-the-scene testimony, seminal underground articles never before collected, photographs, cartoons, drawings, interviews, and, above all, the writings. Beat, Punk, Noir, Prison, Porn, Cyber, Queer, Anarchist, Blue Collar, Pulp, Sci-Fi, Utopian, Mobster, Political&#8212;all are represented. The Bible includes fiction, essays, letters, memoirs, journalism, lyrics, diaries, manifestoes, and selections from seminal film scripts, including Easy Rider, Apocalypse Now, and Taxi Driver. The editors have brought together an extravagant, eclectic, searing, and unforgettable body of work, showcasing Hustlers, Mavericks, Contrarians, Rockers, Barbarians, Gangsters, Hedonists, Provocateurs, Hipsters, and Revolutionaries&#8212;all in one raucous cauldron of rebellion and otherness. This prose companion to the best-selling award-winning Outlaw Bible of American Poetry features selections from Hunter S. Thompson, Exene Cervenka, Patti Smith, Dennis Cooper, Malcolm X, Sonny Barger, Maggie Estep, Lenny Bruce, Henry Miller, R. Crumb, Philip K. Dick, Iceberg Slim, Gil Scott-Heron, Kathy Acker, Jim Carroll, Charles Mingus, Norman Mailer, and many others.<P></p><h3>Kirkus Reviews</h3><p>Is an outlaw writer one who threatens to fill Marshall McLuhan with pencil lead? The editors of this overstuffed anthology never quite get around to defining just what "outlaw literature" is and what makes it illicit, dangerous, or otherwise suspect, except to hint that it stands in some sort of opposition to the world of "reality shows, Botox, or IPOs," to say nothing of a "culture coming of age in the grip of Google and Wal-mart." Resounding sentiments, those, and the editors, famed counterculturists in their own right, presumably know outlaw literature when they see it. Still, you might wonder: What do Richard Brautigan and Mickey Spillane, who took home hefty advances and even heftier royalty checks, really have in common with, say, Boxcar Bertha and Sonny Barger? Would Emma Goldman have much to say to Valerie Solanas, Ray Bradbury to DMX? Only a deconstructionist, perhaps, could say with any authority. For our purposes, being an outlaw writer appears mostly to mean using lots of naughty words (Barry Gifford: "Willie Wild Wong, you dumb motherfucker!"; Jim Carroll: "'I am the proletariat, you dumb bastard,' he said, 'and I think those motherfuckers are off their rockers") and doing lots of naughty and unhealthful things (Norman Mailer: "I threw up a little while ago and my breath is foul"; William Burroughs: "Junk sickness, suspended by codeine and hop, numbed by weeks of constant drinking, came back on me full force"). Still, there are lots of good and memorable things here, among them Paul Krassner's memoir of dropping acid with Groucho Marx; Dee Dee Ramone's heartfelt plea, "Please don't kill me now, God. I would love to be the last Ramone to die" (no such luck, sorry); and MalcolmX's spot-on prediction that after his death "the white man, in his press, is going to identify me with 'hate.'" A freeform category, then, marked by a rather shapeless but still quite readable, collection. Good stuff, if you like that sort of thing.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prologue : voices from outlaw heaven</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The sexual outlaw</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The house on Mango Street</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Live from death row</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballad of Easy Earl</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The basketball diaries</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Psychotic reactions and carburetor dung</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Complete</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">L'Anarchie flier</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paradoxia</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fight club</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tropic of Cancer</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ask Dr. Mueller</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pimp</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Close to the knives</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What did I do?</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">American splendor anthology</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Don Quixote</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Last exit to Brooklyn</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tin Pan Alley</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An American dream</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jew boy</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The journal of Albion Moonlight</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The sheltering sky</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cool for you</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Junky</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leaving Las Vegas</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jan and Jack</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baby driver</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the road</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Minor characters</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The first third</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Off the road</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Go</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An accidental autobiography</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rolling Thunder logbook</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paintings</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Dee Dee Ramone</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Legend of a rock star</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">E.A.R.L.</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Interview with Tupac Shakur</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tarantula</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miles</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tha Doggfather</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">James Brown : the godfather of soul</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To do the right thing</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Please kill me</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The vulture</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Please don't let me be misunderstood</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The old, weird America</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ripening</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The woman rebel</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thelma & Louise</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">SCUM manifesto</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The illegal days</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Living my life</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Intercourse</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The birth of feminism</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hell's angel</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Street justice</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Troia</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Freewheelin Frank</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The electric kool-aid acid test</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Outlaw woman</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Always running</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If he hollers let him go</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Push</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Never die alone</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sweet Sweetback's baadasssss song</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The scene</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The white boy shuffle</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Down these mean streets</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rope burns</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Weird self portrait at sea</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sister of the road</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bound for glory</TD><TD WIDTH="10%" ALIGN="RIGHT">316</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grand Central winter</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You can't win</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beggars of life</TD><TD WIDTH="10%" ALIGN="RIGHT">328</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Midnight cowboy</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black fire</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Diary of an emotional idiot</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The bell jar</TD><TD WIDTH="10%" ALIGN="RIGHT">352</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Requiem for a dream</TD><TD WIDTH="10%" ALIGN="RIGHT">356</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The passionate mistakes and intricate corruption of one girl in America</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the city of sleep</TD><TD WIDTH="10%" ALIGN="RIGHT">361</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Complete</TD><TD WIDTH="10%" ALIGN="RIGHT">366</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A different kind of intimacy</TD><TD WIDTH="10%" ALIGN="RIGHT">367</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Whoreson</TD><TD WIDTH="10%" ALIGN="RIGHT">371</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shock value</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A heartbreaking work of staggering genius</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Monkey girl</TD><TD WIDTH="10%" ALIGN="RIGHT">385</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dogeaters</TD><TD WIDTH="10%" ALIGN="RIGHT">387</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Geek love</TD><TD WIDTH="10%" ALIGN="RIGHT">390</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fahrenheit 451</TD><TD WIDTH="10%" ALIGN="RIGHT">399</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The lost</TD><TD WIDTH="10%" ALIGN="RIGHT">404</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sales pitch</TD><TD WIDTH="10%" ALIGN="RIGHT">408</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The hellbound heart</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Naked lunch</TD><TD WIDTH="10%" ALIGN="RIGHT">416</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drawing blood</TD><TD WIDTH="10%" ALIGN="RIGHT">424</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Manchurian candidate</TD><TD WIDTH="10%" ALIGN="RIGHT">426</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The grifters</TD><TD WIDTH="10%" ALIGN="RIGHT">429</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The big kill</TD><TD WIDTH="10%" ALIGN="RIGHT">434</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Taxi driver</TD><TD WIDTH="10%" ALIGN="RIGHT">436</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thieves' market</TD><TD WIDTH="10%" ALIGN="RIGHT">443</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dark passage</TD><TD WIDTH="10%" ALIGN="RIGHT">447</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Really the blues</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Angels of catastrophe</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The man with the golden arm</TD><TD WIDTH="10%" ALIGN="RIGHT">457</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The big hunger</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The asphalt jungle</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The getaway man</TD><TD WIDTH="10%" ALIGN="RIGHT">467</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dogs of God</TD><TD WIDTH="10%" ALIGN="RIGHT">471</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Escape from Houdini mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">476</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The car</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drugstore cowboy</TD><TD WIDTH="10%" ALIGN="RIGHT">481</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This outlaw shit</TD><TD WIDTH="10%" ALIGN="RIGHT">485</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love all the people</TD><TD WIDTH="10%" ALIGN="RIGHT">490</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The way it has to be</TD><TD WIDTH="10%" ALIGN="RIGHT">492</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">American skin</TD><TD WIDTH="10%" ALIGN="RIGHT">496</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The ceremony</TD><TD WIDTH="10%" ALIGN="RIGHT">502</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Terminal lounge</TD><TD WIDTH="10%" ALIGN="RIGHT">506</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sketch</TD><TD WIDTH="10%" ALIGN="RIGHT">511</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the yard</TD><TD WIDTH="10%" ALIGN="RIGHT">512</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Soul on ice</TD><TD WIDTH="10%" ALIGN="RIGHT">521</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the belly of the beast</TD><TD WIDTH="10%" ALIGN="RIGHT">523</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sketches</TD><TD WIDTH="10%" ALIGN="RIGHT">526</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Life in prison</TD><TD WIDTH="10%" ALIGN="RIGHT">527</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cool hand Luke</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The family</TD><TD WIDTH="10%" ALIGN="RIGHT">534</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction to short eyes</TD><TD WIDTH="10%" ALIGN="RIGHT">537</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Short eyes</TD><TD WIDTH="10%" ALIGN="RIGHT">539</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The sexual outlaw</TD><TD WIDTH="10%" ALIGN="RIGHT">545</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hardcore from the heart</TD><TD WIDTH="10%" ALIGN="RIGHT">553</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Candy</TD><TD WIDTH="10%" ALIGN="RIGHT">557</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Period</TD><TD WIDTH="10%" ALIGN="RIGHT">564</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">City of night</TD><TD WIDTH="10%" ALIGN="RIGHT">564</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shirts & skin</TD><TD WIDTH="10%" ALIGN="RIGHT">569</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Now dig this</TD><TD WIDTH="10%" ALIGN="RIGHT">574</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Public sex</TD><TD WIDTH="10%" ALIGN="RIGHT">577</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One flew over the cuckoo's nest</TD><TD WIDTH="10%" ALIGN="RIGHT">585</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nigger</TD><TD WIDTH="10%" ALIGN="RIGHT">593</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Assata</TD><TD WIDTH="10%" ALIGN="RIGHT">598</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The delicious grace of moving one's hand</TD><TD WIDTH="10%" ALIGN="RIGHT">599</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The autobiography of Malcolm X</TD><TD WIDTH="10%" ALIGN="RIGHT">606</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to talk dirty and influence people</TD><TD WIDTH="10%" ALIGN="RIGHT">607</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My acid trip with Groucho Marx</TD><TD WIDTH="10%" ALIGN="RIGHT">611</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The teachings of Don Juan</TD><TD WIDTH="10%" ALIGN="RIGHT">617</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The abortion</TD><TD WIDTH="10%" ALIGN="RIGHT">618</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fear and loathing in Las Vegas</TD><TD WIDTH="10%" ALIGN="RIGHT">624</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vintage Dr. Gonzo</TD><TD WIDTH="10%" ALIGN="RIGHT">629</TD></TABLE><article> <h4>Kirkus Reviews</h4>Is an outlaw writer one who threatens to fill Marshall McLuhan with pencil lead? The editors of this overstuffed anthology never quite get around to defining just what "outlaw literature" is and what makes it illicit, dangerous, or otherwise suspect, except to hint that it stands in some sort of opposition to the world of "reality shows, Botox, or IPOs," to say nothing of a "culture coming of age in the grip of Google and Wal-mart." Resounding sentiments, those, and the editors, famed counterculturists in their own right, presumably know outlaw literature when they see it. Still, you might wonder: What do Richard Brautigan and Mickey Spillane, who took home hefty advances and even heftier royalty checks, really have in common with, say, Boxcar Bertha and Sonny Barger? Would Emma Goldman have much to say to Valerie Solanas, Ray Bradbury to DMX? Only a deconstructionist, perhaps, could say with any authority. For our purposes, being an outlaw writer appears mostly to mean using lots of naughty words (Barry Gifford: "Willie Wild Wong, you dumb motherfucker!"; Jim Carroll: "'I am the proletariat, you dumb bastard,' he said, 'and I think those motherfuckers are off their rockers") and doing lots of naughty and unhealthful things (Norman Mailer: "I threw up a little while ago and my breath is foul"; William Burroughs: "Junk sickness, suspended by codeine and hop, numbed by weeks of constant drinking, came back on me full force"). Still, there are lots of good and memorable things here, among them Paul Krassner's memoir of dropping acid with Groucho Marx; Dee Dee Ramone's heartfelt plea, "Please don't kill me now, God. I would love to be the last Ramone to die" (no such luck, sorry); and MalcolmX's spot-on prediction that after his death "the white man, in his press, is going to identify me with 'hate.'" A freeform category, then, marked by a rather shapeless but still quite readable, collection. Good stuff, if you like that sort of thing. </article>
117Mother California: A Story of Redemption Behind BarsKenneth E. Hartman0<p><b>Kenneth E. Hartman</b> has served over 29 continuous years in the California Department of Corrections and Rehabilitation on a life without the possibility of parole sentence. An award-winning writer and prison reform activist, he helped establish the Honor Program at California State Prison-Los Angeles County. He is currently leading a grassroots campaign to abolish life sentences.</p>Kenneth E. Hartmanmother-californiakenneth-e-hartman97819346339461934633941$14.00PaperbackAtlas & Co.September 2010Biographies &amp; Autobiographies, General<p>"A magnificent inquiry into the human condition."&mdash;<b>Publishers Weekly</b>, starred review</p><h3>Publishers Weekly</h3><p>Starred Review. <P>In this memoir, a magnificent inquiry into the human condition, a man serving a life sentence in the California prison system documents the brutality and inhumanity of life "inside," where criminals are victimized rather than rehabilitated, and chaos flowers among the despairing. Hartman, an eloquent, middle-aged prisoner convicted of murder at 19, tells a sad but unsentimental story: a rough childhood and a wish for invincibility fueled Hartman's youth and downfall, but in the time since, he has married in prison, fathered a child, and currently works to improve the broken U.S. prison system. Hartman discovered his talent in a writing class, after having abandoned drugs; using it, he examines up close the "mad, violent circus" of prison life, his place in it, and the fate of his fellow prisoners: "Under the big tent of this brutally unnatural environment, few of us ever take the frightening step of analyzing our deeper motives." <BR>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p>
118The Best American Short Stories 2003Walter Mosley11<p>A genre-bending author who can move from science-fiction to mysteries, Walter Mosley is perhaps best-known -- and loved -- for his 1940s and 50s noir crime novels starring the cool, complex detective Easy Rawlins.</p>Walter Mosley (Editor), Katrina Kenisonthe-best-american-short-stories-2003walter-mosley97806181973300618197338$21.95PaperbackHoughton Mifflin HarcourtOctober 2003Older EditionAmerican Fiction, Short Story Collections (Single Author), Short Story Anthologies, American Literature Anthologies3860.86 (w) x 8.50 (h) x 5.50 (d)<p>Since its inception in 1915, the Best American series has become the premier annual showcase for the country's finest short fiction and nonfiction. For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected—and most popular—of its kind.<br> Lending a fresh perspective to a perennial favorite, Walter Mosley has chosen unforgettable short stories by both renowned writers and exciting newcomers. The Best American Short Stories 2003 features poignant tales that explore the nuances of family life and love, birth and death. Here are stories that will, as Mosley writes in his introduction, "live with the reader long after the words have been translated into ideas and dreams. That's because a good short story crosses the borders of our nations and our prejudices and our beliefs."</p> <p>Dorothy Allison Edwidge Danticat E. L. Doctorow Louise Erdrich Adam Haslett ZZ Packer Mona Simpson Mary Yukari Waters</p><p>Introduction: Americans Dreaming</p> <p>Whenever anyone asks my opinion about the difference between novels and short stories, I tell them that there is no distinction between the genres. They are essentially the same thing, I always reply.<br> How can you say that? the fiction lover asks. Stories are small gems, perfectly cut to expose every facet of an idea, which is in turn illuminated by ten thousand tiny shafts of light.<br> But I hold my ground, answering the metaphor with a simile. A novel, I say, is like a mountain—superior, vast, and immense. Its apex is in the clouds and it appears to us as a higher being—a divinity. Mountains loom and challenge; they contain myriad life forms and cannot be seen by anyone attempting the climb. Mountains can be understood only by years of negotiating their trails and sheer faces. They contain a wide variety of atmospheres and are complex and immortal.<br> You cannot approach a mountain unless you are completely prepared for the challenge. In much the same way, you can’t begin to read (or write) a novel without attempting to embrace a life much larger than the range of any singular human experience.<br> Thinking in this way, I understand the mountain and the novel to be impossible in everyday human terms. Both emerge from a distance that can be approached only by faith. And when you get there, all you find is yourself. The beauty or terror you experience is your understanding of how far you’ve come, your being stretched further than is humanly possible.<br> The fiction lover agrees. She says, Yes, of course. The novel is a large thing. The novel stands against the backdrop of human existence just as mountains dominate the landscape. But stories are simple things, small aspects of human foibles and quirks. A story can be held in a glance or a half- remembered dream.<br> It’s a good argument, and I wouldn’t refute it. But I will say that if novels are mountains, then stories are far-flung islands that one comes upon in the limitless horizon of the sea. Not big islands like Hawaii, but small, craggy atolls inhabited by eclectic and nomadic life forms that found their way there in spite of tremendous odds. One of these small islets can be fully explored in a few hours. There’s a grotto, a sandy beach, a new species of wolf spider, and maybe the remnants of an ancient culture that came here and moved on or, possibly, just died out.<br> These geologic comparisons would seem to support the fiction reader’s claim that novels and short stories are different categories, distant cousins in the linguistic universe. But where did those wolf spiders come from? And who were the people who came here and died? And why, when I walk around this footprint of land, do I feel that something new arises with each day? I eat fish that live in the caves below the waves. I see dark shadows down there. I dream of the firmament that lies below the ocean, the mountain that holds up that small span of land.<br> I cannot climb the mountain that sits in the sea, but from where I stand it comes to me in detritus and dreams.<br> Short story writers must be confident of that suboceanic mountain in order to place their tale in the world. After all, fiction mostly resides in the imagination of the reader. All the writer can do is hint at a world that calls forth the dream, telling the story that exhorts us to call the possibility into being.<br> The writers represented in this collection have told stories that suggest much larger ideas. I found myself presented with the challenge of simple human love contrasted against structures as large as religion and death. The desire to be loved or to be seen, represented on a canvas so broad that it would take years to explain all the roots that bring us to the resolution.<br> In many of the stories we find exiles, people who have lost their loved ones, their homelands, their way. These stories are simple and exquisite, but they aren’t merely tales of personal loss. Mothers have left us long before the mountains were shifted by southward-moving ice floes. Men have been broken by their dreams for almost as long as the continents have been drifting. And every day someone opens her eyes and sees a world that she never expected could be there.<br> These short stories are vast structures existing mostly in the subconscious of our cultural history. They will live with the reader long after the words have been translated into ideas and dreams. That’s because a good short story crosses the borders of our nations and our prejudices and our beliefs. A good short story asks a question that can’t be answered in simple terms. And even if we come up with some understanding, years later, while glancing out of a window, the story still has the potentiall to return, to alter right there in our mind and change everything.</p> <p>—Walter Mosley</p> <p>Copyright © 2003 by Houghton Mifflin Comppany.... Introduction copyright © 2003 by Walter Mosley. Reprinted by permission of Houghton Mifflin Company.</p><p><p>Since its inception in 1915, the Best American series has become the premier annual showcase for the country's finest short fiction and nonfiction. For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected -- and most popular -- of its kind.<br> Lending a fresh perspective to a perennial favorite, Walter Mosley has chosen unforgettable short stories by both renowned writers and exciting newcomers. The Best American Short Stories 2003 features poignant tales that explore the nuances of family life and love, birth and death. Here are stories that will, as Mosley writes in his introduction, "live with the reader long after the words have been translated into ideas and dreams. That's because a good short story crosses the borders of our nations and our prejudices and our beliefs."<p>Dorothy Allison Edwidge Danticat E. L. Doctorow Louise Erdrich Adam Haslett ZZ Packer Mona Simpson Mary Yukari Waters<p></p><h3>The Washington Post - Tracy Quan</h3><p>When a national treasure like Mosley decides to publish a dirty novel, snippy reactions are inevitable. Does a journey of sexual discovery have to be quite this filthy? But if Cordell's misadventures were too palatable, if this were a novel one could read over lunch, it wouldn't be authentic porn. Fans of his Easy Rawlins series might be put off by the surreal absurdity, but perhaps Mosley is reaching out to new readers. Or, like Bill Clinton, a fan of Mosley's early work, perhaps he's doing something audacious because he can.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">ix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Americans Dreaming</TD><TD WIDTH="10%" ALIGN="RIGHT">xiii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rationing (from Missouri Review)</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mines (from Zoetrope)</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coins (from Harper's Magazine)</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heaven Lake (from The Harvard Review)</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kavita Through Glass (from Tin House)</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ghost Knife (from Ploughshares)</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marie-Ange's Ginen (from Callaloo)</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moriya (from Ontario Review)</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Every Tongue Shall Confess (from Ploughshares)</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Future Emergencies (from Esquire)</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Devotion (from The Yale Review)</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why the Sky Turns Red When the Sun Goes Down (from Tin House)</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shamengwa (from The New Yorker)</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Shell Collector (from The Chicago Review)</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baby Wilson (from The New Yorker)</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Night Talkers (from Callaloo)</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Johnny Hamburger (from Esquire)</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bees (from McSweeney's)</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Space (from The Georgia Review)</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Compassion (from Tin House)</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors' Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">100 Other Distinguished Stories of 2002</TD><TD WIDTH="10%" ALIGN="RIGHT">341</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editorial Addresses of American and Canadian Magazines Publishing Short Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD></TABLE><article> <h4>Charles Taylor</h4><i>Killing Johnny Fry</i> is a frankly pornographic novel, and I mean that as a compliment. It would be unfair to what Mosley is attempting here - to put sex at the center of Cordell’s existence and to turn the reader on in the process - to describe the sex scenes with that wan word “erotica,” a word almost always used to demonstrate that the user is above those coarse enough to be aroused by mere pornography. And judged solely by its intentions to appeal to what prosecutors in obscenity cases used to call the prurient interest, the novel is a success. Good porn is tough to write and when talented writers decide it shouldn’t be left to the hacks, the result can be something as joyous as Nicholson Baker’s <i>Vox</i> and <i>The Fermata</i>. Or even something as voluptuously smutty as the porn-for-cash Alexander Trocchi turned out for Maurice Girodias’s Olympia Press.<br> — The New York Times </article> <article> <h4>Tracy Quan</h4>When a national treasure like Mosley decides to publish a dirty novel, snippy reactions are inevitable. Does a journey of sexual discovery have to be quite this filthy? But if Cordell's misadventures were too palatable, if this were a novel one could read over lunch, it wouldn't be authentic porn. Fans of his Easy Rawlins series might be put off by the surreal absurdity, but perhaps Mosley is reaching out to new readers. Or, like Bill Clinton, a fan of Mosley's early work, perhaps he's doing something audacious because he can.<br> — The Washington Post </article><article> <h4>Publishers Weekly</h4>Mosley returns from the vastly underrated Fortunate Son and from Fear of the Dark with a piece of what one might call "deep erotica": there's plenty of sex, and also plenty of motivation for it within protagonist Cordel Carmel's travails and ruminations, as far-fetched as they can get. After a charged-but-chaste lunch with young Lucy Carmichael (a blonde in her early 20s looking to be introduced to Cordel's art agent friend), Cordel, 45, walks in on Joelle (his longtime, non-live-in girlfriend): Joelle's being very consensually sodomized by a white man wearing a red condom, their (very well-endowed) mutual acquaintance, Johnny Fry. Cordel walks out quietly, without being seen. In short order, Cordel buys a porno video and gets enraptured with its sadist star, Sisypha; quits his freelance-translation gig; has conflicted, amazing sex with Joelle (who continues to lie to him); has unconflicted, amazing sex with Lucy (who seems very nice) and with voluptuous neighbor Sasha Bennett (who seems way crazy); meets Sisypha for an Eyes Wide Shut-like experience; seduces the young, ghetto Monica Wells; and finally, within the week, has his confrontation with Johnny Fry. Though it all, Cordel's thoughts on humiliation, submission, pain, family, aging and abuse manage to sustain the wisp-thin plot of this total male fantasy. (Jan.) Copyright 2006 Reed Business Information. </article> <article> <h4>Library Journal</h4>Like his last two adult novels (The Wave and Fortunate Son), Mosley's latest is a departure from his best-selling Easy Rawlins mysteries. His protagonist, 45-year-old translator Cordell Carmel, considers himself lucky that girlfriend Joelle is so undemanding that they spend only one night a week together. Stopping by Joelle's apartment unannounced one day, he discovers her with another man, aspiring musician Johnny Fry. That night, Cordell buys his first X-rated DVD and begins a journey of sexual self-discovery. Watching The Myth of Sisypha, the vividly described adult film he has purchased, opens Cordell's eyes to a world of sex and power, pleasure and pain. He explores his renewed sexual energy with a young photographer he's helping, an attractive neighbor, a French student he meets on the subway, and Sisypha herself. Mosley's decision to subtitle the book "a sexistenial novel" implies a more philosophical approach to sexuality than the gratuitous sexual episodes described here. Recommended only for libraries with strong demand for all of Mosley's work.-Karen Kleckner, Deerfield P.L., IL Copyright 2006 Reed Business Information. </article> <article> <h4>Kirkus Reviews</h4>And now for something completely different from Easy Rawlins' prolific creator (Cinnamon Kiss, 2005, etc.), who's branching out into still another genre. Cordell Carmel, a middle-aged New York translator everybody calls "L," decides one afternoon on his way to a conference to wait a few hours for a first-class train to Philadelphia. Heading over to girlfriend Joelle Petty's apartment, he finds her sharing a frantic embrace with Johnny Fry, a white man who'd like to switch from being a personal trainer to playing classical guitar. Instead of calling attention to himself, L leaves quietly (though he does turn back briefly when he thinks Jo is crying out in pain) and proceeds to pull down the edifice of his carefully constructed life. He smashes his hand against a brick wall, orders a high-fat meal, buys an expensive bottle of cognac and takes home a porn video, The Myth of Sisypha, that puts him in touch with his appetite for passion and pain. The next day, after missing the conference and infuriating his agent, L begins to grab every chance at a new life. He reinvents himself as an agent for photographer Lucy Carmichael, flirts with female acquaintances and takes three of them to bed, then returns to Jo bent on getting some of the kind of wild, crazy sex she's been enjoying with Johnny. But it's The Myth of Sisypha that has the most profound impact on L, and when he has a chance to meet the video's star and embark on a series of scenarios that cross the line from NC-17 to XXX, his obsessions with getting off and killing Johnny are joined by another kind of desire as tender as it is unlikely. An interesting look at a male in midlife crisis. As L says, "I had come alive. And lifehurt."Agent: Gloria Loomis/Watkins Loomis Agency Inc. </article>
119Spider Woman's Granddaughters: Traditional Tales and Contemporary Writing by Native American WomenPaula Gunn Allen0Paula Gunn Allenspider-womans-granddaughterspaula-gunn-allen9780449905081044990508X$10.31PaperbackRandom House Publishing GroupMay 1990ReissueAmerican Literature Anthologies, Native American Folklore & Mythology, Anthologies, World Literature, Fiction Subjects, Native North American People2885.06 (w) x 7.97 (h) x 0.56 (d)"Impressive....Haunting....Enchanting...Every story in the book, which covers nearly a century of tradition, is interesting, written with intelligent passion."<br> THE NEW YORK TIMES BOOK REVIEW Native American scholar, literary critic, poet, and novelist Paula Gunn Allen, who is herself a Laguna Pueblo-Sioux Indian, became increasingly aware in her academic career that the writings of Native Americans, especially women, have been marginalized by the Western literary canon. Allen set out to understand why this was so and, more importantly, to remedy the situation. The result is this powerful collection of traditional tales, biographical writings, and contemporary short stories, many by the most accomplished Native American women writing today, including: Louise Erdrich, Mary TallMountain, Linda Hogan, and many others. <p>According to Cherokee legend, Grandmother Spider brought the light of intelligence to the people. For the first time, Spider Woman's Granddaughters brings to light the original American. It is a unique addition to feminist literatire--and a treasure trove for the ever-increasing audience for Native American works. </p><p><P>&quot;Impressive....Haunting....Enchanting...Every story in the book, which covers nearly a century of tradition, is interesting, written with intelligent passion.&quot;<br>THE NEW YORK TIMES BOOK REVIEW Native American scholar, literary critic, poet, and novelist Paula Gunn Allen, who is herself a Laguna Pueblo-Sioux Indian, became increasingly aware in her academic career that the writings of Native Americans, especially women, have been marginalized by the Western literary canon. Allen set out to understand why this was so and, more importantly, to remedy the situation. The result is this powerful collection of traditional tales, biographical writings, and contemporary short stories, many by the most accomplished Native American women writing today, including&#58; Louise Erdrich, Mary TallMountain, Linda Hogan, and many others.</p>
120Transforming a Rape CultureEmilie Buchwald0Emilie Buchwald (Editor), Martha Roth (Editor), Pamela R. Fletcher (Editor), Pamela Fletchertransforming-a-rape-cultureemilie-buchwald97815713126931571312692$15.13PaperbackMilkweed EditionsAugust 2004RevisedCriminology - Bias Crimes, Family Abuse & Violence, Regional American Anthologies, Sexual Harassment, Criminology - Sex Crimes, Women & Crime4246.04 (w) x 9.02 (h) x 1.10 (d)A rape culture is a society that accepts sexual violence as the norm. In this groundbreaking new work, a diverse group of opinions lays the foundation for change in basic attitudes about power, gender, race, and sexuality--for a future without sexual violence. National tour. <p>A rape culture is a society that accepts sexual violence as the norm. In this groundbreaking new work, a diverse group of opinions lays the foundation for change in basic attitudes about power, gender, race, and sexuality--for a future without sexual violence. National tour. </p><p><p>Originally published in 1993, this pioneering anthology is a powerful polemic for fundamental cultural change&#58; the transformation of basic attitudes about power, gender, race, and sexuality. This edition adds new pieces on Internet pornography, the role of sports in sexual violence, and rape as a calculated instrument of war. The diverse contributors, which include bell hooks, Andrea Dworkin, Michael Messner, Yvette Flores, and Ntozake Shange, are activists, opinion leaders, theologians, policymakers, educators, and authors of both genders who tackle such hot-button issues as pornography and the intersection of race and rape. <p>The book's statistics have been thoroughly updated, as have essays about sexual violence in K-12 schools and in the church. New pieces from within America's immigrant communities depict struggles with domestic violence, sexual harassment, and community stigmas against reporting rape. This violence, not limited to one race, creed, or nationality, has its roots in cultural biases that are still much in need of change.<p></p><h3>Publishers Weekly</h3><p>The contributors to this invaluable sourcebook share the conviction that rape is epidemic because our society encourages male aggression and tacitly or overtly supports violence against women. Cumulatively, these 34 essays by such figures as Gloria Steinem, Andrea Dworkin, Ntozake Shange, Michael Kimmel and Louise Erdrich situate rape on a continuum extending from sexist language to pornography, sexual harassment in schools and the workplace, wife battering and date and marital rape. Most of the selections were written for this volume. Highlights include a proposal to make rape a presidential election issue, an analysis of the churches' ambivalent response to societal violence, guidelines for raising boys to view themselves as nurturing, nonviolent fathers and inspirational visions of personal or institutional change. Buchwald is publisher/editor of Milkweed, Fletcher an English professor at North Hennepin Community College in Minnesota and Roth edits the feminist quarterly, Hurricane Alice. (Oct.)</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>The contributors to this invaluable sourcebook share the conviction that rape is epidemic because our society encourages male aggression and tacitly or overtly supports violence against women. Cumulatively, these 34 essays by such figures as Gloria Steinem, Andrea Dworkin, Ntozake Shange, Michael Kimmel and Louise Erdrich situate rape on a continuum extending from sexist language to pornography, sexual harassment in schools and the workplace, wife battering and date and marital rape. Most of the selections were written for this volume. Highlights include a proposal to make rape a presidential election issue, an analysis of the churches' ambivalent response to societal violence, guidelines for raising boys to view themselves as nurturing, nonviolent fathers and inspirational visions of personal or institutional change. Buchwald is publisher/editor of Milkweed, Fletcher an English professor at North Hennepin Community College in Minnesota and Roth edits the feminist quarterly, Hurricane Alice. (Oct.) </article>
121American Food Writing: An Anthology with Classic RecipesMolly O'Neill0<p><P><b>Molly O'Neill</b>, editor, was for a decade the food columnist for <i> The New York Times Magazine</i> and the host of the PBS series <i>Great Food</i>. Her work has appeared in many national magazines, and she is the author of three cookbooks, including the award-winning <i>The New York Cookbook</i>. Her most recent book is <i>Mostly True&#58; A Memoir of Family, Food, and Baseball</i>.</p>Molly O'Neillamerican-food-writingmolly-o-neill97815985304141598530410$24.00PaperbackLibrary of AmericaJanuary 2009Cooking, Essays<p><P>Now in paperback, this groundbreaking anthology from celebrated food writer Molly O'Neill is a history of America as told by our tastebuds. Here are classic accounts of iconic American foods&#58; Thoreau on the delights of watermelon; Melville, with a mouth-watering chapter on clam chowder; Mencken on the hot dog; M.F.K. Fisher in praise of the oyster; Ellison on the irresistible appeal of baked yams; Styron on Southern fried chicken. American writers abroad describe the revelations they find in foreign restaurants; travelers to America discover native delicacies. Great chefs and noted critics discuss their culinary philosophies and offer advice on the finer points of technique; home cooks recount disasters and triumphs. <i>American Food Writing</i> celebrates the astonishing variety of American foodways, with accounts from almost every corner of the country and a host of ethnic traditions. A surprising range of subjects and perspectives emerge, as writers address such topics as fast food, dieting, and the relationship between food and sex. Throughout the book are fifty authentic recipes that tell the story of American food and will delight and inspire home chefs.</p>
122Baseball: A Literary AnthologyNicholas Dawidoff0Nicholas Dawidoffbaseballnicholas-dawidoff9781931082099193108209X$25.31HardcoverLibrary of AmericaFebruary 20021Baseball & Softball, American Literature Anthologies, General & Miscellaneous Literature Anthologies, Fiction Subjects7216.28 (w) x 9.43 (h) x 1.59 (d)<p>Robert Frost never felt more at home in America than when watching baseball "be it in park or sand lot." Full of heroism and heartbreak, the most beloved of American sports is also the most poetic, and writers have been drawn to this sport as to no other. With <b>Baseball: A Literary Anthology</b>, The Library of America presents the story of the national adventure as revealed through the fascinating lens of the great American game.</p> <p>Philip Roth considers the terrible thrill of the adolescent centerfielder; Richard Ford listens to minor-league baseball on the radio while driving cross-country; Amiri Baraka remembers the joy of watching the Newark Eagles play in the era before Jackie Robinson shattered the color line. Unforgettable portraits of legendary players who have become icons-Babe Ruth, Ty Cobb, and Hank Aaron-are joined by glimpses of lesser-known characters such as the erudite Moe Berg, who could speak a dozen languages "but couldn't hit in any of them."</p> <p>Poems in <b>Baseball: A Literary Anthology</b> include indispensable works whose phrases have entered the language-Ernest Thayer's "Casey at the Bat" and Franklin P. Adams's "Baseball's Sad Lexicon"-as well as more recent offerings from May Swenson, Yusef Komunyakaa, and Martin Espada. Testimonies from classic oral histories offer insights into the players who helped enshrine the sport in the American imagination. Spot reporting by Heywood Broun and Damon Runyon stands side by side with journalistic profiles that match baseball legends with some of our finest writers: John Updike on Ted Williams, Gay Talese on Joe DiMaggio, Red Smith on Lefty Grove.</p>As a young man, Charles Emmett Van Loan (1876-1919) worked at a meat packing company and went to minor-league baseball games around Los Angeles with his boss. He began taking notes on what he saw, and when he converted them into dispatches and submitted them to the <i>Los Angeles Examiner</i>, he was on his way to becoming California's best baseball writer. He worked for the <i>Los Angeles Morning Herald</i> in 1904, and then for the <i>Denver Post</i>, where he met Damon Runyon. By 1910, the two men were house mates in New York, colleagues at the sports department of the American. Over the next nine years Van Loan's journalism and short stories about boxing, horseracing, golf, Hollywood, and of course baseball appeared in a number of publications, including <i>The Saturday Evening Post</i>, for which he served two stints as an editor. During the first, he became the editorial conduit for Ring Lardner's humorous sketches that would later be collected as the novel <i>You Know Me Al</i>. This piece, published in <i>The Outing</i> magazine in 1909, shows Van Loan's ample humor and his sophisticated understanding of the skills involved in baseball. The portraits of Ty Cobb and Hal Chase are especially interesting since they provide glimpses of the two players before a reputation for recalcitrance (Cobb) or dishonesty (Chase) overtook them. <p><b>Baseball as the Bleachers Like It</b><br> <b>By Charles E. Van Loan</b></p> <p>The man in the box office, whose swift, money-changing fingers play on the pulse of the amusement-loving public, will tell you that a baseball franchise in a large city is a "mint." The man in the box office cares little for sport; he views it with the sordid eye of one who thinks in figures and dreams in dollars. Those who make a study of the great business of providing amusement for a nation, will tell you that where other outdoor sports and "attractions" count their devotees by tens, baseball drags its hundreds and even thousands through the turnstiles. There must be some good reason for this state of affairs.</p> <p>The same men sit on the bleachers day after day, their straw hats tilted down over keen eyes, their fingers fumbling score cards and pencils. Everything that the gallery is to the stage, the bleachers are to the diamond. The most merciless critic may be found somewhere behind first or third base where he can see everything which happens. The grand stand may be all very well for the thin-skinned ones who must mingle personal comfort with their amusement; the true baseball fan sits on the bleachers, trimmed down to his shirt sleeves. No wire nettings in front of him, if you please.</p> <p>Why is he there day after day? He can hope to see nothing absolutely new, for in the present high stage of its development, professional baseball has reached a point where one new play a season is the average. What is the lure of this mighty magnet -- this thing, half sport, half business, which draws its millions of dollars every year?</p> <p>Is it the science of the game -- the inside baseball?</p> <p>Nine tenths of the men who go to the theater hope for one of two things: they want to be amused or thrilled. The problem play does not appeal to the man who has found life its own problem.</p> <p>The man who goes to the race track for an afternoon's sport and does not sell his interest for a bookmaker's ticket hopes to see a great race with a nose-and-nose finish and three horses driving at the wire.</p> <p>Patrons of the gentle art of the lamented Queensberry, hoot two clever men, who spar for points without damage or gore. These are the same men who make baseball profitable; what then do they see in the national game?</p> <p><b>PROBLEM PLAYS ON THE DIAMOND</b></p> <p>For example: it is the ninth inning; the score is 1 to 0, and it has been a battle of the pitchers from the clang of the gong. There have been a few scattering hits, a few brilliant bits of individual fielding, and many weak flies hoisted into the air. It has been a very scientific contest from first to last -- so full of science that there has been little else. Ask your bleacher friend what he thinks of that sort of a game.</p> <p>"We-ell," he will say, "Matty was good today and so was the other fellow. We won, of course, but..."</p> <p>Behind that "but" lurks the secret of the whole thing, the power of the game over its millions of devotees. The melodrama had been lacking; the sensational plays which stir the blood, the long sharp hits and the brilliant catches. It had been a problem play with two stars in the cast and sixteen walking gentlemen.</p> <p>Now then, watch your friend in the last half of the eighth inning with the score 3 to 2 against the home team, two men out and the bases filled. It has been a slashing contest, full of free hitting, sharp fielding, and the brilliant double plays which hold the score in small figures.</p> <p>The hard-hitting outfielder of the home team is at bat. Your friend is out on the edge of his seat. Any sort of a safe hit means a tied score; a long single might win the game, and a double... your friend hopes for a double! Watch his eyes when the umpire's right arm jerks upward as the first ball splits the plate.</p> <p>"Aw, what was he waiting for? Might have known the first ball would be a groover!" Your friend seems peevish.</p> <p>One ball. Wild cheering. Two balls. A demonstration and yells of "Going Up!" Ah! He missed that one! Well, he still has the big one left. Three balls.</p> <p>From the box back of first base comes the sharp bark of the coacher.</p> <p>"Three and two now, ole boy! Three and two! Make him be good!"</p> <p>Watch your friend now. He has stopped breathing. His cigar is dying an unpleasant death. He does not care. Three and two! He has eyes and ears and a taste for one thing only -- the drama spread out before him.</p> <p>Once more the gray-clad pitcher cuddles the ball to his chest, nodding slightly in answer to the catcher's signal. Up goes his foot, back goes his body from the hips, a forward lunge, and the arm snaps out in a half circle like a powerful spring uncoiled. The ball flies straight for the catcher's mitt and at the same instant the three base runners flash into motion. Three and two and two men down -- nothing to do but run.</p> <p>The batter pivots with a mighty swing, there is a splitting crack as wood meets leather, and a white dot shoots out over the second baseman's head, mocking his futile leap. The center fielder is sheering off toward right, racing with a forlorn hope and the right fielder, wiser still, is already on his way toward the fence.</p> <p><b>DELIRIUM ON THE BLEACHERS</b></p> <p>How about your friend now? There he is, standing up in his place and tearing the air with a series of Comanche war whoops. All around you men, and women too, are screaming unintelligible words. The man beside you who gave you such a nasty look when you stepped on his feet, hammers you between the shoulder blades and bellows into your ear:</p> <p>"A triple with bases full! A triple! What do you know about that, eh?"</p> <p>What is the attraction in baseball? Your answer is out there on the bleachers, several thousand strong. Those leaping, howling, white-shirted dervishes have given it to you. It is the melodrama which makes baseball.</p> <p>A baseball fan will go to a dozen poor games rather than miss that sort of a play, and when at last he recovers his breath he will tell you that he is amply repaid for his time and money.</p> <p>The scientific contest interests him because he understands every move in the game, but if you want to bring him to his feet, you must give him melodrama.</p> <p>Inside baseball? Yes, he knows something of that, too. He has made a study of inside baseball, sitting above the great masters. He recognizes and appreciates good pitching, but the thing which brings him to his feet with the howl of a timber wolf is the long clean drive to the fence, or the seemingly impossible catch. The melodrama "gets" him every time.</p> <p>One of the grizzled old baseball generals once said:</p> <p>"Give me a team of sluggers and I'll chance the errors." He knew what the fans wanted to see.</p> <p>Ask the first youngster you meet to name the two greatest baseball players in the two big leagues. Nine times out of ten the answer will come like a flash:</p> <p>"Hans Wagner and Ty Cobb!"</p> <p>These are the names of the two great batters, Wagner in the National and Cobb in the American League.</p> <p>The tenth youngster may take time to think and give you another answer. If you lift his hat you will find that youth has a high, intellectual brow. He will enjoy problem plays when he grows up.</p> <p>The leading men of this national melodrama form interesting contrasts. Some of them have found it a long road from the sandlots to the pay roll of a big league team; others jumped into fame in a single week. Personal appearance counts for nothing; nationality counts for nothing; it is the man who "delivers the goods" who is always sure of his welcome from the lynx-eyed critics on the sunny seats.</p> <p>Baseball fans are quick to recognize and identify the thing which we call "class." After your bleacher friend has watched a visiting team through an entire series he can place his finger on the weak spot in the organization; he can tell you how the games were lost and which players lost them.</p> <p>Of the ball players who have jumped into prominence at a single bound, two might be mentioned: Hal Chase and Tyrus Cobb.</p> <p><b>CHASE BREAKS INTO FAST COMPANY</b></p> <p>A few years ago the Los Angeles team of the Pacific Coast League had need of a substitute first baseman. Frank Dillon, first baseman and team captain, had signed a contract to play with the Brooklyn club of the National League. Dillon was anxious to remain in California and did not report with the Eastern team for spring practice.</p> <p>The manager of the Southern team, looking about him for a substitute player, engaged a boy from a small college team in central California, devoutly hoping that he might not have any use for him.</p> <p>On the opening day of the league season, Dillon went out on the field to put the team through the preliminary practice, playing his old position at first base. The substitute sat on the bench. His face was unknown to the Southern baseball fans who immediately dubbed him a "bush leaguer" and forgot about him. The youngster sat there on the bench, nursing an odd-shaped pancake glove; a battered relic contrasting strangely with his new flannel uniform and spiked shoes.</p> <p>It was his first appearance in "organized baseball." Success meant a chance to earn money; failure meant a ticket back to the prune orchards of Santa Clara County.</p> <p>The gong clanged, announcing the opening of the game. The umpire drew a paper from his pocket, showed it to Dillon, and the captain and first baseman slowly left the field. He had been informed that every game in which he played would be declared forfeited. Baseball magnates have many ways of protecting themselves in business deals; Dillon had signed with Brooklyn and Brooklyn meant to have him.</p> <p>The long-legged country boy arose and ambled out to Dillon's old position. The stands were in an uproar. Dillon had been the idol of the baseball public; the best first baseman in the league and the brainiest team captain the town had ever had. The contagion spread to the Los Angeles players, not one of whom had confidence in the raw college boy, thus thrust into an important position.</p> <p>It would be hard to imagine a more unfortunate first appearance. The game opened with a rush. The first batter smashed a ground ball at the Los Angeles shortstop and tore down the line to first base. Mechanically the shortstop raced over, dropped his glove in front of the ball, and faced about to make the throw to first base. Instead of Dillon, there was the "bush league kid" on the bag.</p> <p>The base runner was a fast man; in the twinkling of an eye the thing had been done -- the panic was working. Instead of the perfect line "peg" to first base, the shortstop threw fully eight feet outside the bag and correspondingly high, shooting the ball with the speed of a rifle bullet. It would have been a vicious throw for a right-hander to care for, even though on his glove-hand side; the bush league boy was a left-handed player and wore the glove on his right hand. The ball was coming to his bare hand and coming with such speed that there was little chance to hold it, even if a man cared to risk injury by reaching for a wide ball with the bare hand.</p> <p><b>"ACCIDENT" THAT BECAME A HABIT</b></p> <p>With the fraction of a second in which to decide what to do, the country boy whirled with his back to the diamond, hooked the spikes of his left shoe in the bag, and thrust out a long right arm for a backhand catch. The runner was beaten a stride on a circus catch which few big-leaguers would care to attempt.</p> <p>After the cheering, the bleacherites decided that it had been a blind, back-hand stab or a lucky accident. Twenty minutes later every man inside the grounds knew that he was seeing first base played as no youngster had ever played it before. The infield, still in a state of panic, threw the ball high, wide, and on both sides of him, but the flat pancake glove was always there when it arrived.</p> <p>The boy covered the ground with great loose-jointed strides, dug up impossible ground balls beyond the reach of an ordinary fielding first baseman, picked line drives out of the air, nipped bunts ten feet from the plate, caught advancing runners, and capped the climax by starting and finishing a double play thought to be possible with only one first baseman in America, Fred Tenney of the Nationals. There was but one verdict at the end of the game; the boy was the greatest first baseman ever seen on the Pacific Coast. He found his place in a single afternoon.</p> <p>On the next opening day, the youngster wore a New York uniform. New York had heard of him as a marvel and a boy wonder, but New York accepts no verdict except her own. In less than a week Hal Chase was the baseball sensation of the season, and baseball critics burned up columns in an attempt to analyze his method of playing his position. In the end everybody agreed that it was not possible to understand a raw boy who broke into the fastest company in the business, ready-made, as it were. The veterans of the American League could not teach him anything about inside ball; he was a revelation to his team mates and a terror to opposing clubs.</p> <p>Chase is still the premier first baseman of the country and the great star of baseball melodrama. He makes his plays by some unerring instinct which must have been born in him, and when it comes to handling bad throws at first base, there never was a player like him. Time after time he has been seen to turn his head away from a lowthrown ball and jam his glove down, making a blind catch of a ball which he could not have followed with his eyes.</p> <p>Fielders have little trouble with ground balls, but this is because they can move about and suit the catch to the bound of the ball. The first baseman is anchored to the bag; he must play the ball as it comes to him or miss the base runner.</p> <p>Other men have had more years of experience; many players are better at postmortem analysis of a baseball problem, but when a ball is hit down to Hal Chase, you will see the bleachers come up as one man. The fans never know what he is going to do with the ball when he gets it, but they do know that there will be no fumbling or "booting," but a chain-lightning play directed at the one spot where the most damage can be done. Chase is the personification of baseball by instinct and the most popular first baseman the country has ever seen.</p> <p><b>"TY" COBB'S FIRST BASEBALL MONEY</b></p> <p>"Ty" Cobb was not so fortunate in his beginning. Tyrus was born in Georgia and early decided to be a semi-professional ball player. The difference between a professional and a semi-professional is that the former has a stated salary and always gets it, while the latter takes what he can get when he can get it.</p> <p>Young Cobb walked six miles in the hot sun to play his first "money" game. When the receipts had been counted, Cobb's share was one dollar and twenty-five cents. He walked six miles to his home and on the way decided that there was a future in professional baseball.</p> <p>The Charleston team secured him. He was a wild, erratic youngster who could bat like a demon, but never knew when to stop running bases. It is just as important to know when to stop running as it is to know when to begin. He gained the reputation of a crazy base runner and Charleston sold him to Augusta for one hundred and fifty dollars and was glad to get the money.</p> <p>Augusta tried him and found the same fault. He could hit, but he was wild and discipline irked him. He was a firebrand on the team and he would fight on the field or off. Ty won and lost several battles with the Augusta players and then the management sold him to Detroit for seven hundred dollars -- the greatest bargain in the history of the game.</p> <p>In Detroit young Mr. Cobb, the firebrand, found men who made baseball a study. It was a slugging team, but mixed with the hitting was the judgment which wins games. The players took a hand in taming that hot Southern blood. They argued with him, but as Ty would rather fight than argue, most of the debates ended on the floor of the dressing room. Those cool, seasoned veterans of the Tiger team knew that in Cobb they had a phenomenon, so they went at him methodically, literally "licking him into shape." Some of them fought him more than once. Even to this day McIntyre plays left field and Cobb right field, because it is necessary to keep these two stars as far apart as possible.</p> <p>Cobb has lost most of his rough edges. He has gone out of the rough-and-tumble business; he sheds no more blood in defense of his principles. He knows when to quit running bases, hits the ball hard and often, and makes doubles on hits which any other man would call legitimate singles.</p> <p>He is as fast as a thunderbolt on the lines and the most daring man on a slide that baseball has seen in many a day. His slim, wiry legs are covered with bruises from April until October and he is always slightly lame until he hits the ball; then he forgets his soreness. Absolutely fearless, of great hitting ability, and a fighter every inch, Cobb is one of the great drawing cards in the baseball of today.</p> <p><b>THE MAN WHO HITS EVERYTHING</b></p> <p>Then there is the veteran Hans Wagner whose big stick has kept Pittsburgh in the first division for more years than he cares to remember. Hans is the last man in the world who would be taken for a great ball player. On appearance, he might be a piano mover. Immensely broad from shoulders to hips, awkward of gait, long armed, and bowlegged, this great German has won his place in baseball by his uncanny ability to hit the ball harder and more often than any living man.</p> <p>Hans is no moving picture either in the field or at bat, but once he connects with the ball he becomes a human whirlwind. National League pitchers dream about him and call it a nightmare. The lucky man who strikes him out receives an ovation, for he has done something.</p> <p>The only ball which worries Hans is the spit ball. He does not care for the wet ones, but they are all alike after he hits them. One of the spit ball artists of the National League has this to say about Wagner:</p> <p>"He'll hit anything anywhere. No pitcher ever scares him. He may hate to see you wetting that ball and when you say to him:</p> <p>"'This is IT, you big Dutchman!' his eyes will get about as big as butter plates, but if he hits it! GOOD NIGHT!"</p> <p><b>THE MOST SENSATIONAL OF ALL</b></p> <p>The most sensational play ever made? Every fan will give a different answer to this question. Some will say that Chase made it when he saved a game by racing into the middle of the diamond on a pop fly, reaching the ball when it was only a few inches from the grass. Ed Walsh, the Chicago White Sox pitcher, thinks it was made at Detroit two years ago.</p> <p>It happened in the game in which Walsh broke the Detroit hoodoo. The Tigers had beaten Walsh every time he faced them. They regarded him as their lawful prey. The game was played in Detroit, and Mullin, who started this season with eleven straight victories for the Tigers, was slated to pitch against Walsh.</p> <p>Early in the contest George Davis, the veteran shortstop of the Chicago club, secured the only hit made off Mullin and it was enough to win the game. The ball, driven down the first base line into right field, struck a fire hose lying in the grass and bounded into the bleachers for a home run. After that Mullin was invincible.</p> <p>Toward the end of the game, Detroit opened with the usual rally. Rossman, Detroit's first baseman, leading off in the inning, smashed the ball against the fence for a clean triple. "Dutch" Schaefer drew a base on balls. Schmidt, next at bat, gave the hit-and-run sign and, with both runners in motion, hit a hard bounder down toward third base where Tannehill of Chicago was playing. Tannehill made a perfect scoop and threw the ball to the plate twenty feet ahead of Rossman, who seeing that he was caught, doubled back on the line, hoping to dodge the tag long enough to allow Schaefer to reach third.</p> <p>Sullivan raced down the line with the ball, driving Rossman before him. Rossman slipped and fell close to third base and just as Sullivan tagged him for the first out, Schaefer slid to third. In the meantime, Schmidt, a slow runner because of an injury to his ankle, had rounded first base and was well on his way to second. Sullivan straightened up and whipped the ball to Rohe who was covering second base and calling for the throw.</p> <p>As Schmidt slid, Rohe's arm came down with a thump and Schmidt made the second out. The instant Sullivan threw the ball, Schaefer was on his feet and dashing home from third base. The plate had been left unprotected; Sullivan was down near third base. Walsh, the pitcher, yelled for the ball and raced Schaefer to the rubber, closely followed by George Davis. The two runners collided in front of the plate.</p> <p>Walsh was stunned and Schaefer was thrown ten feet from the plate, alighting on his shoulders. Davis, who arrived about the same time, took the throw and dropped the ball on the struggling Tiger, completing the third out and the most sensational triple play ever made in the big leagues.</p> <p>George Davis, who is a scientist, says that it was not a clean triple, but every man at the ball park went home talking about it in whispers. It is the melodrama of the game which counts in the penciled statement of the autocrat of the box office.</p><p>Robert Frost never felt more at home than when watching baseball, "be it in park or sand lot." Full of heroism and heartbreak, the most beloved of American sports is also the most poetic, and writers have been drawn to this sports as no other. With <i>Baseball: A Literary Anthology</i>, The Library of America presents the story of the national adventure as revealed through the fascinating lens of the great American game. <p> Philip Roth considers the terrible thrill of the adolescent centerfielder; Richard Ford listens to minor-league baseball on the radio while driving cross-country; Amiri Baraka remembers the joy of watching the Newark Eagles play in the era before Jackie Robinson shattered the color line. Unforgettable portraits of legendary players who have become icons -- Babe Ruth, Ty Cobb, and Hank Aaron -- are joined by glimpses of lesser-known characters such as the erudite Moe Berg, who could speak a dozen languages "but couldn't hit in any of them." <p> Poems in <i>Baseball: A Literary Anthology</i> include indispensable works whose phrases have entered the language -- Ernest Thayer's "Casey at the Bat" and Franklin P. Adams's "Baseball's Sad Lexicon" -- as well as more recent offerings from May Swenson, Yusef Komunyakaa, and Martin Espada. Testimonies from classic oral histories offer insights into the players who helped enshrine the sport in the American imagination. Spot reporting by Heywood Broun and Damon Runyan stands side by side with journalistic profiles that match baseball legends with some of our finest writers: John Updike on Ted Williams, Gay Talese on Joe DiMaggio, Red Smith on Lefty Grove.</p><h3>Library Journal</h3><p>Dawidoff, the author of a well-regarded biography of Moe Berg (The Catcher Was a Spy), has assembled this collection of exemplary baseball writing. While acknowledging the literature's formative years with early boosters such as Albert Spalding and other "dead ball" era writers, he concentrates on its mature period, from Ring Lardner through the two Rogers (Kahn and Angell) of the modern era, even Don Delillo and Stephen King. Dawidoff smartly doesn't rule out a great piece of baseball writing merely because it's familiar: classics like Updike's account of Ted Williams's final 1960 game, Gay Talese's Esquire profile of the unknowable Joe DiMaggio, and W.C. Heinz's salute to the recklessly brave Pistol Pete Reiser belong in any anthology worth its pitching rosin. This wonderful introduction belongs alongside past collections such as The Armchair Guide to Baseball. Copyright 2001 Cahners Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Casey at the Bat</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Umpire Is a Most Unhappy Man</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Take Me Out to the Ball Game</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baseball's Sad Lexicon</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Old-Fashioned Pitcher</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baseball as the Bleachers Like It</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Varmint</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baiting the Umpire</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from America's National Game</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hail! Roger Merkle, Favorite of Toledo</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rajah's Pride Falls Before 'G. Hooks-em'</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Glory of Their Times: Sam Crawford</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from You Know Me Al</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where Do You Get That Noise?</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hits and Runs</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Always the Young Strangers</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ruth Comes Into His Own with 2 Homers</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from No Cheering in the Press Box: Richards Vidmer</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The crowd at the ball game</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from White Mule: Fourth of July Doubleheader</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Baseball When the Grass Was Real: James "Cool Papa" Bell</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Along This Way</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Of Time and the River</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Inside the Inside</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pitchers and Catchers</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You Could Look It Up</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Polo Grounds</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It Was a Great Day in Jersey</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jamesie</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shine Ball</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Chicago: City on the Make</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nice Work</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Tallulah</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Natural</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dodgers Defeat Yanks, 3-2, as Erskine Fans 14</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Terrible-Tempered Mr. Grove</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from God's Country and Mine</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Perfect Day - A Day of Prowess</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Grandmother Goes to Comiskey Park</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Damn Yankees</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rocky Road of Pistol Pete</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Long Season</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pitcher</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Base Stealer</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hub Fans Bid Kid Adieu</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rules for Staying Young</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Can of Beer, a Slice of Cake - and Thou, Eddie Gaedel</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Back at the Polo Grounds</TD><TD WIDTH="10%" ALIGN="RIGHT">334</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Can't Anybody Here Play This Game?</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baseball and Writing</TD><TD WIDTH="10%" ALIGN="RIGHT">349</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Silent Season of a Hero</TD><TD WIDTH="10%" ALIGN="RIGHT">352</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from North Toward Home</TD><TD WIDTH="10%" ALIGN="RIGHT">374</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Portnoy's Complaint</TD><TD WIDTH="10%" ALIGN="RIGHT">386</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Ball Four</TD><TD WIDTH="10%" ALIGN="RIGHT">389</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Van Lingle Mungo</TD><TD WIDTH="10%" ALIGN="RIGHT">394</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Analysis of Baseball</TD><TD WIDTH="10%" ALIGN="RIGHT">396</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Boys of Summer</TD><TD WIDTH="10%" ALIGN="RIGHT">397</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Wrong Season</TD><TD WIDTH="10%" ALIGN="RIGHT">407</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Summer Game</TD><TD WIDTH="10%" ALIGN="RIGHT">413</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Five Seasons</TD><TD WIDTH="10%" ALIGN="RIGHT">415</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Late Innings</TD><TD WIDTH="10%" ALIGN="RIGHT">434</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Season Ticket</TD><TD WIDTH="10%" ALIGN="RIGHT">439</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Great American Baseball Card Flipping, Trading and Bubble Gum Book</TD><TD WIDTH="10%" ALIGN="RIGHT">444</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Final Twist of the Drama</TD><TD WIDTH="10%" ALIGN="RIGHT">456</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A False Spring</TD><TD WIDTH="10%" ALIGN="RIGHT">476</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carlton Fisk Is My Ideal</TD><TD WIDTH="10%" ALIGN="RIGHT">488</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Green Fields of the Mind</TD><TD WIDTH="10%" ALIGN="RIGHT">490</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Day of Light and Shadows</TD><TD WIDTH="10%" ALIGN="RIGHT">494</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from It Looked Like For Ever</TD><TD WIDTH="10%" ALIGN="RIGHT">511</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Celebrant</TD><TD WIDTH="10%" ALIGN="RIGHT">522</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Autobiography of Leroi Jones</TD><TD WIDTH="10%" ALIGN="RIGHT">538</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Stengel: His Life and Times</TD><TD WIDTH="10%" ALIGN="RIGHT">543</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sporting News</TD><TD WIDTH="10%" ALIGN="RIGHT">552</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The September Song of Mr. October</TD><TD WIDTH="10%" ALIGN="RIGHT">568</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from An American Childhood</TD><TD WIDTH="10%" ALIGN="RIGHT">586</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Streak of Streaks</TD><TD WIDTH="10%" ALIGN="RIGHT">587</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Head Down</TD><TD WIDTH="10%" ALIGN="RIGHT">596</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coming to the Plate, One Family's Ethos</TD><TD WIDTH="10%" ALIGN="RIGHT">643</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Minors Affair</TD><TD WIDTH="10%" ALIGN="RIGHT">650</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glory</TD><TD WIDTH="10%" ALIGN="RIGHT">654</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Underworld</TD><TD WIDTH="10%" ALIGN="RIGHT">656</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rain Delay: Toledo Mud Hens, July 8, 1994</TD><TD WIDTH="10%" ALIGN="RIGHT">705</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Pure Baseball</TD><TD WIDTH="10%" ALIGN="RIGHT">707</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yankee Ends Real Corker of a Mystery</TD><TD WIDTH="10%" ALIGN="RIGHT">712</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sources and Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">716</TD></TABLE><article> <h4>From Barnes & Noble</h4>Can we praise this anthology enough? Over the last century, baseball has evoked superb writing from many of our most gifted authors: John Updike; Don DeLillo; Bernard Malamud; Marianne Moore; Thomas Wolfe; William Carlos Williams. Library of America editor Nicholas Davidoff has tracked down the best of these, not neglecting baseball mavens such as Roger Angell, Roger Kahn, Ring Lardner, and James T. Farrell. Digging deep, he's discovered pieces we never knew about, such as Amiri Baraka's joyful reminiscences of watching the Negro Leagues' Newark Eagles and Red Smith's touching tribute to southpaw Lefty Grove. </article> <article> <h4>Library Journal</h4>Dawidoff, the author of a well-regarded biography of Moe Berg (The Catcher Was a Spy), has assembled this collection of exemplary baseball writing. While acknowledging the literature's formative years with early boosters such as Albert Spalding and other "dead ball" era writers, he concentrates on its mature period, from Ring Lardner through the two Rogers (Kahn and Angell) of the modern era, even Don Delillo and Stephen King. Dawidoff smartly doesn't rule out a great piece of baseball writing merely because it's familiar: classics like Updike's account of Ted Williams's final 1960 game, Gay Talese's Esquire profile of the unknowable Joe DiMaggio, and W.C. Heinz's salute to the recklessly brave Pistol Pete Reiser belong in any anthology worth its pitching rosin. This wonderful introduction belongs alongside past collections such as The Armchair Guide to Baseball. Copyright 2001 Cahners Business Information. </article><article> <h4>Kirkus Reviews</h4>An intelligently selected and diverse collection of the best baseball poetry, fiction, and nonfiction, to be published on opening day of the Major League season. Author, prolific magazine contributor, and former college shortstop Dawidoff (The Catcher Was a Spy, 1994) assembles excellent verse and prose about baseball for this long-overdue Library of America anthology. As he notes in his introduction, baseball has historically touched everyone who grew up in the US, and many of our best authors wrote about it; our national pastime, Dawidoff argues, has become an integral part of our literary landscape and American heritage. He makes a strong case for this idea by including verse by poets from Carl Sandburg and William Carlos Williams to Robert Frost and Marianne Moore. To further demonstrate the sport's cultural significance, Dawidoff includes prose from such preeminent novelists as Thomas Wolfe, Bernard Malamud, John Updike, and Annie Dillard. Additionally, he uncovers gems from the most unlikely sources: Stephen King produces a heartrending chronicle of his son's little league team's quest for the 1987 Main State Championship; Negro League legend Satchel Paige divulges his six rules for staying young. Dawidoff captures our history's tense and ambiguous racial undercurrents in excerpts from works like Amiri Baraka's The Autobiography of Leroi Jones. He demonstrates the enduring resonance of baseball fiction by showing that classics like Ernest Lawrence Thayer's "Casey At the Bat" and Ring Lardner's You Know Me Al hold their own when compared to modern baseball writing like Yusef Komunyakaa's poem "Glory" and Don DeLillo's Underworld. This collection resurrects scintillating fragments ofyouthful summers and ultimately convinces readers that reflecting on baseball helps us understand our complicated national identity. Of obvious appeal to baseball fans of all ages, but also a delight for general readers-and worthy of attention from scholars serious about American history and literature. </article>
123Loving in the War Years: Lo que nunca paso por sus labiosCherrie Moraga0Cherrie Moragaloving-in-the-war-yearscherrie-moraga97808960862650896086267$16.28PaperbackSouth End PressSeptember 20002NDShort Story Collections (Single Author), Hispanic Americans - Fiction & Literature, Peoples & Cultures - American Anthologies, Gay & Lesbian Fiction, Feminism & Feminist Theory, Literature Anthologies - General & Miscellaneous, Feminism & Literature2645.30 (w) x 8.30 (h) x 0.50 (d)<p>Weaving together poetry and prose, Spanish and English, family history and political theory, <i>Loving in the War Years</i> has been a classic in the feminist and Chicano canon since its 1983 release. This new edition—including a new introduction and three new essays—remains a testament of Moraga's coming-of-age as a Chicana and a lesbian at a time when the political merging of those two identities was severely censured.</p> <p>Drawing on the Mexican legacy of Malinche, the symbolic mother of the first mestizo peoples, Moraga examines the collective sexual and cultural wounding suffered by women since the Conquest. Moraga examines her own mestiza parentage and the seemingly inescapable choice of assimilation into a passionless whiteness or uncritical acquiescence to the patriarchal Chicano culture she was raised to reproduce. By finding Chicana feminism and honoring her own sexuality and loyalty to other women of color, Moraga finds a way to claim both her family and her freedom.</p> <p>Moraga's new essays, written with a voice nearly a generation older, continue the project of "loving in the war years," but Moraga's posture is now closer to that of a zen warrior than a street-fighter. In these essays, loving is an extended prayer, where the poet-politica reflects on the relationship between our small individual deaths and the dyings of nations of people (pueblos). <i>Loving</i> is an angry response to the "cultural tyranny" of the mainstream art world and a celebration of the strategic use of "cultural memory" in the creation of an art of resistance.</p> <p><b>Cherríe Moraga</b> is the co-editor of the classic feminist anthology <i>This Bridge Called My Back</i> and the author of <i>The Last Generation.</i> She is Artist-in-Residence at Stanford University.</p><p><P>A new edition of Moraga's seminal work on identity, sexuality, history, and the politics of Chicana feminism.</p>
124Don't Squat With Your Spurs On: A Cowboy's Guide to LifeTexas Bix Bender0<p><p>Texas Bix Bender is the author of eighteen books, including the best-selling Don't Squat With Yer Spurs On series. He has written for television and radio shows, including Hee Haw, the Nashville Network's Tumbleweed Theater, and Riders Radio Theater. He lives in Nashville, Tennessee.<p></p>Texas Bix Benderdont-squat-with-your-spurs-ontexas-bix-bender9781423606994142360699X$7.99PaperbackSmith, Gibbs PublisherOctober 2009RevisedAmerican Humor - Peoples & Cultures, American Literature Anthologies1284.20 (w) x 6.70 (h) x 0.50 (d)<p>"If you find yourself in a hole, the first thing to do is stop digging."</p><p>AFTER EATING AN ENTIRE BULL, a mountain lion felt so good he started roaring. He kept it up until a hunter came along and shot him. The moral: WHEN YOU'RE FULL OF BULL, KEEP YOUR MOUTH SHUT.</p><p><p>Henry Ward Beecher said "the common sense of one century is the common sense of the next." That said, these pocket-sized humor books pack quite a bit of punch-lines that is. With more than 1.5 million copies in print, their all-new look will leave a whole new generation in stitches! <p></p>
125Listening For God Reader Volume 3Paula J. Carlson0Paula J. Carlson (Editor), Peter S. Hawkinslistening-for-god-reader-volume-3paula-j-carlson97808066396280806639628$13.99PaperbackAugsburg Fortress, PublishersFebruary 2000New EditionFaith, Literature Anthologies - General & Miscellaneous, General & Miscellaneous Christian Life, American Literature Anthologies1605.50 (w) x 8.50 (h) x 0.34 (d)Keep up with current culture while you integrate the perspectives of Christian faith. This two-part resource helps adults explore the issues of discipleship and theology through the guided interaction of 8-10 selections of American literature. Volume 3 authors include John Cheever, Tillie Olsen, Wallace Stegner, and others. Features a reader edition for participants and a guide for leaders.<p>Where do you listen for God? In this new collection of stories and essays, the challenge is to pay attention everywhere. <I>Listening for God</i> is a resource intended to help readers investigate how life and faith merge in surprising ways and places. Contemporary American literature may not be the most predictable place to listen for God, but it may well turn out to be among the most rewarding.</p><table> <tr><td>Introduction</td></tr> <tr><td>1. John Cheever</td></tr> <tr><td>The Five-Forty-Eight</td></tr> <tr><td>2. Mary Gordon</td></tr> <tr><td>Mrs. Cassidy's Last Year</td></tr> <tr><td>3. Wendell Berry</td></tr> <tr><td>Pray without Ceasing</td></tr> <tr><td>4. Oscar Hijuelos</td></tr> <tr><td>Christmas 1967</td></tr> <tr><td>5. Reynolds Price</td></tr> <tr><td>Long Night</td></tr> <tr><td>6. Louis Erdrich</td></tr> <tr><td>Satan: Hijacker of a Planet</td></tr> <tr><td>7. Tess Gallagher</td></tr> <tr><td>The Woman Who Prayed</td></tr> <tr><td>8. Tillie Olsen</td></tr> <tr><td>O Yes</td></tr> <tr><td></td></tr> </table>
126Fierce Pajamas: An Anthology of Humor Writing from the New YorkerDavid Remnick12<p><P>David Remnick has been the editor of <i>The New Yorker</i> since 1998. A staff writer for the magazine from 1992 to 1998, he was previously <i>The Washington Post's</i> correspondent in the Soviet Union. The author of several books, he was awarded the Pulitzer Prize and the George Polk Award for his 1994 book <i>Lenin's Tomb</i>. He lives in New York with his wife and children.</p>David Remnick (Editor), Henry Finderfierce-pajamasdavid-remnick97803757612700375761276$16.24PaperbackRandom House Publishing GroupOctober 2002ReprintHumor5286.14 (w) x 9.20 (h) x 1.12 (d)<p>When Harold Ross founded <i>The New Yorker</i> in 1925, he called it a “comic weekly.” And although it has become much more than that, it has remained true in its irreverent heart to the founder’s description, publishing the most illustrious literary humorists in the modern era—among them Robert Benchley, Dorothy Parker, Groucho Marx, James Thurber, S. J. Perelman, Mike Nichols, Woody Allen, Calvin Trillin, Garrison Keillor, Ian Frazier, Roy Blount, Jr., Steve Martin, and Christopher Buckley. <i>Fierce Pajamas</i> is a treasury of laughter from the magazine W. H. Auden called the “best comic magazine in existence.”</p><p><b>SPOOFS<br> </b>WOLCOTT GIBBS DEATH IN THE RUMBLE SEAT WITH THE USUAL APOLOGIES TO ERNEST HEMINGWAY,<br> WHO MUST BE PRETTY SICK OF THIS SORT OF THING Most people don’t like the pedestrian part, and it is best not to look at that if you can help it. But if you can’t help seeing them, long-legged and their faces white, and then the shock and the car lifting up a little on one side, then it is best to think of it as something very unimportant but beautiful and necessary artistically. It is unimportant because the people who are pedestrians are not very important, and if they were not being cogido by automobiles it would just be something else. And it is beautiful and necessary because, without the possibility of somebody getting cogido, driving a car would be just like anything else. It would be like reading “Thanatopsis,” which is neither beautiful nor necessary, but hogwash. If you drive a car, and don’t like the pedestrian part, then you are one of two kinds of people. Either you haven’t very much vitality and you ought to do something about it, or else you are yellow and there is nothing to be done about it at all.</p> <p>If you don’t know anything about driving cars you are apt to think a driver is good just because he goes fast. This may be very exciting at first, but afterwards there is a bad taste in the mouth and the feeling of dishonesty. Ann Bender, the American, drove as fast on the Merrick Road as anybody I have ever seen, but when cars came the other way she always worked out of their terrain and over in the ditch so that you never had the hard, clean feeling of danger, but only bumping up and down in the ditch, and sometimes hitting your head on the top of the car. Good drivers go fast too, but it is always down the middle of the road, so that cars coming the other way are dominated, and have to go in the ditch themselves. There are a great many ways of getting the effect of danger, such as staying in the middle of the road till the last minute and then swerving out of the pure line, but they are all tricks, and afterwards you know they were tricks, and there is nothing left but disgust.</p> <p>The cook: I am a little tired of cars, sir. Do you know any stories?</p> <p>I know a great many stories, but I’m not sure that they’re suitable.</p> <p>The cook: The hell with that.</p> <p>Then I will tell you the story about God and Adam and naming the animals. You see, God was very tired after he got through making the world. He felt good about it, but he was tired so he asked Adam if he’d mind thinking up names for the animals.</p> <p>“What animals?” Adam said.</p> <p>“Those,” God said.</p> <p>“Do they have to have names?” Adam said.</p> <p>“You’ve got a name, haven’t you?” God said.</p> <p>I could see–</p> <p>The cook: How do you get into this?</p> <p>Some people always write in the first person, and if you do it’s very hard to write any other way, even when it doesn’t altogether fit into the context. If you want to hear this story, don’t keep interrupting.</p> <p>The cook: O.K.</p> <p>I could see that Adam thought God was crazy, but he didn’t say anything. He went over to where the animals were, and after a while he came back with the list of names.</p> <p>“Here you are,” he said.</p> <p>God read the list, and nodded.<br> “They’re pretty good,” he said. “They’re all pretty good except that last one.”</p> <p>“That’s a good name,” Adam said. “What’s the matter with it?”</p> <p>“What do you want to call it an elephant for?,” God said.</p> <p>Adam looked at God.</p> <p>“It looks like an elephant to me,” he said.</p> <p>The cook: Well?</p> <p>That’s all.</p> <p>The cook: It is a very strange story, sir.</p> <p>It is a strange world, and if a man and a woman love each other, that is strange too, and what is more, it always turns out badly.</p> <p>In the golden age of car-driving, which was about 1910, the sense of impending disaster, which is a very lovely thing and almost nonexistent, was kept alive in a number of ways. For one thing, there was always real glass in the windshield so that if a driver hit anything, he was very definitely and beautifully cogido. The tires weren’t much good either, and often they’d blow out before you’d gone ten miles. Really, the whole car was built that way. It was made not only so that it would precipitate accidents but so that when the accidents came it was honestly vulnerable, and it would fall apart, killing all the people with a passion that was very fine to watch. Then they began building the cars so that they would go much faster, but the glass and the tires were all made so that if anything happened it wasn’t real danger, but only the false sense of it. You could do all kinds of things with the new cars, but it was no good because it was all planned in advance. Mickey Finn, the German, always worked very far into the other car’s terrain so that the two cars always seemed to be one. Driving that way he often got the faender, or the clicking when two cars touch each other in passing, but because you knew that nothing was really at stake it was just an empty classicism, without any value because the insecurity was all gone and there was nothing left but a kind of mechanical agility. It is the same way when any art gets into its decadence. It is the same way about s-x–</p> <p>The cook: I like it very much better when you talk about s-x, sir, and I wish you would do it more often.<br> I have talked a lot about s-x before, and now I thought I would talk about something else.</p> <p>The cook: I think that is very unfortunate, sir, because you are at your best with s-x, but when you talk about automobiles you are just a nuisance.</p><p>When Harold Ross founded <i>The New Yorker</i> in 1925, he described it as a comic weekly.</p><h3>Library Journal</h3><p>Remnick, New Yorker editor since 1999, and Finder, the magazine's editorial director, recommend taking this book in small doses. However, New Yorker humor is not for everyone. Do not read this book if you suffer from an irony deficiency, or if you are currently taking any form of remedial English. Also, do not read this book if you are allergic to E.B. White, Robert Benchley, S.J. Perelman, Dorothy Parker, Woody Allen, Veronica Geng, Steve Martin, or Jack Handey. Side effects include the urge to do literary research (to track down the targets of spoofs) and the discovery of some very funny writers who may be unknown to you. To learn more about the type of material contained in this book, consult Judith Yaross Lee's Defining New Yorker Humor (LJ 2/1/00). Ask your librarian if Fierce Pajamas is right for you. Available by prescription at public and academic libraries. Susan M. Colowick, North Olympic Lib. Syst., Port Angeles, WA Copyright 2001 Cahners Business Information.</p><article> <h4>From Barnes & Noble</h4>For humor writing, no magazine in American history can match the achievement of <i>The New Yorker</i>. Since the 1920s, this Manhattan-based weekly has been hosting an unequalled list of comic geniuses from Dorothy Parker, James Thurber, and Ogden Nash to Calvin Trillin, Steve Martin, and Roy Blount Jr. This anthology collects all the aforementioned, plus mirth-raisers like Groucho Marx, Woody Allen, Garrison Keillor, Robert Benchley, Ian Frazier, S.&nbsp;J. Perelman, and, believe it or not, W.&nbsp;H. Auden. </article> <article> <h4>Library Journal</h4>Remnick, New Yorker editor since 1999, and Finder, the magazine's editorial director, recommend taking this book in small doses. However, New Yorker humor is not for everyone. Do not read this book if you suffer from an irony deficiency, or if you are currently taking any form of remedial English. Also, do not read this book if you are allergic to E.B. White, Robert Benchley, S.J. Perelman, Dorothy Parker, Woody Allen, Veronica Geng, Steve Martin, or Jack Handey. Side effects include the urge to do literary research (to track down the targets of spoofs) and the discovery of some very funny writers who may be unknown to you. To learn more about the type of material contained in this book, consult Judith Yaross Lee's Defining New Yorker Humor (LJ 2/1/00). Ask your librarian if Fierce Pajamas is right for you. Available by prescription at public and academic libraries. Susan M. Colowick, North Olympic Lib. Syst., Port Angeles, WA Copyright 2001 Cahners Business Information. </article>
127The Top 500 PoemsWilliam Harmon0<p><P>WILLIAM HARMON is the James Gordon Hanes Professor of English at the University of North Carolina, Chapel Hill. He is the editor of <I>The Top 500 Poems</I> (Columbia), <I>The Oxford Book of American Light Verse</I>, and recent editions of <I>A Handbook to Literature</I>, and the author of several volumes of poetry, including winners of the Lamont Award and the William Carlos Williams Award.<p><p></p>William Harmonthe-top-500-poemswilliam-harmon9780231080286023108028X$27.96HardcoverColumbia University PressJanuary 1992Poetry Anthologies, American Poetry, English Poetry, English & Irish Literature Anthologies, American Literature Anthologies11326.29 (w) x 9.32 (h) x 1.97 (d)<p><i>The Top 500 Poems</i> offers a vivid portrait of poetry in English, assembling a host of popular and enduring poems as chosen by critics, editors, poets, and general readers. These works speak across centuries, beginning with Chaucer's resourceful inventions and moving through Shakespeare's masterpieces, John Donne's complex originality, and Alexander Pope's mordant satires. The anthology also features perennial favorites such as William Blake, William Wordsworth, and John Keats; Emily Dickinson's prisms of profundity; the ironies of Wallace Stevens and T.S. Eliot; and the passion of Sylvia Plath and Allen Ginsberg. These 500 poems are verses that readers either know already or will want to know, encapsulating the visceral power of truly great literature. William Harmon provides illuminating commentary to each work and a rich introduction that ties the entire collection together.</p> <p> Columbia University Press</p> <p>For the first time, here is our generation's definitive view of the greatest poetry in the English language. This collection of 500 poems is based on the collective choice of 550 critics, editors, and poets whose anthologies are indexed in The Columbia Granger's Index to Poetry. If you've wondered which collection of poetry to buy for yourself or as a special gift--this is it! </p><p><P>This is the story of poetry in English, a collection of the best 500 poems, based not on one critic's choice, not on one poet's choice, but on the collective choice of 550 critics, editors, and poets.<p></p><h3>School Library Journal</h3><p>YA-- A chronological compilation that tells ``the story of poetry in English.'' Harmon enhances each entry with pertinent information about the work and the poet; his insight adds much to the enjoyment of the collection. The selections are taken from the ninth edition of The Columbia Granger's Index to Poetry , chosen because 400 contemporary editors, critics, and poets included them most often in their own anthologies. ``The Poems in Order of Popularity'' concludes the book. Easy-to-read print with a look of fine calligraphy on high-quality paper add to the appeal.-- Arlene Hoebel, W. T. Woodson High School, Fairfax, VA</p><p>1 This Is It!Anonymous (c.1250-c.1350)7 Cuckoo SongGeoffrey Chaucer (c.1340-1400)8 General Prologue to The Canterbury TalesAnonymous (c.1400-1600)10 Sir Patrick Spens14 Western Wind15 Edward, Edward18 Thomas the Rhymer21 The Wife of Usher's Well23 As You Came from the Holy Land of Walsingham25 Corpus Christi Carol26 The Three Ravens28 Tom o' Bedlam's Song31 Adam Lay I-bounden32 Lord Randal33 The Cherry-Tree Carol35 The Lord Is My Shepherd36 I Sing of a Maiden37 A Lyke-Wake Dirge39 My Love in Her Attire40 The Demon Lover43 Weep You No More, Sad Fountains44 The Unquiet Grave46 Waly, WalyJohn Skelton (1460?-1529)48 To Mistress Margaret HusseySir Thomas Wyatt (1503-1542)50 They Flee from Me That Sometime Did Me Seek52 The Lover Complaineth the Unkindness of His Love54 Whoso List to HuntSir Walter Ralegh (1554?-1618)55 The Nymph's Reply to the Shepherd57 The LIe60 Even Such Is Time61 The Passionate Man's PilgrimageEdmund Spenser (c.1552-1599)64 One Day I Wrote Her Name upon the Strand65 ProthalamionSir Philip Sidney (1554-1586)71 With How Sad Steps, O Moon, Though Climb'st the Skies!72 Leave Me, O Love, Which Reachest But to Dust73 My True Love Hath My Heart74 Loving in Truth, and Fain in Verse My Love to Show75 Come Sleep! O Sleep, the Certain Knot of PeaceGeorge Peele (c.1558-1597)76 His Golden Locks Time Hath to Silver Turned78 Whenas the Rye Reach the ChinRobert Southwell (c.1561-1595)79 The Burning BabeSamuel Daniel (1562-1619)80 Care-Charmer Sleep, Son of the Sable NightMichael Drayton (1536-1593)81 Since There's No Help, Come Let Us Kiss and PartChristopher Marlowe (1564-1593)82 The Passionate Shepherd to His LoveWilliam Shakespeare (1564-1616)84 That Time of Year Thou Mayst in Me Behold86 Shal I Copmare Thee to a Summer's Day?87 Let Me Not to the Marriage of True Minds88 Fear No MOre the Heat o' the Sun89 When Icicles Hang by the Wall90 Full Fathom Five Thy Father Lies91 When to the Sessions of Sweet Siletn Thought92 O Mistress Mine93 The Expense of Spirit in a Waste of Shame94 When in Disgrace with Fortune and Men's Eyes95 When Daisies Pied96 It Was a Lover and His Lass97 My Mistress' Eyes Are Nothing like the Sun98 Poor Soul, the Center of My Sinful Earth99 Hark! Hark! the Lark!100 Take, O Take Those Lips Away101 Farewell! Thou Art Too Dear for My Possessing102 Where the Bee Sucks, There Suck I103 When That I Was and a Little Tiny Boy104 Full Many a Glorious Morning Have I Seen105 No Longer Mourn for Me When I Am Dead106 Tired with All These, for Restful Death I Cry107 Like as the Waves Make towards the Pebbled Shore108 When Daffodils Begin to Peer109 How like a Winter Hath My Absense Been110 Since Brass, nor Stone, nor Earth, nor Boundless Sea111 Come Away, Come Away, Death112 Come unto These Yellow Sands113 Tell Me Where Is Fancy BredThomas Campion (1567-1620)114 My Sweet Lesbia115 Rose-cheeked Laura116 There Is a Garden in Her Face117 Thrice Toss These Oaken Ashes in the AirThomas Nashe (1567-1601)118 Adieu, Farewell, Earth's Bliss120 Spring, the Sweet SpringChidiock Tichborne (c.1568-1586)121 Tichborne's ElegySir Henry Wotton (1568-1639)123 On His Mistress, the Queen of BohemiaJohn Donne (1572-1631)125 Death, Be Not Proud126 Batter My Heart, Three-Person'd God127 The Good Morrow128 At the Round EArth's Imagined Corners129 Go and Catch a Falling Star131 The Sun Rising133 A Valediction: Forbidding Mourning135 A Hymn to God the Father136 The Ecstasy139 The Canonization141 The Flea143 Hymn to God My God, in My Sickness145 Sweetest Love, I Do Not Go147 A Nocturnal upon St. Lucy's Day, Being the Shortest Day149 The Funeral150 The Apparition151 The Relic153 Good Friday, 1613. Riding Westward155 The AnniversaryBen Johnson (1572-1637)157 Drink to Me Only with Thine Eyes158 On My First Son159 Hymn to Diana160 Still to Be Neat161 The Triumph of Charis163 Epitaph on S.P.164 Slow, Slow, Fresh Fount, Keep Time with My Salt Tears165 Come, My Celia, Let Us Prove166 To PensburstJohn Webster (c.1578-1632)170 Call for the Robin Redbreast and the WrenWilliam Browne (c.1590-1645)171 On the Countess Dowarger of PembrokeRobert Herrick (1591-1674)172 To the Virgins, to Make Much of Time173 Upon Julia's Clothes174 Delight in Disorder175 To Daffodils176 The Argument of His Book177 Corinna's Going a-Maying180 The Night-Piece to Julia181 Grace for a ChildHenry King, Bishop of Chichester (1592-1669)182 Exequy on His WifeGeorge Herbert (1593-1633)186 Love Bade Me Welcome188 The Collar190 Virtue191 The Pulley192 Redemption193 Easter Wings194 Jordan195 Prayer to the Church's BanquetThomas Carew (1595-1639)196 Ask Me No More Where Jove Bestows198 To My Inconstant MistressSir William Davenant (1606-1668)199 The Lark Now Leaves His Watery NestEdmund Waller (1606-1687)200 Go, Lovely Rose202 On a GirdleJohn Milton (1608-1674)203 Lycidas209 On His Deceased wife210 On His Blindness211 On the Late Massacre in Piedmont212 L'Allegro217 Il PenserosoSir John Suckling (1609-1642)222 Why So Pale and Wan, Fond Lover?Anne Bradstreet (c.1612-1672)223 To My Dear and Loving HusbandRichard Lovlace (1618-1658)224 To Lucasta, Going to the Wars225 To Althea, from Prison227 The GrasshopperAndrew Marvell (1621-1678)229 To His Coy Mistress231 The Garden234 The Definition of Love236 Bermudas238 An Horatian Ode upon Cromwell's Return from Ireland242 The Picture of Little T.C. in a Prospect of Flowers244 The Mower to the Glow-Worms245 A Dialogue between the Soul and BodyHenry Vaughan (1622-1695)247 The Retreat249 The World251 They Are All Gone into the World of Light253 Peace254 The NightJohn Dryden (1631-1700)256 To the Memory of Mr. Oldham258 Mac Clecknoe265 A Song for St. Cecilia's Day, 1687268 Alexander's Feast; or, The Power of MusicEdward Taylor (c.1645-1729)275 HuswiferyJonathan Swift (1667-1745)276 A Description of the MorningAlexander Pope (1688-1744)277 Know Then Thyself279 Epistle to Dr. Arbuthnot291 An Essay on CriticismSamuel Johnson (1709-1784)312 A Short Song of Congratulation314 On the Death of Mr. Robert Levet, a Practiser in Physic316 The Vanity of Human Wishes: The Tenth Satire of Juvenal ImitatedThomas Gray (1716-1771)327 Elegy Written in a Country Churchyard333 Ode on the Death of a Favorite Cat, Drowned in a Tub of Gold FishesWilliam Collins (1721-1759)335 Ode to Evening337 How Sleep the BraveOliver Goldsmith (c.1730-1774)338 When Lovely Woman Stoops to Folly339 An Elegy on the Death of a Mad Dog341 The Deserted VillageWilliam Cowper (1731-1800)354 Light Shining out of Darkness356 The Poplar FieldPhilip Freneau (1752-1832)357 The Indian Burying GroundWilliam Blake (1757-1827)359 The Tyger361 London362 And Did Those Feet in Ancient Time363 Piping down the Vailleys Wild364 The Sick Rose365 The Lamb366 Ah! Sun-Flower367 Hear the Voice of the Bard368 Auguries of Innocence372 How Sweet I Roam'd from Field to Field373 The Little Black Boy375 A Poison Tree376 The Chimney Sweeper378 To the Evening Star379 The Garden of Love380 The Clod and the Pebble381 Holy Thursday382 Mock On, Mock On, Voltaire, RousseauRobert Burns (1759-1796)383 A Red, Red Rose384 To a Mouse on Turning Her Up in Her Nest with the Plough, November, 1785386 John Anderson, My Jo387 The Banks o' Doon388 For A' That and A' That390 Holy Willie's PrayerWilliam Wordsworth (1770-1850)394 The World Is Too Much with Us396 I Wandered Lonely as a Cloud397 Composed upon Westminster Bridge, September 3, 1802398 The Solitary Reaper400 Ode: Intimations of Imortality from Recollections of Early Childhood407 Lines Composed a Few Miles above Tintern Abbey Lucy (comprising:)412 She Dwelt among the Untrodden Ways412 I Traveled among Unkown Men413 Strange Fits of Passion Have I Known414 Three Years She Grew in Sun and Shower415 A Slumber Did My Spirit Seal416 It Is a Beauteous Evening417 London, 1802418 My Heart Leaps Up419 Surprised By Joy420 She Was a Phantom of Delight421 Resolution and IndependenceSir Walter Scott (1771-1832)426 Proud Maisie427 Breathes There the Man with Soul So Dead428 LochinvarSamuel Taylor Coleridge (1772-1834)430 Kubla Khan433 The Rime of the Ancient Mariner458 Dejection: An Ode463 Frost at MidnightRobert Southey (1774-1843)466 The Battle of BlenheimWalter Savage Landor (1775-1864)469 Rose Aylmer470 Dirce471 I Strove with None, for None Was Worth My Strife472 Past Ruined Ilion Helen LivesThomas Campbell (1777-1844)473 Hohenlinden Clement Clarke Moore (1779-1863)475 A Visit from St. NicholasLeigh Hunt *1784-1859)477 Jenny Kissed Me478 Abou Ben AdhemGeorge Gordon Noel Byron, 6th Baron Byron (1788-1824)479 So We'll Go No More a-Roving481 She Walks in Beauty482 The Destruction of Sennacherib484 When We Two Parted486 The Ocean489 There Was a Sound of Revelry by NightCharles Wolfe (1791-1823)493 The Burial of Sir John Moore after CorunnaPercy Bysshe Shelley (1792-1822)495 Ozymandias497 Ode to the West Wind500 To a Skylark504 Music, When Soft Voices Die505 To Night507 England in 1819508 To _____509 AdonaisJohn Clarke (1793-1864)528 I AmWilliam Cullen Bryant *1794-1878)530 To a Waterfowl532 ThanatopsisJohn Keats (1795-1821)535 To Autumn537 La Belle Dame sans Merci539 La Belle Dame sans Merci (Revised Version)541 On First Looking into Chapman's Homer542 Ode to a Nightingale546 Old on a Grecian Urn548 When I Have Fears549 Ode on Melancholy551 The Eve of St. Agnes565 Bright Star566 Ode to PsycheThomas Hood (1799-1845)569 I Remember, I RememberThomas Lovell Beddoes (1803-1849)571 Old Adam, the Carrion CrowRalph Waldo Emerson (1803-1882)573 Concord Hymn574 The Snow-Storm575 The Rhodora576 Brahma577 Fable578 DaysElizabeth Barrett Browning (1806-1861)579 How Do I Love Thee? Let Me Count the WaysHenry Wadsworth Longfellow (1807-1882)580 My Lost Youth584 Paul Revere's Ride589 ChaucerJohn Greenleaf Whittier (1807-1892)590 Barbara Frietchie593 Snow-Bound: A Winter IdylOliver Wendell Holmes (1809-1894)615 The Deacon's Masterpiece; or, The Wonderful "One Hoss Shay"620 The Chambered Nautilus622 Old IronsidesEdgar Allan Poe (1809-1849)623 To Helen625 The Raven631 Annabel Lee633 The City in the Sea635 The Bells639 The Haunted PalaceAlfred Tennyson, 1st Baron Tennyson (1809-1892)641The Splendor Falls646 Break, Break, Break644 Crossing the Bar645 Ulysses648 The Eagle649 Tears, Idle Tears650 Now Sleeps the Crimson Petal651 The Charge of the Light Brigade654 Mariana657 The Lady of Shalott664 Flower in the Crannied WallRobert Browning (1812-1889)665 My Last Duchess668 Home Thoughts from Abroad669 Meeting at Night670 The Year's at the Spring671 The Bishop Orders His Tomb at St. Praxed's Church675 Parting at Morning676 Two in the CampagnaEdward Lear (1812-1888)679 The Owl and the Pussy-Cat681 The JumbliesEmily Bronte (1818-1848)684 RemebranceArthur Hugh Clough (1819-1861)686 Say Not the Struggle Nought Availeth687 The Latest DecalogueJulia Ward Howe (1819-1892)688 The Battle Hymn of the Republic690 A Noiseless Patient Spider692 O Captain! My Captain!694 When Lilacs Last in the Dooryard Bloom'd704 I Hear America Singing705 Cavalry Crossing a FordMatthew Arnold (1822-1888)706 Dover Beach708 The Scholar-GipsyWilliam Allingham (1824-1889)717 The FairiesGeorge Meredith (1824-1909)719 Lucifer in Starlight720 Thus Piteously Love Closed What He BegatDante Gabriel Rossetti (1828-1882)721 The Blessed Damozel727 The WoodspurgeEmily Dickinson (1860-1886)728 "Because I could not stop for Death"730 "I heard a Fly buzz--when I died"731 "A narrow Fellow in the Grass"732 There's a certain Slant of light"733 "A Bird came down the Walk"734 "The Soul selects her own Society"735 "I like to see it lap the Miles"736 "My life closed twice before its close"737 "Success is counted sweetest"738 "I taste a liquor never brewed"739 "After great pain, a formal feeling comes"740 "I felt a Funeral, in my Brain"741 "I never saw a Moor"742 "Much Madness is divinest Sense"Christina Georgina Rossetti (1830-1894)743 When I Am Dead744 Up-Hill745 A Birthday746 Remember"Lewis Carroll" (Charles Lutwidge Dodgson) (1832-1898)747 Jabberwocky749 The Walrus and the Carpenter753 Father William755 I'll Tell Thee Everything I Can758 How Doth the Little CrocodileSir William Schwenck Gilbert (1836-1911)759 The Yarn of the Nancy BellAlgernon Charles Swinburne (1837-1909)763 When the Hounds of Spring Are on Winter's Traces766 The Garden of ProsperpineThomas Hardy (1840-1928)770 The Darkling Thrush772 The Oxen773 In Time of "The Breaking of Nations"774 Channel Firing776 Afterwards777 The Convergence of the Twain779 The Man He Killed780 Neutral Tones781 The Ruined Maid783 The Voice784 During Wind and RainRobert Bridges (1844-1930)786 London Snow788 NightingalesGerard Manley Hopkins (1844-1889)789 Pied Beauty790 The Windhover792 God's Grandeur793 Spring and Fall794 Felix Randal795 No Worst, There Is None796 Thou Art Indeed Just, Lord797 Spring798 Heaven-Haven799 Inversnaid800 The Habit of Perfection802 Carrion ComfortEugene Field (1850-1895)803 Wynken, Blynken, and Nod805 The DuelRobert Louis Stevenson (1850-1894)807 RequiemEdwin Markham (1852-1904)808 The Man with the HoeOscar Wilde (1854-1900)810 The Ballad of Reading GaolAlfred Edward Housman (1859-1936)833 Loveliest of Trees834 To an Athlete Dying Young836 With Rue My Heart Is Laden837 When I Was One-and-Twenty838 Terence, This Is Stupid Stuff841 Into My Heart an Air That Kills842 On Wenlock Edge843 The Hound of HeavenRudyard Kipling (1865-1936)849 Recessional851 Danny DeeverWilliam Butler Yeats (1865-1939)853 The Second Coming855 Sailing to Byzantium857 Leda and the Swan858 The Lake Isle of Innisfree859 When You Are Old860 Among School Children863 An Irish Airman Foresees His Death864 Easter, 1916867 The Wild Swans at Coole869 The Circus Animals' Desertion871 A Prayer for My Daughter874 Lapis Lazuli876 The Song of Wandering Aengus877 No Second TroyGelett Burgess (1866-1951)878 The Purple CowErnest Dowson (1867-1900)879 Non Sum Qualis Eram Bonae sub Regno Cynarae880 Vitae Summa Brevis Spem Nos Vetat Incohare LongamEdgar Lee Masters (1868-1950)881 Anne RutledgeEdwin Arlington Robinson (1869-1935)882 Mr. Flood's Party885 Miniver Cheevy887 Richard Cory888 Eros Turannos890 For a Dead Lady891 Luke HavergalWilliam Henry Davies (1871-1940)893 LeisureWalter de la Mare (1873-1956)896 Stopping by Woods on a Snowy Evening897 Mending Wall899 Fire and Ice900 The Road Not Taken901 Birches903 After Apple-Picking905 Acquainted with the Night906 Provide, Provide907 The Gift Outright908 Directive910 DesignJohn Masefield (1878-1967)911 CargoesCarl Sandburg (1878-1967)912 Chicago914 Fog915 Cool Tombs916 GrassEdward Thomas (1878-1917)917 The OwlVachel Lindsay (1879-1931)918 Abraham Lincoln Walks at MidnightWallace Stevens (1879-1955)920 Sunday Morning925 Anecdote of the Jar926 The Emperor of Ice-Cream927 The Idea of Order at Key West929 Peter Quince at the Clavier932 Thirteen Ways of Looking at a BlackbirdWilliam Carlos Williams (1883-1963)935 The Red Wheelbarrow936 The Dance937 Spring and All939 The YachtsDavid Herbert Lawrence (1885-1930)941 Piano 942 Snake946 Bavarian GentiansEzra Pound (1885-1972)948 The River Merchant's Wife: A Letter950 In a Station of the MetroRupert Brooke (1887-1915)951 The SoldierRobinson Jeffers (1887-1962952 Hurt Hawks954 Shine, Perishing RepublicMarianne Moore (1887-1972)955 Poetry957 A GraveDame Edith Sitwell (1887-1964)959 Still Falls the RainThomas Stearns Eliot (1888-1965)961 The Love Song of J. Alfred Prufrock966 Journey of the Magi968 The Waste Land982 Sweeney among the Nightingales984 Gerontion987 Little GiddingJohn Crowe Ransom (1888-1974)995 Bells for John Whiteside's Daughter997 Piazza PieceClaude McKay (1890-1948)998 If We Must DieIsaac Rosenberg (1890-1918)999 Break of Day in the TrenchesArchibald MacLeish (1892-1982)1001 You, Andrew Marvell1003 Ars Poetica1005 The End of the WorldWilfred Own (1893-1918)1006 Anthem for Doomed Youth1007 Dulce et Decorum Est1008 Strange Meeting1010 Greater LoveEdward Estlin Cummings (1894-1962)1011 anyone lived in a pretty how town1013 "next to of course god america i"Hart Crane (1899-1832)1014 To Brooklyn BridgeAllen Tate (1899-1879)1017 Ode to the Confederate DeadLangston Hughes (1902-1967)1021 The Negro Speaks of RiversStevie Smith (1902-1971)1022 Not Waving But DrowningRichard Eberhart (b.1904)1023 The Fury of Aerial Bombardment1024 The GroundhogWystan Hugh Auden (1907-1973)1026 Musee des Beaux Arts1028 In Memory of W.B. Yeats1031 LullabyLouis MacNeice (1907-1963)1033 Bagpipe MusicTheodore Roethke (1908-1963)1035 My Papa's Waltz1036 I Knew a Woman1038 The Waking1039 Elegy for Jane1040 In a Dark TimeSir Stephen Spender (b.1909)1041 I Think Continually of Those Who Were Truly GreatElizabeth Bishop (1911-1979)1043 The FishRobert Hayden (1913-1980)1046 Those Winter SundaysRandall Jarrell (1914-1986)1048 Naming of PartsDylan Thomas (1914-1953)1050 Do Not Go Gentle into That Good Night1052 Fern Hill1054 A Refusal to Mourn the Death, by Fire, of a Child in London1056 The Force That through the Green Fuse Drives the FlowerGwendolyn Brooks (b.1917)1057 We Real CoolRobert Lowell (1917-1977)1058 Skunk Hour1061 For the Union Dead1064 Mr. Edward and the SpiderRichard Wilbur (b.1921)1066 Love Calls Us to the things of This WorldPhilip Larkin (1922-19851068 Church GoingAllen Ginsberg (b.1926)1071 A Supermarket in CaliforniaSylvia Plath (1932-1963)1073 Daddy1077 The Poems in Order of Popularity1093 Acknowledgements1099 Index of Poets1105 Index of Titles and First Lines</p> <p> Columbia University Press</p><article> <h4>Gwendolyn Brooks</h4><p>The Top 500 Poems is intriguing in concept and management, and most of us will want to own it. And for this we are grateful.</p> </article> <article> <h4>Globe & Mail</h4>A revealing snapshot of one aspect of Western civilization, even including a list of the poems in order of popularity. </article><article> <h4>Buffalo News</h4><p>The merriest poetry anthology of the past decade.... It's everything from 'Sumer is icumen in' to Sylvia Plath's 'Daddy' with terse, plain, and rather wonderful commentary by Harmon.</p> </article> <article> <h4>John Frederick Nims</h4><p>It is rare indeed to come across a book in which wisdom and love come together as powerfully as they do for William Harmon.</p> </article> <article> <h4>Globe and Mail</h4><p>A revealing snapshot of one aspect of Western civilization, even including a list of the poems in order of popularity.</p> </article> <article> <h4>Booklist</h4><p>If your library can buy only one volume of poetry, let this be it.</p> </article> <article> <h4>School Library Journal</h4>YA-- A chronological compilation that tells ``the story of poetry in English.'' Harmon enhances each entry with pertinent information about the work and the poet; his insight adds much to the enjoyment of the collection. The selections are taken from the ninth edition of The Columbia Granger's Index to Poetry , chosen because 400 contemporary editors, critics, and poets included them most often in their own anthologies. ``The Poems in Order of Popularity'' concludes the book. Easy-to-read print with a look of fine calligraphy on high-quality paper add to the appeal.-- Arlene Hoebel, W. T. Woodson High School, Fairfax, VA </article> <article> <h4>Booknews</h4>The pop title is right out of Billboard (the publisher must think poetry needs all the crossover it can get), but the collection is quite terrific--not necessarily the greatest poems (best to avoid that can of worms), but the 500 English-language poems that have appealed most often to 400 contemporary editors, critics, and poets for inclusion in their own widely disparate anthologies, which were indexed in the Ninth Edition of The Columbia Granger's Index to Poetry. From the famous pre-Chaucerian, Anonymous (c.1250-c.1350), author of "Cuckoo Song", to Plath and Ginsberg, the only problem with this anthology will be putting it down. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article> <article> <h4>From The Critics</h4>In the introduction, Harmon boldly proclaims, "This is it!" He is right. The task he set for himself was to compile an anthology with which anyone could start to gain a familiarity with poetry in English. He has nobly done yeoman's work in selecting and commenting upon the 500 poems that have been anthologized most often, based on the 400 collections indexed in the ninth edition of "The Columbia Granger's Index to Poetry". Harmon is a professor of English at the University of North Carolina and edited "The Concise Columbia Book of Poetry" and the "Oxford Book of American Light Verse". He also coedited the fifth edition of "A Handbook to Literature" Represented in "The Top 500 Poems" are 160 poets. Shakespeare has 29 entries. Anonymous has 21, Donne has 19, Blake has 18, and Dickinson and Yeats each have 14. Harmon justifies the fact that "three-quarters of the poems are British . . . because British poetry has been with us three times as long as American poetry." Coverage spans six centuries, ranging from Chaucer in the Middle Ages to Allen Ginsberg and Sylvia Plath. The nineteenth century contributed the greatest number of poems 169, with the twentieth century second with 122 The format is attractive. The paper is of high quality, margins are wide, and the poetry is in dark, readable print. Each poet is introduced with a short paragraph in small print with just enough data to pique curiosity. Comments by Harmon, in yet a different font, follow the selections. He writes with a sly sense of humor, describing alliteration as "sliding along the slippery slope of selfsame sounds." The entries for poets are in chronological order, and a detailed table of contents and a name index provide additional access points. An index of titles and first lines is included, as well as an appendix that ranks the poems according to the number of times they have been anthologized All types of libraries will be interested in this volume as a basic anthology of poetry in English. It will be welcome in elementary and secondary school library media centers, public library poetry and reference collections, home libraries, and as a gift. If your library can buy only one volume of poetry, let this be it. </article>
128True Crime: An American AnthologyHarold Schechter0<p><P>Harold Schechter, editor, is a professor of American literature at Queens College, the City University of New York. He is the author of more than two dozen books and is best known for his historical true crime accounts, most recently <i>The Devil's Gentleman&#58; Privilege, Poison, and the Trial That Ushered in the Twentieth Century</i> (2007). He is also the author of six novels, including a mystery series featuring Edgar Allan Poe.</p>Harold Schechtertrue-crimeharold-schechter97815985303151598530313$40.00HardcoverLibrary of AmericaSeptember 2008American Literature Anthologies, True Crime9005.96 (w) x 10.92 (h) x 2.02 (d)<p>Americans have had an uneasy fascination with crime since the earliest European settlements in the New World, and right from the start true crime writing became a dominant genre in American writing. <i>True Crime: An American Anthology</i> offers the first comprehensive look at the many ways in which American writers have explored crime in a multitude of aspects: the dark motives that spur it, the shock of its impact on society, the effort to make sense of the violent extremes of human behavior. Here is the full spectrum of the true crime genre, including accounts of some of the most notorious criminal cases in American history: the Helen Jewett murder and the once-notorious 'Kentucky tragedy' of the 1830s, the assassination of President Garfield, the Snyder- Gray murder that inspired <i>Double Indemnity</i>, the Lindbergh kidnapping, the Black Dahlia, Leopold and Loeb, and the Manson family. <i>True Crime</i> draws upon the writing of literary figures as diverse as Nathaniel Hawthorne (reporting on a visit to a waxworks exhibit of notorious crimes), Ambrose Bierce, Mark Twain, Theodore Dreiser (offering his views on a 1934 murder that some saw as a 'copycat' version of <i>An American Tragedy</i>), James Thurber, Joseph Mitchell, and Truman Capote and sources as varied as execution sermons, murder ballads, early broadsides and trial reports, and tabloid journalism of many different eras. It also features the influential true crime writing of best-selling contemporary practitioners like James Ellroy, Gay Talese, Dominick Dunne, and Ann Rule.</p><p><P>Americans have had an uneasy fascination with crime since the earliest European settlements in the New World, and right from the start true crime writing became a dominant genre in American writing. <i>True Crime&#58; An American Anthology</i> offers the first comprehensive look at the many ways in which American writers have explored crime in a multitude of aspects&#58; the dark motives that spur it, the shock of its impact on society, the effort to make sense of the violent extremes of human behavior. Here is the full spectrum of the true crime genre, including accounts of some of the most notorious criminal cases in American history&#58; the Helen Jewett murder and the once-notorious &ldquo;Kentucky tragedy&rdquo; of the 1830s, the assassination of President Garfield, the Snyder- Gray murder that inspired <i>Double Indemnity</i>, the Lindbergh kidnapping, the Black Dahlia, Leopold and Loeb, and the Manson family. <i>True Crime</i> draws upon the writing of literary figures as diverse as Nathaniel Hawthorne (reporting on a visit to a waxworks exhibit of notorious crimes), Ambrose Bierce, Mark Twain, Theodore Dreiser (offering his views on a 1934 murder that some saw as a &ldquo;copycat&rdquo; version of <i>An American Tragedy</i>), James Thurber, Joseph Mitchell, and Truman Capote and sources as varied as execution sermons, murder ballads, early broadsides and trial reports, and tabloid journalism of many different eras. It also features the influential true crime writing of best-selling contemporary practitioners like James Ellroy, Gay Talese, Dominick Dunne, and Ann Rule.</p><h3>The Barnes & Noble Review</h3><p>If people read detective fiction to see justice done, they read true crime stories in order to see innocence lost. From Edgar Allan Poe (who invented the detective genre) to Arthur Conan Doyle (whose Sherlock Holmes proved its greatest popularizer) through to today's assortment of imaginary private and public investigators, fictional detective stories center on the heroic ingenuity of the detective, whose guts, guile, and guiding intelligence result in a solution that is -- for entertainment's sake -- typically counterintuitive and unpredictable. The detective outwits the criminal and justice is served.</p><P>The Hanging of John Billington William Bradford Bradford, William 1<P>Pillars of Salt Cotton Mather Mather, Cotton 3<P>The Murder of a Daughter Benjamin Franklin Franklin, Benjamin 36<P>An Account of a Murder Committed by Mr. J-- Y--, Upon His Family, in December, A.D. 1781 Anonymous 39<P>"A crime more atrocious and horrible than any other" Timothy Dwight Dwight, Timothy 45<P>Jesse Strang The Record of Crimes in the United States 52<P>The Recent Tragedy James Gordon Bennett Bennett, James Gordon 63<P>"A show of wax-figures" Nathaniel Hawthorne Hawthorne, Nathaniel 69<P>Remarkable Case of Arrest for Murder Abraham Lincoln Lincoln, Abraham 72<P>Crime News from California Ambrose Bierce Bierce, Ambrose 80<P>from Roughing It Mark Twain Twain, Mark 87<P>Jesse Harding Pomeroy, the Boy Fiend Anonymous 98<P>Gibbeted Lafcadio Hearn Hearn, Lafcadio 117<P>A Memorable Murder Celia Thaxter Thaxter, Celia 131<P>The Trial of Guiteau Jose Marti Marti, Jose 156<P>The Murder of Annie Downey, alias "Curly Tom" Thomas Byrnes Byrnes, Thomas 171<P>Hunting Human Game Frank Norris Norris, Frank 175<P>The Hossack Murder Susan Glaspell Glaspell, Susan 179<P>Murder Ballads<P>Poor Naomi 198<P>Stackalee 199<P>The Murder of Grace Brown 203<P>Belle Gunness 204<P>The Murder at Fall River 205<P>Trail's End 207<P>Mrs. Cordelia Botkin, Murderess Thomas S. Duke Duke, Thomas S. 210<P>Hell Benders, or The Story of a Wayside Tavern Edmund Pearson Pearson, Edmund 217<P>The Eternal Blonde Damon Runyon Runyon, Damon 235<P>from The Gangs of New York Herbert Asbury Asbury, Herbert 303<P>The Mystery of the Hansom Cab Alexander Woollcott Woollcott, Alexander 317<P>Execution Joseph Mitchell Mitchell, Joseph 324<P>More and BetterPsychopaths H. L. Mencken Mencken, H. L. 329<P>Dreiser Sees Error in Edwards Defense Theodore Dreiser Dreiser, Theodore 334<P>Sex and the All-American Boy Dorothy Kilgallen Kilgallen, Dorothy 339<P>Miss Ferber Views "Vultures" at Trial Edna Ferber Ferber, Edna 371<P>Ditch of Doom Jim Thompson Thompson, Jim 375<P>A Sort of Genius James Thurber Thurber, James 392<P>Veteran Kills 12 in Mad Rampage on Camden Street Meyer Berger Berger, Meyer 407<P>Butcher's Dozen John Bartlow Martin Martin, John Bartlow 418<P>The Case of the Scattered Dutchman A. J. Liebling Liebling, A. J. 467<P>The Trial of Ruby McCollum Zora Neale Hurston Hurston, Zora Neale 512<P>The Black Dahlia Jack Webb Webb, Jack 524<P>The Life and Death of Caryl Chessman Elizabeth Hardwick Hardwick, Elizabeth 536<P>The Shambles of Ed Gein Robert Bloch Bloch, Robert 549<P>Superman's Crime&#58; Loeb and Leopold Miriam Allen deFord deFord, Miriam Allen 557<P>Eight Girls, All Pretty, All Nurses, All Slain W. T. Brannon Brannon, W. T. 578<P>The Pied Piper of Tucson Don Moser Moser, Don 610<P>A Stranger with a Camera Calvin Trillin Trillin, Calvin 627<P>Charlie Manson's Home on the Range Gay Talese Talese, Gay 638<P>Then It All Came Down Truman Capote Capote, Truman 651<P>"Son of Sam" Jimmy Breslin Breslin, Jimmy 662<P>The Turner-Stompanato Killing&#58; A Family Affair Jay Robert Nash Nash, Jay Robert 668<P>The Medea of Kew Gardens Hills Albert Borowitz Borowitz, Albert 686<P>My Mother's Killer James Ellroy Ellroy, James 707<P>Young Love Ann Rule Rule, Ann 721<P>Nightmare on Elm Drive Dominick Dunne Dunne, Dominick 737<P>Sources and Acknowledgments 775<P>Index 779<article> <h4>Library Journal</h4><p>Schechter (American literature, Queens Coll., CUNY; <i>The Devil's Gentleman: Privilege, Poison, and the Trial That Ushered in the Twentieth Century</i> ) has put together a sweeping anthology covering the history of crime in America and showcasing some of the best American crime writing. Arranged by publication date, the selections are mostly magazine-length retellings of American crimes, including Puritan execution sermons, murder ballads, and cringe-worthy heinous accounts. The authors selected vary from the colonial (e.g., Benjamin Franklin) to the literary (e.g., Nathaniel Hawthorne, Mark Twain, Truman Capote) to current best-selling experts (e.g., Dominick Dunne, Ann Rule, Calvin Trillin, James Ellroy). The all-too-familiar tales are here-Leopold and Loeb, Charles Manson, Son of Sam-but Schechter also includes some stories that received less press and may be new to readers, like the 1930s case of the Cleveland "butcher" and the 1873 axe murders on Smutty Nose Island, NH. Readers will find it difficult to put down this delightful treasury encompassing some of the best crime writing from colonial times to today. Highly recommended for public and academic libraries.-Karen Sandlin Silverman, Library Svcs., Ctr. for Applied Research, Philadelphia</p> </article><article> <h4>The Barnes & Noble Review</h4>If people read detective fiction to see justice done, they read true crime stories in order to see innocence lost. From Edgar Allan Poe (who invented the detective genre) to Arthur Conan Doyle (whose Sherlock Holmes proved its greatest popularizer) through to today's assortment of imaginary private and public investigators, fictional detective stories center on the heroic ingenuity of the detective, whose guts, guile, and guiding intelligence result in a solution that is -- for entertainment's sake -- typically counterintuitive and unpredictable. The detective outwits the criminal and justice is served. <p>The true-crime story, on the other hand, is rarely puzzle-like. Real-life detecting is a more prosaic business. Murder is handled by the police, and they usually figure out whodunit pretty quickly. The allure of true-crime stories lies elsewhere, for they are about the victims and the criminals. The victims begin in a state of innocence, and the criminals arrive to wreck that innocence forever. Because the story is true, the reader can readily identify with the victims and share their entry into the world of violent experience, where malevolent -- and fascinating -- murderers walk the earth.</p> <p><em>True Crime,</em> Harold Schechter's masterful anthology from the Library of America, showcases lost innocence through American time and space, ranging from the New England colonies to contemporary Beverly Hills. Choosing from a vast universe of true crime stories, Schechter divides his focus. Some of his selections spotlight famous cases, such as the legendary unsolved Black Dahlia murder of 1947, in which the shockingly tortured corpse of a young woman rattled -- and riveted -- Los Angeles. Schechter also brings our attention back to famous criminals like Ed Gein, whose grisly exploits inspired first <em>Psycho</em> and then <em>The Silence of the Lambs,</em> and Son of Sam, whose random killings terrorized New York City in 1977. Other chapters call attention to the work of famous writers who aren't necessarily known for true-crime writing, such as Mark Twain, Frank Norris, or the poet José Martí. And of course there are famous writers covering well-known cases, such as Damon Runyon reporting on the notorious case of Ruth Snyder and her lover, Judd Gray, who were convicted of murdering Mrs. Snyder's husband in 1927. Their trial is little remembered today -- one of the many attractions of Schechter's anthology lies in its recovery of crimes once famous but now forgotten -- but the Snyder-Gray trial was a cause c&amp;eacutelèbre of its time and the inspiration for James M. Cain's <em>Double Indemnity,</em> a 1936 novel later adapted by Billy Wilder into one of the all-time great films noirs.</p> <p>Roughly speaking, <em>True Crime</em> traces how crime reportage expanded from the realm of religious instruction to enter tabloid journalism, and finally to become literature. Schechter's excellent introduction, augmented by headnotes to each chapter, shows how American true-crime writing originated in New England as part of the "execution sermon." Delivered next to the scaffold as part of the hanging ritual, the execution sermon was a disquisition meant to instruct the assembled multitudes. This collection contains no actual examples of this type of oration, but it does include Cotton Mather's <em>Pillars of Salt,</em> a remarkable 1699 compilation drawn from the tradition. Like other Puritan genres (such as the captivity narrative), true crime writing turned both secular and sensational over time, broadening its focus to encompass the prurient as well as the didactic. (Both of these preoccupations have endured to the present day, as Schechter's selection from the prolific and popular Ann Rule, among others, amply shows.) When writers began striving for genuine literary effect, a development this anthology allows us to chart from its beginnings, the modern style of true crime writing had arrived.</p> <p>The best pieces in <em>True Crime</em> showcase detailed character development of either victims or criminals. Celia Thaxter's account of an 1873 multiple murder on a New Hampshire island stands out for its filigreed portrait of innocent victims whose simple lives are destroyed, for example, while Miriam Allen DeFord's delicate anatomy of the infamous 1924 thrill killers Leopold and Loeb stands out for its attention to the psychology of the criminal, in effect answering the question, "Why would anyone do such a thing?" (A. J. Liebling's gripping 1955 reenactment of how a clever young newspaper reporter cracked a murder case in 1898 stands out in the collection for its striking resemblance to an invented detective story; its singularity demonstrates how the narrative conventions governing true crime differ from those of crime fiction.)</p> <p>What makes people kill other people who have done nothing to them? This question lies at the heart of true-crime writing, and it takes a variety of forms over the history of the genre. The Puritan minister asks the murderer on the way to the gallows if he knows that he has a "<em>Wicked Nature</em> in [him], full of Enmity against all that is <em>Holy, and Just, and Good</em>"? Two and a half centuries later, Elizabeth Hardwick observes that "it is not hard to understand organized crime, but how can you understand two young boys who kill an old couple in their candy store for a few dollars?" Modern true-crime writing focuses alternately on the hypothetical couple whose lives are destroyed, and on the two young killers and their murderous kin.</p> <p>If <em>True Crime</em> has a weakness, it is only that this excellent anthology can't encompass the book-length stories that have raised the literary reputation of true crime writing during the last two generations. Truman Capote's <em>In Cold Blood</em> shaped the modern form of the genre, while Vincent Bugliosi's <em>Helter Skelter,</em> Joe McGinness's <em>Fatal Vision,</em> and Norman Mailer's <em>The Executioner's Song</em> are a few of the superb books that helped bring true crime to its current heights -- partly because the longer format allows for a deeper exploration of the lives and personalities of victims and criminals and a more detailed portrait of their communities. <em>True Crime</em> richly satisfies on its own terms, and it is to the lasting credit of both the book and its editor that this anthology will undoubtedly send its readers in the direction of the great books that helped to inspire it. --<i>Leonard Cassuto</i></p> <p><i>Leonard Cassuto is a professor of English at Fordham University and the author of</i> Hard-Boiled Sentimentality: The Secret History of American Crime Stories. <i>He can be found on the web at www.lcassuto.com.</i></p> </article>
129I Am Not My Breast Cancer: Women Talk Openly about Love and Sex, Hair Loss and Weight Gain, Mothers and Daughters, and Being a Woman with Breast CancerRuth Peltason0<p>Ruth Peltason runs Bespoke Books, a small book producing company that specializes in books on the cultural arts, including Elizabeth Taylor: My Love Affair with Jewelry, Kate Spade's Occasions, Style, and Manners. I Am Not My Breast Cancer grew out of the author's passion to wed her skills as a book editor and her own experiences with breast cancer. She was previously senior editor, director of design and style books with Harry N. Abrams, Inc., Publishers, and lives in New York City.<p></p>Ruth Peltason, Peter I. Pressmani-am-not-my-breast-cancerruth-peltason97800611740700061174076$15.95PaperbackHarperCollins PublishersSeptember 2008Health &amp; Fitness, Women's Health<p>"I am not my breast, and I am not cancer; they are only pieces of who I am. What is my heart like, am I kind, strong, loving, compassionate. . . . Those are the things that count." <br><br>I Am Not My Breast Cancer gathers the warm, loving, frank, and informed voices of more than 800 women-from every state in the nation and from continents as far away as Australia and Africa-who reveal their fears, trade advice, share experiences, and express their deepest, most intimate concerns. Nothing before this groundbreaking book has captured the real experience of breast cancer. It is essential reading for any woman with this diagnosis. <br><br>I Am Not My Breast Cancer offers women the companionship of other women dealing with this disease. Ruth Peltason, who has twice undergone treatment for breast cancer, has woven their stories together while maintaining the authenticity of their voices. These are ordinary women dealing with this cancer and its many ramifications. They range in age from their early twenties to their late seventies. They are the collective face of breast cancer today. Their comments are moving, sometimes funny, always honest. They speak out on every topic, from lovemaking and intimacy to losing their hair, from juggling the day-to-day realities of being a patient, mother, wife, and coworker to the overwhelming worries about their own mortality. Remarkably, they emerge with grace and optimism and a determination not to be defined by disease. <br><br>Taking the reader chronologically through the stages of diagnosis, treatment, recovery, and self-discovery, I Am Not My Breast Cancer offers women a deeper understanding of themselves and living with cancer. As Peltason writes inher introduction, "My greatest wish for this book is that it offer comfort to any woman living with breast cancer and to those who care about her. If this book is kept on the bedside table, then I hope its need is brief and its impact lasting. I Am Not My Breast Cancer speaks of courage, heroism in deeds small and large, and incredible faith and fortitude." <br><br>"You can live without a breast. You cannot say the same for the human heart."</p><h3>Publishers Weekly</h3><p><P>Peltason, an editor and breast cancer survivor, founded and hosted the "First Person Plural" Web site project, an online forum for women facing the disease. Their dialogue provides the content for this book, culled from the entries of 800 women across the U.S. and around the world. Peltason organizes the material into three general parts: "Diagnosis," "Living with Breast Cancer" and "The Big Picture," with such subtopics as "Sharing the News," "Being Womanly" and "Anniversaries and Milestones." Participants use screen names for privacy, approaching their disease with candor and freely discussing their feelings about their bodies and their relationships. At times, those overcome by anger and fear far outweigh those with a bright outlook, but when these survivors "look in the mirror" at the conclusion of the text, many envision a hopeful future. Perhaps the most poignant entries are from younger women, some of whom have been driven into early menopause and infertility by chemotherapy. Although this is an informative book, some survivors may discover that these raw entries churn up disturbing emotions; others will find comfort in these voices, and in the knowledge that they aren't alone-either in their sorrow or in their strength and courage. <I>(Feb.)</I></P>Copyright 2007 Reed Business Information</p>Foreword&nbsp;&nbsp;&nbsp;Peter I. Pressman, M.D., F.A.S.C.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xi<br>Introduction&nbsp;&nbsp;&nbsp;Ruth Peltason&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xiii<br>Diagnosis<br>Sharing the News&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3<br>Crowning Glory: Hair Today, Gone Tomorrow&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;28<br>Feelings: A Kitchen Sink of Emotion&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;44<br>Fear&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;80<br>Work&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;90<br>Living with Breast Cancer<br>Being Womanly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;109<br>Love Relationships and Sexual Intimacy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;147<br>Basic Relationships, A to Z&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;197<br>Mothers and Daughters&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;222<br>Children&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;237<br>The Big Picture<br>Anniversaries and Milestones&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;271<br>Mortality&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;280<br>When You Look in the Mirror, What Do You See?&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;302<br>Faith, Religion, and Spirituality&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;340<br>Gathering Rosebuds&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;351<br>Afterword&nbsp;&nbsp;&nbsp;Marc N. Weiss&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;365<br>List of Breast Cancer Organizations&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;371<br>Acknowledgments&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;373
130African American Literature (Penguin Academics Series)Keith Gilyard0Keith Gilyard, Anissa Wardi, Anissa Wardi, Keith Gilyardafrican-american-literaturekeith-gilyard97803211134120321113411$42.47PaperbackLongmanJanuary 20041st EditionPeoples & Cultures - American Anthologies13765.40 (w) x 8.20 (h) x 1.60 (d)<p><i>African-American Literature</i> is thematically arranged, comprehensive survey of African-American Literature.</p><p><P>African-American Literature is thematically arranged, comprehensive survey of African-American Literature.</p><P>1. Middle Passage/Graveyards.<p>From The Interesting Narrative, Olaudah Equiano.<p>&ldquo;Middle Passage,&rdquo; Robert Hayden.<p>&ldquo;Ark of Bones,&rdquo; Henry Dumas.<p>From Beloved, Toni Morrison.<p>From Middle Passage, Charles Johnson.<p>From Joe Turner's Come and Gone, August Wilson.<p>"Homecoming," Everett Hoagland.<p>"Goree," Everett Hoagland.<p>"Dust," Everett Hoagland.<p>From The Souls of Black Folk , W. E. B. Du Bois.<p>&ldquo;A Death Song,&rdquo; Paul Laurence Dunbar.<p>&ldquo;A Brown Girl Dead,&rdquo; Countee Cullen.<p>From Black Thunder, Arna Bontemps.<p>From Dust Tracks on a Road, Zora Neale Hurston.<p>&ldquo;Looking for Zora,&rdquo; Alice Walker.<p>&ldquo;Burial,&rdquo; Alice Walker.<p>&ldquo;View from Rosehill Cemetery,&rdquo; Alice Walker.<p>From A Gathering of Old Men, Ernest Gaines.<p>From Daughters of the Dust, Julie Dash.<p>2. The Influence of the Spirituals.<p>&ldquo;God's Going to Trouble the Water.&rdquo;<p>&ldquo;Didn't My Lord Deliver Daniel?&rdquo;<p>&ldquo;Swing Low, Sweet Chariot.&rdquo;<p>&ldquo;Steal Away to Jesus.&rdquo;<p>&ldquo;An Evening Thought,&rdquo; Jupiter Hammon.<p>&ldquo;On being Brought from Africa to America,&rdquo; Phillis Wheatley.<p>&ldquo;Letter to Samson Occum,&rdquo; Phillis Wheatley.<p>&ldquo;Go Down, Moses.&rdquo;<p>From &ldquo;Moses&#58; A Story of the Nile,&rdquo; Frances E. W. Harper.<p>"An Ante-Bellum Sermon," Paul Laurence Dunbar.<p>"God's Gonna Set This World on Fire."<p>&ldquo;Dry Bones.&rdquo;<p>&ldquo;O Black and Unknown Bards,&rdquo; James Weldon Johnson.<p>"The Judgement Day," James Weldon Johnson.<p>&ldquo;Runagate Runagate&rdquo; by Robert Hayden.<p>&ldquo;A Change Is Gonna Come,&rdquo; Sam Cooke.<p>&ldquo;Final Hour,&rdquo; Lauryn Hill.<p>&ldquo;Walk Together Children.&rdquo;<p>From Youngblood, John Oliver Killens.<p>From A Different Drummer, William Melvin Kelley.<p>&ldquo;When We'll Worship Jesus,&rdquo; Amiri Baraka.<p>&ldquo;Jesus Was Crucified,&rdquo; Carolyn Rodgers.<p>&ldquo;It Is Deep,&rdquo; Carolyn Rodgers.<p>&ldquo;There's No Hiding Place Down There.&rdquo;<p>&ldquo;People Get Ready,&rdquo; Curtis Mayfield.<p>&ldquo;I've Been 'Buked'.&rdquo;<p>&ldquo;Say It Loud,&rdquo; James Brown.<p>&ldquo;Apocalypse,&rdquo; Charlie Braxton.<p>&ldquo;The New Miz Praise De Lawd,&rdquo; Nicole Breedlove.<p>From Jubilee, Margaret Walker.<p>3. The South as Literary Landscape.<p>&ldquo;Southern Song,&rdquo; Margaret Walker.<p>Cane, Jean Toomer.<p>&ldquo;Big Boy Leaves Home,&rdquo; Richard Wright.<p>From Their Eyes Were Watching God, Zora Neale Hurston.<p>From Mama Day, Gloria Naylor.<p>From Gather Together in My Name, Maya Angelou.<p>&ldquo;Strange Fruit,&rdquo; Billie Holiday.<p>&ldquo;Tennessee,&rdquo; Arrested Development.<p>4. Folklore and Literature.<p>&ldquo;The Signifying Monkey.&rdquo;<p>"Goophered Grapevine," Charles W. Chestnutt.<p>"Po'Sandy," Charles W. Chestnutt.<p>&ldquo;Railroad Bill.&rdquo;<p>"Railroad Bill, A Conjure Man," Ishmael Reed.<p>From Flight to Canada, Ishmael Reed.<p>&ldquo;Stackolee.&rdquo;<p>&ldquo;The Sinking of the Titanic.&rdquo;<p>&ldquo;I Sing of Shine,&rdquo; Etheridge Knight.<p>&ldquo;John Henry.&rdquo;<p>&ldquo;The Birth of John Henry,&rdquo; Melvin B. Tolson.<p>From John Henry Days, Colson Whitehead.<p>From Baby of the Family, Tina McElroy Ansa.<p>From Sassafrass, Cypress & Indigo, Ntozake Shange.<p>5. Expressions of Blues and Jazz.<p>&ldquo;St. Louis Blues,&rdquo; W. C. Handy.<p>&ldquo;Backwater Blues,&rdquo; Bessie Smith.<p>&ldquo;Crossroad Blues,&rdquo; Robert Johnson.<p>&ldquo;The Weary Blues,&rdquo; Langston Hughes.<p>&ldquo;Midwinter Blues&rdquo; by Langston Hughes.<p>&ldquo;Ma Man,&rdquo; Langston Hughes.<p>&ldquo;Wide River,&rdquo; Langston Hughes.<p>&ldquo;Flatted Fifths,&rdquo; Langston Hughes.<p>&ldquo;Jam Session,&rdquo; Langston Hughes.<p>"See, See Rider," Ma Rainey.<p>"Sissy Blues," Ma Rainey.<p>"Prove it on Me Blues," Ma Rainey.<p>&ldquo;Ma Rainey,&rdquo; Sterling Brown.<p>&ldquo;New St. Louis Blues,&rdquo; Sterling Brown.<p>&ldquo;River Town Packin House Blues,&rdquo; Quincy Troupe.<p>&ldquo;Liberation Blues,&rdquo; Mari Evans.<p>&ldquo;Lee Morgan,&rdquo; Mari Evans.<p>&ldquo;Sonny's Blues,&rdquo; James Baldwin.<p>From Corregidora, Gayl Jones.<p>&ldquo;Jazz Is...,&rdquo; Ted Joans.<p>&ldquo;Jazz Is My Religion,&rdquo; Ted Joans.<p>&ldquo;Him the Bird,&rdquo; Ted Joans.<p>&ldquo;His Horn,&rdquo; Bob Kaufmann.<p>&ldquo;O-Jazz-O,&rdquo; Bob Kaufmann.<p>&ldquo;AM/TRAK,&rdquo; Amiri Baraka.<p>&ldquo;a/coltrane/poem,&rdquo; Sonia Sanchez.<p>&ldquo;Solo Finger Solo,&rdquo; Jayne Cortez.<p>From Be-Bop, Re-Bop, Xam Wilson Cartier.<p>&ldquo;Law Giver in the Wilderness,&rdquo; Sterling Plumpp.<p>"Ornate with Smoke," Sterling Plumpp.<p>"Riffs," Sterling Plumpp.<p>untitled, Sterling Plumpp.<p>&ldquo;Elegy for Thelonius,&rdquo; Yusuf Komunyakaa.<p>&ldquo;February in Sydney,&rdquo; Yusuf Komunyakaa.<p>&ldquo;Billie in Silk,&rdquo; Angela Jackson.<p>&ldquo;Make/n My Music,&rdquo; Angela Jackson.<p>&ldquo;d.c.harlem suite,&rdquo; Brian Gilmore.<p>6. Stories of Migration.<p>The Sport of the Gods, Paul Laurence Dunbar.<p>&ldquo;Traveling Blues,&rdquo; Ma Rainey.<p>&ldquo;Far Away Blues,&rdquo; Bessie Smith and Clara Smith.<p>&ldquo;The New Negro,&rdquo; Alain Locke.<p>From Jazz, Toni Morrison.<p>From Invisible Man, Ralph Ellison.<p>From Another Good Loving Blues, Arthur Flowers.<p>7. Urban Landscapes.<p>From Makes Me Wanna Holler, Nathan McCall.<p>From Brothers and Keepers, John Edgar Wideman.<p>&ldquo;City Night Storm,&rdquo; Eugene B. Redmond.<p>&ldquo;We're Tight, Soul-Tight&mdash;Like Lincolnites,&rdquo; Eugene B. Redmond.<p>&ldquo;Indigenous Daughter Awake in the Dreams of Nana,&rdquo; Eugene B. Redmond.<p>&ldquo;Choreo-Empress' Leg-a-cy Lands on East Saint Earth, 2nd Take,&rdquo; Eugene B. Redmond.<p>&ldquo;Wishing...,&rdquo; Eugene B. Redmond.<p>From Mama, Terry McMillan.<p>&ldquo;The Zulus,&rdquo; Rita Dove.<p>&ldquo;Maple Valley Branch Library, 1967,&rdquo; Rita Dove.<p>&ldquo;My Mother Enters the Work Force,&rdquo; Rita Dove.<p>&ldquo;Fast Eddie,&rdquo; Wanda Coleman.<p>&ldquo;Flight of the California Condor (2),&rdquo; Wanda Coleman.<p>&ldquo;Dominoes,&rdquo; Wanda Coleman.<p>&ldquo;Low English,&rdquo; Wanda Coleman.<p>&ldquo;Sears Life,&rdquo; Wanda Coleman.<p>&ldquo;South Central Los Angeles Deathtrip 1982,&rdquo; Wanda Coleman.<p>&ldquo;Window Shopping,&rdquo; Lamont B. Steptoe.<p>&ldquo;Kennywood,&rdquo; Lamont B. Steptoe.<p>&ldquo;Three Legged Chairs,&rdquo; Lamont B. Steptoe.<p>&ldquo;Spooked,&rdquo; Lamont B. Steptoe.<p>&ldquo;Seamstress,&rdquo; Lamont B. Steptoe.<p>&ldquo;A Ghosted Blues,&rdquo; Lamont B. Steptoe.<p>&ldquo;Detroit,&rdquo; Mursalata Muhammad.<p>&ldquo;Street Play,&rdquo; Mursalata Muhammad.<p>&ldquo;Women at the House of Braids Discuss Flo Jo,&rdquo; Mursalata Muhammad.<p>&ldquo;The Hatmaker,&rdquo; Keith Gilyard.<p>&ldquo;Anyone Heard from Manuel?,&rdquo; Keith Gilyard.<p>&ldquo;The Thief,&rdquo; Walter Mosley.<p>8. A Strand of Social Protest.<p>From Native Son, Richard Wright.<p>From If He Hollers Let Him Go, Chester Himes.<p>From The Street, Ann Petry.<p>&ldquo;Tell Me,&rdquo; Langston Hughes.<p>&ldquo;Harlem [2],&rdquo; Langston Hughes.<p>A Raisin in the Sun, Lorraine Hansberry.<p>9. Jeremiads.<p>Article III of the Appeal, David Walker.<p>&ldquo;The Blood of the Slave on the Skirts of the Northern People,&rdquo; Frederick Douglass.<p>&ldquo;Emancipation, Racism, and the Work Before Us,&rdquo; Frederick Douglass.<p>&ldquo;Speech at the Atlanta Exposition,&rdquo; Booker T. Washington.<p>From The Future of the American Negro, Booker T. Washington.<p>From Red Record, Ida B. Wells-Barnett.<p>From Mob Rule in New Orleans, Ida B. Wells-Barnett.<p>&ldquo;Address to the Country,&rdquo;W.E.B. Du Bois.<p>Awake America, W.E.B. Du Bois.<p>From The Autobiography of W.E.B. Du Bois, W.E.B. Du Bois.<p>&ldquo;Certain Unalienable Rights,&rdquo; Mary McLeod Bethune.<p>&ldquo;Speech at Holt Street Baptist Church,&rdquo; Martin Luther King, Jr.<p>&ldquo;I Have a Dream,&rdquo;Martin Luther King, Jr.<p>From Where Do We Go From Here?, Martin Luther King, Jr.<p>&ldquo;Beyond Multiculturalism & Eurocentrism,&rdquo; Cornel West.<p>&ldquo;A Twilight Civilization,&rdquo; Cornel West.<p>10. Discourses of Black Nationalism.<p>Preamble plus Articles I and II of the Appeal, David Walker.<p>&ldquo;Address at the African Masonic Hall,&rdquo; Maria Stewart.<p>"A Glance at Ourselves," from The Condition, Elevation, Emigration and Destiny of the Colored People of the United States, Politically Considered, Martin R. Delany.<p>A Project for an Expedition of Adventure, to the Eastern Coast of Africa," from The Condition, Elevation, Emigration, and Destiny of the Colored People of the United States, Politically Considered, Martin R. Delany.<p>&ldquo;The Conservation of Races,&rdquo; W.E.B. Du Bois.<p>"Africa for the Africans," Marcus Garvey.<p>"The Future as I See It," Marcus Garvey.<p>"First Speech after Release from Tombs Prison Delivered at Liberty Hall, New York City, September 13, 1923," Marcus Garvey.<p>"God Helps Those Who Help Themselves," Elijah Muhammad.<p>&ldquo;The Black Revolution,&rdquo; Malcolm X.<p>&ldquo;The Ballot or the Bullet,&rdquo; Malcolm X.<p>&ldquo;Standing as an African Man&rdquo; by Haki Madhubuti.<p>11. Statements of Feminism.<p>&ldquo;Speech Delivered to the Women's Rights Convention, Akron, Ohio,&rdquo; (Campbell version and Gage Version) Sojourner Truth.<p>&ldquo;Speech Delivered to the First Annual Meeting of the American Equal Rights Association,&rdquo; Sojourner Truth.<p>&ldquo;The Awakening of the Afro-American Woman,&rdquo; Victoria Earle Matthews.<p>&ldquo;The Heart of a Woman,&rdquo; Georgia Douglas Johnson.<p>&ldquo;My Little Dreams,&rdquo; Georgia Douglas Johnson.<p>&ldquo;Free,&rdquo; Georgia Douglas Johnson.<p>Maud Martha, Gwendolyn Brooks.<p>&ldquo;A Song of Sojourner Truth,&rdquo; June Jordan.<p>&ldquo;Where Is the Love?,&rdquo; June Jordan.<p>From The Color Purple, Alice Walker.<p>&ldquo;A Name Is Sometimes an Ancestor Saying Hi, I'm With You,&rdquo; Alice Walker.<p>&ldquo;Feminism&#58; It's a Black Thing,&rdquo; bell hooks.<p>"The Master's Tools Will Never Dismantle the Master's House," Audre Lorde.<p>11. Rituals (Masking, Trickster, and Literacy).<p>&ldquo;We Wear the Mask,&rdquo; Paul Laurence Dunbar.<p>&ldquo;Goophered Grapevine,&rdquo; Charles W. Chesnutt.<p>From Passing, Nella Larsen.<p>From The Autobiography of an Ex-Colored Man, James Weldon Johnson.<p>From Clotel, William Wells Brown.<p>From The Narrative of the Life of Frederick Douglass, Frederick Douglass.<p>From Incidents in the Life of a Slave Girl, Harriet Jacobs.<p>From Flight to Canada, Ishmael Reed.<p>&ldquo;The Mask,&rdquo; Wyclef Jean.<p>12. &ldquo;The Black Aesthetic.&rdquo;<p>&ldquo;My People,&rdquo; Langston Hughes.<p>&ldquo;Heritage,&rdquo; Countee Cullen.<p>&ldquo;From the Dark Tower,&rdquo; Countee Cullen.<p>&ldquo;If We Must Die,&rdquo; Claude McKay.<p>&ldquo;Enslaved,&rdquo; Claude McKay.<p>&ldquo;Outcast,&rdquo; Claude McKay.<p>&ldquo;Poem,&rdquo; Helene Johnson.<p>&ldquo;Sonnet to a Negro in Harlem,&rdquo; Helene Johnson.<p>&ldquo;For My People,&rdquo; Margaret Walker.<p>&ldquo;the mother,&rdquo; Gwendolyn Brooks.<p>&ldquo;Malcolm X,&rdquo; Gwendolyn Brooks.<p>&ldquo;Old Black Ladies Standing on Bus Stop Corners #2,&rdquo; Quincy Troupe.<p>&ldquo;A Poem Some People Will Have to Understand,&rdquo; Amiri Baraka.<p>&ldquo;Black Art,&rdquo; Amiri Baraka.<p>&ldquo;A Poem for Black Hearts,&rdquo; Amiri Baraka.<p>&ldquo;From The Man Who Cried I Am, John A. Williams.<p>&ldquo;Back Again, Home,&rdquo; Haki Madhubuti.<p>&ldquo;We Walk the Way of the New World,&rdquo; Haki Madhubuti.<p>&ldquo;Black Power,&rdquo; Nikki Giovanni.<p>&ldquo;Poem for Black Boys,&rdquo; Nikki Giovanni.<p>&ldquo;The Great Pax White,&rdquo; Nikki Giovanni.<p>&ldquo;Black Writing,&rdquo; Larry Neal.<p>&ldquo;One Spark Can Light a Prairie Fire,&rdquo; Larry Neal.<p>&ldquo;Black Man's Feast,&rdquo; Sarah Webster Fabio.<p>&ldquo;Evil Is No Black Thing,&rdquo; Sarah Webster Fabio.<p>&ldquo;Tripping with Black Writing,&rdquo; Sarah Webster Fabio.<p>&ldquo;The Lesson,&rdquo; by Toni Cade Bambara.<p>&ldquo;Listenen to Big Black at S.F. State,&rdquo; Sonia Sanchez.<p>&ldquo;This is Not a Small Voice,&rdquo; Sonia Sanchez.<p>&ldquo;Reflections on Margaret Walker&#58; Poet,&rdquo; Sonia Sanchez.<p>&ldquo;Remembering and Honoring Toni Cade Bambara,&rdquo; Sonia Sanchez.<p>&ldquo;The Revolution Will Not Be Televised,&rdquo; Gil Scott Heron.<p>&ldquo;The Revolution Will Be on the Big Screen,&rdquo; Derrick Gilbert.<p>&ldquo;Reparation,&rdquo; Derrick Gilbert.<p>&ldquo;Why I Would Never Buy a Jeep Cherokee,&rdquo; Derrick Gilbert.<p>&ldquo;On Watching the Republican Convention,&rdquo; Kenneth Carroll.<p>&ldquo;So What!,&rdquo; Kenneth Carroll.
131Anthology of American Literature, Volume IGeorge McMichael0<p><b>JAMES S. LEONARD</b> received his Ph.D. from Brown University, and is Professor of English (and former English Department chair) at The Citadel. He is the editor of <i>Making Mark Twain Work in the Classroom</i> (Duke University Press, 1999), coeditor of <i>Authority and Textuality: Current Views of Collaborative Writing</i> (Locust Hill Press, 1994) and <i>Satire or Evasion? Black Perspectives on Huckleberry Finn</i> (Duke University Press, 1992), and coauthor of <i>The Fluent Mundo: Wallace Stevens and the Structure of Reality</i></p> <p>(University of Georgia Press, 1988). He has served as president of the Mark Twain Circle</p> <p>of America (2010–2012), managing editor of <i>The Mark Twain Annual</i> (since 2004), and editor of the <i>Mark Twain Circular</i> (1987–2008), and is a major contributor to <i>The Greenwood Encyclopedia of Poets and Poetry</i> (Greenwood Press, 2006) and <i>American History Through Literature</i> (Charles Scribner’s Sons, 2005).</p> <p><b>SHELLEY FISHER FISHKIN</b> is Professor of English and Director of American Studies at Stanford University. She is the author, editor, or coeditor of over forty books, including the award-winning <i>Was Huck Black? Mark Twain and African American Voices</i> (1993), <i>From Fact to Fiction: Journalism and Imaginative Writing in America</i> (1988), and <i>Feminist Engagements: Forays into American Literature and Culture</i> (2009), as well as <i>Lighting Out for the Territory</i> (1997), <i>The Oxford Mark Twain</i> (1996), <i>The Historical</i></p> <p><i>Guide to Mark Twain</i> (2002), <i>Mark Twain‘s Book of Animals</i> (2009), <i>The Mark Twain Anthology:Great Writers on his Life and Work</i> (2010), <i>Is He Dead? A Comedy in Three Acts by Mark Twain</i> (2003), <i>People of the Book: Thirty Scholars Reflect on Their Jewish Identity</i> (with Jeffrey Rubin-Dorsky) (1996), <i>Listening to Silences: New Essays in Feminist Criticism</i> (with Elaine Hedges)(1994), and <i>Sport of the Gods and Other Essential Writings by Paul Laurence Dunbar</i> (with David Bradley) (2005). She has also published more than eighty articles, essays, or reviews in publications including <i>American Quarterly, American Literature, Journal of American History, American Literary History,</i> and the <i>New York Times Book Review,</i> and has lectured on American literature in Belgium, Canada, Chile, China, France, Ireland, Israel, Italy, Japan, Korea,</p> <p>Mexico, the Netherlands, Portugal, Russia, Taiwan, Turkey, the United Kingdom,</p> <p>and throughout the United States. A member of the first class of women to graduate from Yale College, she stayed on at Yale to earn her M.A. in English and her Ph.D. in American Studies. Before her arrival at Stanford, she directed the Poynter Fellowship</p> <p>in Journalism at Yale and taught American Studies and English at the University</p> <p>of Texas at Austin, where she chaired the American Studies Department. She co-founded the Charlotte Perkins Gilman Society and is a past president of the Mark Twain Circle of America and the American Studies Association.</p> <p><b>DAVID BRADLEY</b> earned a BA in Creative Writing at the University of Pennsylvania in 1972 and a MA in United States Studies at the University of London in 1974. A Professor of English at Temple University from 1976 to 1997, Bradley has been a visiting professor at the San Diego State University, the University of California—San Diego, the Massachusetts Institute of Technology, Colgate University, the College of William &amp;</p> <p>Mary, the City College of the City University of New York and the Michener Center for Writers at the University of Texas, Austin. He is currently an Associate Professor of Fiction in the Creative Writing Program at the University of Oregon. Bradley has read and lectured extensively in the United States and also in Japan, Korea, Pakistan, the United Kingdom, South Africa and Australia. He is the author of two novels, <i>South Street</i> (1975) and <i>The Chaneysville Incident</i> (1981) which was awarded the 1982 PEN/Faulkner Award and an Academy Award from the American Academy and Institute of Arts and Letters. His non-fiction has appeared in <i>Esquire</i>, <i>Redbook</i>, <i>The New York Times</i>, <i>The Los Angeles Times</i> and <i>The New Yorker.</i> A recipient of fellowships from the John Simon</p> <p>Guggenheim Foundation and the National Endowment for the Arts His most recent publication is semi-scholarly: <i>The Essential Writings of Paul Laurence Dunbar</i>, which he co-edited with Shelley Fisher Fishkin. His current works in progress include a creative non-fiction book, <i>The Bondage Hypothesis: Meditations on Race, History and America,</i> a novel-in-stories, <i>Raystown,</i> and an essay collection: <i>Lunch Bucket Pieces: New and Selected Creative Nonfiction</i></p> <p><b>DANA D. NELSON</b> received her Ph.D. from Michigan State, and she is the Gertrude Conaway Vanderbilt Professor of English and American Studies at Vanderbilt University. She is the author of <i>The Word in Black and White: Reading “Race” in American Literature, 1638–1867</i> (1992), <i>National Manhood: Capitalist Citizenship and the Imagined Fraternity of White Men</i> (1998), and <i>Bad for Democracy: How the Presidency Undermines the Power of the People</i> (2008) as well as editor of several reprint editions of nineteenth-century American female writers (including Rebecca Rush, Lydia Maria Child, Fanny Kemble, and Frances Butler Leigh). Her teaching interests include comparative American colonial literatures, developing democracy in the eighteenth and nineteenth centuries, ethnic and minority literatures, women’s literature, and frontier representations in literature. She has served or is serving on numerous editorial boards, including <i>American Literature, Early American Literature, American Literary History, Arizona Quarterly,</i> and <i>American Quarterly.</i> She is an active member of the Modern Language Association and the American Studies Association. She is currently working on a book that studies developing practices and representations of democracy in the late British colonies and the early United States.</p> <p><b>JOSEPH CSICSILA</b> is Professor of English Language and Literature at Eastern Michigan University and a specialist in nineteenth- and early twentieth-century American literature and culture. He is the author and/or editor of five books including <i>Canons by Consensus:</i></p> <p><i>Critical Trends and American Literature Anthologies</i> (2004), which is the first systematic study of American literature textbooks used by college instructors in the past century, <i>Centenary Reflections on Mark Twain’s No. 44</i>, <i>The Mysterious Stranger</i> (2009), and <i>Heretical Fictions: Religion in the Literature of Mark Twain</i> (2010). He has also published numerous articles on such authors as Mary Wilkins Freeman, Sarah Orne Jewett, and William Faulkner. Csicsila has served as the editor of <i>Journal of Narrative Theory</i> and is currently book review editor for <i>The Mark Twain Annual</i>.</p>George McMichael, David Bradley, Shelley Fisher Fishkin, Dana D. Nelson, James S. Leonardanthology-of-american-literature-volume-igeorge-mcmichael97802057793900205779395$1.99PaperbackLongmanJuly 201010th EditionAmerican Literature Anthologies22566.40 (w) x 9.20 (h) x 2.00 (d)<p>Pick a Penguin Program*</p> <p>We offer select Penguin Putnam titles at a substantial discount to your students when you request a special package of one or more Penguin titles with this text. Among the many American Literature titles available from Penguin Putnam are:</p> <p>· Stephen Crane, <i>The Red Badge of Courage</i></p> <p>· Frederick Douglass, <i>Narrative of Frederick Douglass</i></p> <p>· Nathaniel Hawthorne, <i>The Scarlet Letter</i></p> <p>· James Fennimore Cooper, <i>The Last of the Mohicans</i></p> <p>· Washington Irving<i>,The Legend of Sleepy Hollow and Other Stories</i></p><p>Preface For more than three decades, students and instructors have relied on the McMichael-Leonard Anthology of American Literature as a reliable source of literary texts, annotations, and contextual information. The McMichael-Leonard anthology has secured its reputation with a solid core of writers and works and has enhanced that reputation with quality ancillaries, including the Pick-a-Penguin Program, American Literature Database, and text-specific MyLiteratureKitTM. Because it allows such flexibility in meeting individual course needs, Anthology of American Literature is a complete American Literature resource. In preparing this tenth edition, the editors have continued to follow the principles of selection that have made the previous editions so successful: selected works primarily for their literary significance. represented authors by offering extensive samplings of their works. included, where possible, long works in their entirety. provided clear, concise, and informative introductions and headnotes that are appropriate for student readers. explained unfamiliar terms and allusions through in-text references and footnotes. presented author bibliographies that are selective and current. Authors and works in the anthology follow a generally chronological order. In deciding on a standard text from among the various editions available for selections, we have chosen, whenever possible, that edition most respected by modern scholars. The text reprinted is identified at the end of the headnote for each author. Spelling and punctuation are, in some instances, regularized and modernized to correct obvious errors and to suit the reader¿s convenience. An editorial excision of less than one paragraph is indicated by an ellipsis (. . .); excisions of a paragraph or more are indicated by a centered ellipsis: . . . New to the Tenth Edition Building on the anthology¿s solid foundation, we were in this edition able to make important enhancements to content and format: We have updated and revised period introductions and headnotes. We have included new headnotes and selections for the following authors: Ebenezer Cooke, Sarah Kemble Knight, Royall Tyler, Augustus Baldwin Longstreet, and E. D. E. N. Southworth. We have added new works or expanded existing ones by Roger Williams, Edward Taylor, Cotton Mather, Samuel Sewall, Benjamin Franklin, Thomas Jefferson, William Apess, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Henry Wadsworth Longfellow, Frances E. W. Harper, and Walt Whitman. We have added new ¿Reading the Historical Context¿ selections by ¿lvar N¿¿ez Cabeza De Vaca, Benjamin Banneker, Thomas Jefferson, and Stephen A. Douglas. We have supplemented the ¿Reading the Critical Context¿ section already included for The Literature of the Early- to Mid-Nineteenth Century by creating equivalent sections for both The Literature of Early America and The Literature of the Eighteenth Century. We have added new ¿Critical Context¿ selections by John Dryden, Alexander Pope, and Benjamin Franklin. We have restored the 1881 version of Walt Whitman¿s Song of Myself, as the version most suitable for classroom use. We have continued the anthology¿s revamping of the treatment of Native American authors, moving away from the ¿myths and legends¿ motif and toward an emphasis on specifically identifiable speakers and authors firmly anchored in the historical context¿including the addition of works by William Apess and Tecumseh. In addition, we have restored Din¿ahane': The Navajo Creation Story to The Literature of Early America. We have for the first time included visual images related to specific literary works and to the general historical and literary contexts of the various periods. Anthology of American Literature also offers design features that make it more accessible to students. The typeface for the headnotes and the literary selections is easy to read. Updated chronological charts offer students at-a-glance information about authors¿ lives and works, as well as key historical, political, technological, and cultural contexts. A Complete American Literature Resource How does the McMichael-Leonard Anthology of American Literature offer more of what students and instructors want for their American Literature courses? Pick-a-Penguin Program Pearson is proud to announce an agreement with Penguin Putnam that allows us to package¿at substantial discounts¿the most popular American Literature trade paperbacks with the McMichael-Leonard Anthology of American Literature. Ask your Pearson sales representative for details and for a listing of available American Literature titles. American Literature Database Now instructors can customize course material with the Pearson Custom Library of American Literature. A database featuring more than 1,700 literary works, the Pearson Custom Library of American Literature gives instructors the flexibility to choose other selections they might want to use along with the McMichael-Leonard anthology. For details, visit &lt; http://www.pearsoncustom.com/custom-library/the-pearson-custom-library-of-american-literature &gt;, or contact your Pearson sales representative. American Literature Online MyLiteratureKit is a dynamic online learning system that enhances American Literature Survey courses.¿ It offers a wealth of resources such as practice quizzes with grade tracker and open-ended discussion questions, a gradebook that tracks results, interactive timelines, maps, an online library of key works, visually-rich PowerPoints with outlines of each period accompanied by maps and images, an instructor's manual written by our anthology editors, and more.¿¿MyLiteratureKit offers everything you need to save time and to engage students.¿Please visit www.myliteraturekit.com for more information. Acknowledgments We would like to thank the countless instructors and students, as well as the editorial and production teams, who have contributed their time and ideas to Anthology of American Literature. For the tenth edition, our thanks are particularly extended to research assistants James Wharton Leonard (Wake Forest University) and Roger Howard (The Citadel), and to Christine E. Wharton, David Allen, James Hutchisson, Licia Calloway, and Lauren Rule of The Citadel. We would like to thank the following reviewers for their invaluable feedback: Dr. Betsy Berry University of Texas at Austin; Jesse R. Bishop, Georgia Highlands College; Allan Chavkin, Texas State University at San Marcos; Dr. Lesley Ginsberg, University of Colorado at Colorado Springs; Dr. Heidi M. Hanrahan, Shepherd University; Beverly A. Hume, Indiana University-Purdue University; Lea Masiello, Indiana University of Pennsylvania; Garry Partridge, San Antonio College; Steven Reynolds, College of the Siskiyous; Dr. Sarah Stephens, University of Texas at Arlington; John C. Sutton, Francis Marion University. We would also like to express our gratitude to the Pearson publishing team: Vivian Garcia, Heather Vomero, Joseph Terry, Denise Philip, Cheryl Besenjak, Carrie Fox, and Ann Bailey. THE EDITORS</p><p><P>This two-volume anthology represents America&#39;s literary heritage from colonial times through the American renaissance to the contemporary era of post-modernism. Volume I offers early contextual selections from Christopher Columbus and Gaspar Perez de Villagra, as well as an excerpt from the Iroquois League&rsquo;s Constitution of the Five Nations, and ends with an extensive selection of the poetry of Emily Dickinson. This anthology is best known for its useful pedagogy, including extensive and straightforward headnotes and introductions, as well as its balanced approach to editorial selection process.</p><P>Preface xxiii<p>About the Editors xxvi<p>The Literature of Early America 1<p>Reading the Historical Context 14<p>CHRISTOPHER COLUMBUS (1451&mdash;1506) 14<p>Columbus&rsquo;s Letter Describing His First Voyage 15<p>THOMAS HARIOT (1560&mdash;1621) 19<p>FROM A Brief and True Report of the Newfound Land of Virginia 19<p>&Aacute;LVAR N&Uacute;&Ntilde;EZ CABEZA DE VACA (C. 1490&mdash;C. 1557) 24<p>FROM The Journey of &Aacute;lvar N&uacute;&ntilde;ez Cabeza de Vaca 25<p>JOHN WINTHROP (1588&mdash;1649) AND ANNE HUTCHINSON (1591&mdash;1643) 29<p>FROM The Examination of Mrs. Anne Hutchinson at the<p>Court at Newton 29<p>IROQUOIS LEAGUE 33<p>FROM The Constitution of the Five Nations 33<p>Reading the Critical Context 36<p>JOHN DRYDEN (1631&mdash;1700) 36<p>FROM Preface to Troilus and Cressida 37<p>ALEXANDER POPE (1688&mdash;1744) 38<p>FROM An Essay on Criticism 39<p>Literature of Early America 41<p>CAPTAIN JOHN SMITH (1580&mdash;1631) 41<p>FROM The General History of Virginia 43<p>The Third Book 43<p>Powhatan&rsquo;s Discourse of Peace and War 54<p>FROM A Description of New England 55<p>DIN&Eacute; BAHANE&rsquo; 64<p>FROM Din&eacute; bahane&rsquo;&#58; The Navajo Creation Story 65<p>WILLIAM BRADFORD (1590&mdash;1657) 80<p>FROM History of Plymouth Plantation 81<p>FROM Chapter 1 81<p>FROM Chapter 3 83<p>FROM Chapter 4 84<p>FROM Chapter 7 86<p>FROM Chapter 9 87<p>FROM Chapter 10 90<p>FROM Book 2 92<p>FROM Chapter 36 103<p>THOMAS MORTON (C. 1579&mdash;1647) 104<p>FROM The New English Canaan 105<p>JOHN WINTHROP (1588&mdash;1649) 114<p>FROM The Journal of John Winthrop 115<p>A Model of Christian Charity 125<p>ROGER WILLIAMS (C. 1603&mdash;1683) 136<p>FROM A Key into the Language of America 137<p>FROM The Bloody Tenet of Persecution for the Cause of Conscience 142<p>To the Town of Providence 144<p>THE NEW ENGLANDPRIMER (C. 1683) 145<p>FROM The New England Primer 146<p>ANNE BRADSTREET (C. 1612&mdash;1672) 152<p>The Prologue 154<p>Contemplations 156<p>The Flesh and the Spirit 162<p>The Author to Her Book 165<p>Before the Birth of One of Her Children 165<p>To My Dear and Loving Husband 166<p>A Letter to Her Husband Absent Upon Public Employment 166<p>In Reference to Her Children, 23 June, 1659 167<p>In Memory of My Dear Grandchild Elizabeth Bradstreet 170<p>On My Dear Grandchild Simon Bradstreet 170<p>[On Deliverance] from Another Sore Fit 171<p>Upon the Burning of Our House, July 10th, 1666 171<p>As Weary Pilgrim 173<p>FROM Meditations Divine and Moral 174<p>MICHAEL WIGGLESWORTH (1631&mdash;1705) 177<p>FROM The Day of Doom 178<p>EDWARD TAYLOR (C. 1642&mdash;1729) 184<p>Prologue 185<p>FROM Preparatory Meditations 186<p>The Reflexion 186<p>Meditation 6 (First Series) 187<p>Meditation 8 (First Series) 188<p>Meditation 38 (First Series) 189<p>Meditation 39 (First Series) 191<p>Meditation 150 (Second Series) 192<p>FROM God&rsquo;s Determinations 193<p>The Preface 193<p>The Joy of Church Fellowship Rightly Attended 194<p>Upon a Spider Catching a Fly 195<p>Upon Wedlock and Death of Children 197<p>Huswifery 198<p>The Ebb and Flow 198<p>A Fig for Thee Oh! Death 199<p>COTTON MATHER (1663&mdash;1728) 200<p>FROM The Wonders of the Invisible World 202<p>The Trial of Bridget Bishop 204<p>The Trial of Martha Carrier 208<p>A Third Curiosity 211<p>FROM Magnalia Christi Americana 211<p>A General Introduction 211<p>Galeacius Secundus 212<p>Thaumatographia Pneumatica 218<p>SAMUEL SEWALL (1652&mdash;1730) 220<p>The Selling of Joseph 221<p>FROM The Diary of Samuel Sewall 225<p>MARY ROWLANDSON (C. 1637&mdash;1711) 235<p>FROM A Narrative of the Captivity and Restoration 235<p>EBENEZER COOKE (C. 1665&mdash;C. 1732) 252<p>The Sot-Weed Factor 253<p>SARAH KEMBLE KNIGHT (1666&mdash;1727) 270<p>The Journal of Madam Knight 271<p>WILLIAM BYRD II (1674&mdash;1744) 281<p>FROM The Secret Diary of William Byrd of Westover, 1709&mdash;1712 282<p>FROM The History of the Dividing Line 286<p>JOHN WOOLMAN (1720&mdash;1772) 292<p>FROM The Journal of John Woolman 293<p>JONATHAN EDWARDS (1703&mdash;1758) 301<p>Sarah Pierrepont 303<p>Personal Narrative 304<p>FROM A Divine and Supernatural Light 314<p>Sinners in the Hands of an Angry God 319<p>The Literature of the Eighteenth Century 331<p>Reading the Historical Context 341<p>CORRESPONDENCE 341<p>Thomas Jefferson to James Madison 342<p>Thomas Jefferson to John Adams 345<p>Abigail Adams to John Adams 348<p>John Adams to Abigail Adams 349<p>Benjamin Banneker to Thomas Jefferson 351<p>Thomas Jefferson to Benjamin Banneker 354<p>THE FEDERALIST/ANTI-FEDERALIST CONTROVERSY 354<p>The Federalist No. 1 (Alexander Hamilton) 356<p>The Federalist No. 2 (John Jay) 359<p>The Federalist No. 10 (James Madison) 362<p>The Federalist No. 51 (James Madison) 367<p>Reading the Critical Context 370<p>BENJAMIN FRANKLIN (1706&mdash;1790) 370<p>Silence Dogood, No. 7 371<p>Literature of the Eighteenth Century 375<p>BENJAMIN FRANKLIN (1706&mdash;1790) 375<p>FROM The Autobiography 377<p>Silence Dogood, No. 2 424<p>Benjamin Franklin&rsquo;s Epitaph 425<p>The Witches of Mount Holly 426<p>FROM Poor Richard&rsquo;s Almanac, 1733 427<p>FROM Poor Richard&rsquo;s Almanac, 1746 430<p>The Speech of Miss Polly Baker 432<p>Observations Concerning the Increase of Mankind 434<p>Information to Those Who Would Remove to America 439<p>Speech in the Convention 445<p>An Address to the Public 446<p>SAMSON OCCOM (1723&mdash;1792) 447<p>FROM A Short Narrative of My Life 448<p>The Slow Traveller 453<p>A Morning Hymn 453<p>A Son&rsquo;s Farewell 454<p>Conversion Song 454<p>Come All My Young Companions, Come 455<p>MICHEL-GUILLAUME-JEAN DE CR&Egrave;VECOEUR (1735&mdash;1813) 456<p>FROM Letters from an American Farmer 458<p>Letter III What Is an American? 458<p>Letter IX Description of Charleston 467<p>Letter XII Distresses of a Frontier Man 471<p>OLAUDAH EQUIANO (1745&mdash;1797) 480<p>FROM The Life of Olaudah Equiano 482<p>THOMAS PAINE (1737&mdash;1809) 498<p>FROM Common Sense 500<p>FROM The American Crisis 502<p>FROM The Age of Reason 508<p>THOMAS JEFFERSON (1743&mdash;1826) 515<p>The Declaration of Independence 518<p>FROM Notes on the State of Virginia 521<p>FROM Query V&#58; Cascades 521<p>FROM Query VI&#58; Productions Mineral, Vegetable and Animal 522<p>Query XIV&#58; Laws 528<p>FROM Query XVII&#58; Religion 541<p>FROM Query XVIII&#58; Manners 543<p>FROM Query XIX&#58; Manufactures 545<p>FROM The Autobiography of Thomas Jefferson 545<p>ROYALL TYLER(1757&mdash;1826) 560<p>The Contrast 562<p>PHILLIS WHEATLEY (1754?&mdash;1784) 603<p>On Virtue 604<p>To the University of Cambridge, in New England 604<p>On Being Brought from Africa to America 605<p>On the Death of the Rev. Mr. George Whitefield. 1770. 606<p>On Imagination 607<p>To S. M. A Young African Painter, On Seeing His Works 608<p>To His Excellency General Washington 609<p>PHILIP FRENEAU (1752&mdash;1832) 611<p>The Power of Fancy 612<p>The Hurricane 616<p>To Sir Toby 617<p>The Wild Honey Suckle 619<p>The Indian Burying Ground 620<p>On Mr. Paine&rsquo;s Rights of Man 621<p>On a Honey Bee 622<p>On the Universality and Other Attributes of the God of Nature 623<p>On the Religion of Nature 624<p>WILLIAM BARTRAM (1739&mdash;1823) 625<p>FROM Travels through North and South Carolina 626<p>JUDITH SARGENT MURRAY (1751&mdash;1820) 641<p>On the Equality of the Sexes 642<p>SUSANNA HASWELL ROWSON (1762&mdash;1824) 649<p>Slaves in Algiers 650<p>RED JACKET (C. 1750&mdash;1830) 683<p>The Indians Must Worship the Great Spirit in Their Own Way 684<p>The Literature of the Early- to Mid-Nineteenth Century 686<p>Reading the Historical Context 701<p>TECUMSEH (1768&mdash;1813) 701<p>Speech to the Osage Indians 701<p>WILLIAM LLOYD GARRISON (1805&mdash;1879) 703<p>On the Constitution and the Union 703<p>STEPHEN A. DOUGLAS (1813&mdash;1861) 705<p>FROM Third Joint Debate, at Jonesboro 705<p>WOMEN&rsquo;S RIGHTS CONVENTION, SENECA FALLS, NEW YORK (JULY 1848) 713<p>Declaration of Sentiments 713<p>Reading the Critical Context 715<p>EDGAR ALLAN POE (1809&mdash;1849) 715<p>FROM &ldquo;Twice-Told Tales, by Nathaniel Hawthorne&rdquo; [A Review] 716<p>The Philosophy of Composition 719<p>FROM The Poetic Principle 728<p>HERMAN MELVILLE (1819&mdash;1891) 733<p>FROM Hawthorne and His Mosses 733<p>Literature of the Early- to Mid-Nineteenth Century 739<p>WASHINGTONIRVING(1783&mdash;1859) 739<p>FROM The Sketch-Book of Geoffrey Crayon, Gent. 741<p>The Author&rsquo;s Account of Himself 741<p>Rip Van Winkle 743<p>The Legend of Sleepy Hollow 756<p>Traits of Indian Character 777<p>BLACK HAWK (1767&mdash;1838) 784<p>FROM Black Hawk&rsquo;s Autobiography 784<p>WILLIAM APESS (1798&mdash;1839) 789<p>FROM A Son of the Forest 789<p>Eulogy on King Philip 796<p>ELIAS BOUDINOT (C.1802&mdash;1839) 801<p>An Address to the Whites 801<p>FROM The Cherokee Phoenix 811<p>PENINA MO&Iuml;SE (1797&mdash;1880) 816<p>To Persecuted Foreigners 817<p>The Mirror and the Echo 818<p>To a Lottery Ticket 818<p>AUGUSTUS BALDWINLONGSTREET (1790&mdash;1870) 819<p>The Fight 820<p>JAMES FENIMORE COOPER (1789&mdash;1851) 827<p>Preface to The Leather-Stocking Tales 829<p>FROM The Pioneers 832<p>FROM The Deerslayer 839<p>THOMAS BANGS THORPE (1815&mdash;1878) 856<p>The Big Bear of Arkansas 857<p>WILLIAM CULLEN BRYANT (1794&mdash;1878) 865<p>Thanatopsis 867<p>The Yellow Violet 869<p>To a Waterfowl 870<p>To Cole, the Painter, Departing for Europe 871<p>To the Fringed Gentian 871<p>The Prairies 872<p>Abraham Lincoln 875<p>SOJOURNER TRUTH (1797?&mdash;1883) 875<p>Speech to the Women&rsquo;s Rights Convention, Akron, Ohio 877<p>FROM Narrative of Sojourner Truth 878<p>EDGAR ALLAN POE (1809&mdash;1849) 880<p>Sonnet&ndash;To Science 883<p>To Helen 883<p>The City in the Sea 884<p>Sonnet&ndash;Silence 885<p>Lenore 886<p>The Raven 887<p>Annabel Lee 890<p>The Fall of the House of Usher 891<p>The Black Cat 904<p>Ligeia 911<p>The Tell-Tale Heart 922<p>The Purloined Letter 925<p>RALPH WALDO EMERSON (1803&mdash;1882) 938<p>Nature 940<p>The American Scholar 969<p>The Divinity School Address 982<p>Self-Reliance 994<p>The Poet 1011<p>The Rhodora 1026<p>Each and All 1026<p>Concord Hymn 1027<p>The Problem 1028<p>Ode 1030<p>Hamatreya 1033<p>Give All to Love 1034<p>Days 1036<p>Brahma 1036<p>Terminus 1037<p>NATHANIEL PARKER WILLIS (1806&mdash;1867) 1038<p>January 1, 1828 1039<p>January 1, 1829 1039<p>Lady in the White Dress, I Helped into the Omnibus 1040<p>MARIA STEWART (1803&mdash;1879) 1041<p>An Address Delivered Before The Afric-American Female<p>Intelligence Society of Boston 1042<p>GEORGE MOSES HORTON (1797&mdash;1883) 1046<p>On Liberty and Slavery 1047<p>The Lover&rsquo;s Farewell 1048<p>On Hearing of the Intention of a Gentleman<p>to Purchase the Poet&rsquo;s Freedom 1049<p>The Creditor to His Proud Debtor 1050<p>Division of an Estate 1051<p>Death of an Old Carriage Horse 1052<p>George Moses Horton, Myself 1053<p>MARGARET FULLER (1810&mdash;1850) 1054<p>FROM Woman in the Nineteenth Century 1056<p>NATHANIEL HAWTHORNE (1804&mdash;1864) 1067<p>Young Goodman Brown 1069<p>The Birth-Mark 1079<p>Rappaccini&rsquo;s Daughter 1090<p>My Kinsman, Major Molineux 1110<p>The Maypole of Merry Mount 1124<p>The Minister&rsquo;s Black Veil 1131<p>The Artist of the Beautiful 1141<p>Ethan Brand 1157<p>The Custom-House&#58; Introductory to The Scarlet Letter 1167<p>The Scarlet Letter 1193<p>HERMAN MELVILLE (1819&mdash;1891) 1310<p>FROM Moby-Dick 1312<p>The Pulpit 1312<p>The Sermon 1314<p>The Mast-Head 1320<p>The Whiteness of the Whale 1324<p>Bartleby, the Scrivener 1329<p>Benito Cereno 1355<p>Billy Budd 1413<p>The Portent 1471<p>Shiloh 1472<p>Malvern Hill 1472<p>A Utilitarian View of the Monitor&rsquo;s Fight 1473<p>The House-Top 1474<p>The Swamp Angel 1475<p>The College Colonel 1477<p>The &AElig;olian Harp 1478<p>The Tuft of Kelp 1479<p>The Maldive Shark 1479<p>The Berg 1480<p>Art 1481<p>Greek Architecture 1481<p>LYDIA HOWARD HUNTLEY SIGOURNEY (1791&mdash;1865) 1481<p>Death of an Infant 1482<p>The Indian&rsquo;s Welcome to the Pilgrim Fathers 1483<p>Indian Names 1484<p>LYDIA MARIA CHILD (1802&mdash;1880) 1485<p>Charity Bowery 1485<p>The Black Saxons 1490<p>Slavery&rsquo;s Pleasant Homes 1497<p>The New England Boy&rsquo;s Song about Thanksgiving Day 1501<p>JOSIAH HENSON (1789&mdash;1883) 1503<p>FROM The Life of Josiah Henson 1504<p>FREDERICK DOUGLASS (1818&mdash;1895) 1516<p>Narrative of the Life of Frederick Douglass 1517<p>Letter to His Old Master 1577<p>What to the Slave is the Fourth of July? 1582<p>West India Emancipation 1585<p>HENRY DAVID THOREAU (1817&mdash;1862) 1594<p>Civil Disobedience 1596<p>Walden 1612<p>They Who Prepare my Evening Meal Below 1793<p>On Fields O&rsquo;er Which the Reaper&rsquo;s Hand Has Passed 1793<p>Smoke 1793<p>Conscience 1794<p>My Life Has Been the Poem 1795<p>WILLIAM GILMORE SIMMS (1806&mdash;1870) 1795<p>Grayling; or &ldquo;Murder Will Out&rdquo; 1796<p>HENRY WADSWORTH LONGFELLOW (1807&mdash;1882) 1819<p>A Psalm of Life 1820<p>The Arsenal at Springfield 1821<p>The Jewish Cemetery at Newport 1823<p>My Lost Youth 1825<p>Aftermath 1827<p>The Tide Rises, the Tide Falls 1827<p>FROM The Song of Hiawatha 1828<p>JOHN GREENLEAF WHITTIER (1807&mdash;1892) 1833<p>The Hunters of Men 1834<p>The Farewell 1836<p>Massachusetts to Virginia 1837<p>Toussaint l&rsquo;Ouverture 1840<p>Song of Slaves in the Desert 1846<p>Barbara Frietchie 1848<p>E. D. E. N. SOUTHWORTH (1819&mdash;1899) 1850<p>The Thunderbolt to the Hearth 1852<p>JAMES RUSSELL LOWELL (1819&mdash;1891) 1865<p>To the Dandelion 1865<p>FROM The Biglow Papers, First Series 1867<p>FROM A Fable for Critics 1872<p>HARRIET BEECHER STOWE (1811&mdash;1896) 1881<p>FROM Uncle Tom&rsquo;s Cabin 1883<p>FANNY FERN (1811&mdash;1872) 1901<p>Aunt Hetty on Matrimony 1903<p>Hints to Young Wives 1904<p>Owls Kill Humming-Birds 1905<p>The Tear of a Wife 1906<p>Mrs. Adolphus Smith Sporting the &ldquo;Blue Stocking&rdquo; 1907<p>Fresh Fern Leaves&#58; Leaves of Grass 1907<p>Blackwell&rsquo;s Island 1910<p>Blackwell&rsquo;s Island No. 3 1912<p>Independence 1914<p>The Working-Girls of New York 1914<p>WILLIAM WELLS BROWN (1814&mdash;1884) 1916<p>The Escape 1916<p>HARRIET ANN JACOBS (1813&mdash;1897) 1952<p>FROM Incidents in the Life of a Slave Girl 1953<p>JAMES M. WHITFIELD (1822&mdash;1871) 1980<p>America 1981<p>Self-Reliance 1985<p>ABRAHAM LINCOLN (1809&mdash;1865) 1987<p>To Horace Greeley 1988<p>Gettysburg Address 1989<p>Second Inaugural Address 1990<p>FRANCES E. W. HARPER (1825&mdash;1911) 1991<p>Bury Me in a Free Land 1992<p>To the Union Savers of Cleveland 1993<p>Eliza Harris 1994<p>The Slave Mother 1996<p>Learning to Read 1997<p>Aunt Chloe&rsquo;s Politics 1998<p>LOUISA MAY ALCOTT (1832&mdash;1888) 1999<p>FROM Little Women 2002<p>FROM Hospital Sketches 2034<p>A Day 2034<p>A Night 2042<p>EMMA LAZARUS (1849&mdash;1887) 2052<p>In the Jewish Synagogue at Newport 2053<p>The New Colossus 2054<p>1492 2055<p>WALT WHITMAN (1819&mdash;1892) 2055<p>Preface to the 1855 Edition of Leaves of Grass 2057<p>Song of Myself 2072<p>FROM Inscriptions 2119<p>To You 2119<p>One&rsquo;s-Self I Sing 2119<p>When I Read the book 2119<p>I Hear America Singing 2119<p>Poets to Come 2120<p>FROM Children of Adam 2120<p>From Pent-up Aching Rivers 2120<p>Out of the Rolling Ocean the Crowd 2122<p>As Adam, Early in the Morning 2122<p>Once I Pass&rsquo;d Through a Populous City 2122<p>FROM Calamus 2123<p>What Think You I Take My Pen in Hand? 2123<p>I Saw in Louisiana a Live-Oak Growing 2123<p>I Hear It Was Charged Against Me 2124<p>Crossing Brooklyn Ferry 2124<p>FROM Sea-Drift 2129<p>Out of the Cradle Endlessly Rocking 2129<p>FROM By the Roadside 2133<p>When I Heard the Learn&rsquo;d Astronomer 2133<p>The Dalliance of the Eagles 2134<p>FROM Drum-Taps 2134<p>Beat! Beat! Drums! 2134<p>Cavalry Crossing a Ford 2135<p>Bivouac on a Mountain Side 2135<p>Vigil Strange I Kept on the Field One Night 2135<p>A Sight in Camp in the Daybreak Gray and Dim 2136<p>The Wound-Dresser 2137<p>As I Lay with My Head in Your Lap Camerado 2139<p>FROM Memories of President Lincoln 2139<p>When Lilacs Last in the Dooryard Bloom&rsquo;d 2139<p>FROM Autumn Rivulets 2146<p>There was a Child Went Forth 2146<p>Sparkles from the Wheel 2147<p>Passage to India 2148<p>FROM Whispers of Heavenly Death 2156<p>A Noiseless Patient Spider 2156<p>FROM From Noon to Starry Night 2156<p>To a Locomotive in Winter 2156<p>FROM Democratic Vistas 2157<p>EMILY DICKINSON (1830&mdash;1886) 2177<p>49 I never lost as much but twice 2179<p>67 Success is counted sweetest 2179<p>165 A Wounded Deer&ndash;leaps highest 2180<p>185 &ldquo;Faith&rdquo; is a fine invention 2180<p>210 The thought beneath so slight a film 2180<p>214 I taste a liquor never brewed 2180<p>216 Safe in their Alabaster Chambers 2181<p>241 I like a look of Agony 2181<p>249 Wild Nights&ndash;Wild Nights! 2182<p>258 There&rsquo;s a certain Slant of light 2182<p>280 I felt a Funeral, in my Brain 2182<p>303 The Soul selects her own Society 2183<p>324 Some keep the Sabbath going to Church 2183<p>328 A Bird came down the Walk 2184<p>338 I know that He exists 2185<p>341 After great pain, a formal feeling comes 2185<p>401 What Soft&ndash;Cherubic Creatures 2185<p>435 Much Madness is divinest Sense 2186<p>441 This is my letter to the World 2186<p>449 I died for Beauty&ndash;but was scarce 2186<p>465 I heard a Fly buzz&ndash;when I died 2187<p>520 I started Early&ndash;Took my Dog 2187<p>585 I like to see it lap the Miles 2188<p>632 The Brain&ndash;is wider than the sky 2189<p>640 I cannot live with You 2189<p>670 One need not be a Chamber&ndash;to be Haunted 2190<p>709 Publication&ndash;is the Auction 2191<p>712 Because I could not stop for Death 2192<p>764 Presentiment&ndash;is that long Shadow&ndash;on the Lawn 2192<p>976 Death is a Dialogue between 2192<p>986 A narrow Fellow in the Grass 2193<p>1052 I never saw a Moor 2193<p>1078 The Bustle in a House 2194<p>1129 Tell all the truth but tell it slant 2194<p>1207 He preached upon &ldquo;Breadth&rdquo; till it argued him narrow 2194<p>1463 A Route of Evanescence 2195<p>1545 The Bible is an antique Volume 2195<p>1624 Apparently with no surprise 2196<p>1670 In Winter in my Room 2196<p>1732 My life closed twice before its close 2197<p>1755 To make a prairie it takes a clover and one bee 2197<p>1760 Elysium is as far as to 2197<p>Letters to T. W. Higginson 2198<p>Reference Works, Bibliographies 2200<p>Criticism, Literary and Cultural History 2203<p>Acknowledgments 2208<p>Index to Authors, Titles, and First Lines 2209
132The Heath Anthology of American Literature: Modern Period (1910?1945), Volume DKirk Curnutt0<p><P>Dr. Kirk Curnutt is a professor of English at Troy State University. Dr. Curutt is the author of scholarly works on F. Scott Fitzgerald, Gertrude Stein, and Ernest Hemingway among others. He is also a published novelist.<P>Paul Lauter is the Smith Professor of Literature at Trinity College. He has served as president of the American Studies Association and is a major figure in the revision of the American literary canon.<P>John Alberti teaches at Northern Kentucky University and has a Ph.D. in American literature from UCLA. His main area of research is multicultural American literature and culture.<P>Dr. Bryer is an expert on F. Scott Fitzgerald and is president of the International F. Scott Fitzgerald Society. He was an editor of DEAR SCOTT, DEAREST ZELDA&#58; THE LOVE LETTERS OF F. SCOTT AND ZELDA FITZGERALD (Macmillan).<P>Dr. Bryer is an expert on F. Scott Fitzgerald and is president of the International F. Scott Fitzgerald Society. He was an editor of DEAR SCOTT, DEAREST ZELDA&#58; THE LOVE LETTERS OF F. SCOTT AND ZELDA FITZGERALD (Macmillan).</p>Kirk Curnutt, Paul Lauter, Jackson Bryer, Richard Yarborough, John Albertithe-heath-anthology-of-american-literaturekirk-curnutt9780547201948054720194X$80.66PaperbackCengage LearningFebruary 20096th EditionAmerican Literature Anthologies11386.10 (w) x 9.10 (h) x 1.30 (d)<p>American Literature courses.</p><p><P>Unrivaled diversity and ease of use have made THE HEATH ANTHOLOGY OF AMERICAN LITERATURE&#58; VOLUME D&#58; MODERN PERIOD (1910-1945), 6th Edition a best-selling text since 1989, when the first edition was published. In presenting a more inclusive canon of American literature, THE HEATH ANTHOLOGY OF AMERICAN LITERATURE&#58; VOLUME D&#58; MODERN PERIOD (1910-1945), 6th Edition continues to balance the traditional, leading names in American literature with lesser-known writers and to build upon the anthology's other strengths&#58; its apparatus and its ancillaries. Available in five volumes for greater flexibility, the 6th Edition offers thematic clusters to stimulate classroom discussions and showcase the treatment of important topics across the genres.</p><P>Preface. Modern Period&#58; 1910-1945. Toward the Modern Age. Booker T. Washington (1856-1915). from Up from Slavery. <P>Chapter I&#58; A Slave Among Slaves. <P>Chapter III&#58; The Struggle for an Education. <P>Chapter VI&#58; Black Race and Red Race. <P>Chapter XIII&#58; Two Thousand Miles for a Five-Minute Speech. <P>Chapter XIV&#58; The Atlanta Exposition Address. W.E.B. Du Bois (1868-1963). from The Souls of Black Folk. <P>Chapter I&#58; Of Our Spiritual Strivings. <P>Chapter III&#58; Of Mr. Booker T. Washington and Others. <P>Chapter XIV&#58; Of the Sorrow Songs. The Song of the Smoke. James Weldon Johnson (1871-1938). Lift Every Voice and Sing. O Black and Unknown Bards. from Autobiography of an Ex-Colored Man. <P>Chapter X. The Creation. Cluster&#58; Nature and Religion&#151;Efficiency, Entrepreneurial Christianity, and the Rise of Machine Culture. Frederick W Taylor (1856-1915). Preface to Principles of Scientific Management. Bernarr Macfadden (1868-1955). from Vitality Supreme. Edward J. O'Brien 1(890-1941). from The Dance of the Machines. Thorstein Veblen (1857-1929). from Theory of the Leisure Class. Simon N. Patten (1852-1922). from The New Basis of Civilization. Bruce Barton (1886-1967). from The Man Nobody Knows, including ad. Shelton. Bissell (1875-1949). from "Vaudeville at Angelus Temple." Edward Shillito (unknown). from "Elmer Gantry and the Church in America." Edwin Arlington Robinson (1869-1935). The Clerks. Aunt Imogen. Momus. Eros Turannos. The Tree in Pamela's Garden. Mr. Flood's Party. Ellen Glasgow (1873-1945). The Professional Instinct. Edith Wharton (1862-1937). The Valley of Childish Things. Souls Belated. The Other Two. The Life Apart (L'&acirc;meclose). The Eyes. Roman Fever. Edgar Lee Masters (1869-1950). from Spoon River Anthology. Petit, the Poet. Seth Compton. Lucinda Matlock. The Village Atheist. from The New Spoon River. Cleanthus Trilling. from Lichee Nuts. Ascetics and Drunkards. Great Audiences and Great Poets. from The Harmony of Deeper Music. Not to See Sandridge Again. Willa Cather (1873-1947). A Wagner Matin&eacute;e. Susan Glaspell (1876-1948). Trifles. Robinson Jeffers (1887-1962). Credo. Rock and Hawk. The Purse-Seine. Self-Criticism in February. The Bloody Sire. The Excesses of God. Cassandra. The Beauty of Things. Carmel Point. Robert Frost (1874-1963). The Pasture. Mending Wall. The Road Not Taken. An Old Man's Winter Night. The Oven Bird. Out, Out&#151;.The Line-Gang. The Ax-Helve. Stopping by Woods on a Snowy Evening. Desert Places. Once by the Pacific. Design. Provide, Provide. Directive. Sherwood Anderson (1876-1941). Hands. Death in the Woods. Theodore Dreiser (1871-1945). The Second Choice. Edna St. Vincent Millay (1892-1950). First Fig. Spring. The Spring and the Fall. [Euclid alone has looked on Beauty bare]. Dirge Without Music. [Love is not all&#58; it is not meat nor drink]. The Return. [Here lies, and none to mourn him but the sea]. [His stalk the dark delphinium]. Sonnet xli. Sonnet xcv. Justice Denied in Massachusetts.Cluster Aesthetics&#151;High Art, Popular Culture, and Politics. Gilbert Seldes (1893-1970). from The Seven Lively Arts. Edmund Wilson (1895-1972). Current Fashions. Earnest Elmo Calkins (1868-1964). from Beauty&#151;The New Business Tool. Edward. Bernays (1891-1995). From Propaganda. New Masses Novel Contest. James T. Farrell (1904-1979). From A Note on Literary Criticism. Alienation and Literary Experimentation. Ezra Pound (1885-1972). A Virginal. A Pact. In a Station of the Metro. L'art, <br>1910.A Retrospect. from Hugh Selwyn Mauberley (Life and Contacts)&#58; E.P. Ode pour L'electionde Son Sepulchre; Yeux Glauques; Siena mi fe'; Disfecemi Maremma; Brennbaum; Mr. Nixon; Envoi (1919). The Cantos. I [And then went down to the ship]. XIII [Kung walked]. XLV [With usura hath no man a house of good stone]. LXXXI [Yet/Ere the season died a-cold]. CXX [I have tried to write Paradise]. Amy Lowell (1874-1925). A Lady. Patterns. The Letter. Summer Rain. Venus Transiens. Madonna of the Evening Flowers. Opal. Wakefulness. Grotesque. The Sisters. Gertrude Stein (1874-1946). The Gentle Lena. from The Making of Americans. Susie Asado. Preciosilla. Ladies' Voices. Miss Furr and Miss Skeene. from Composition as Explanation. William Carlos Williams (1883-1963). Danse Russe. The Young Housewife. Portrait of a Lady. The Great Figure. Spring and All. The Red Wheelbarrow. The Pot of Flowers. The Rose. To Elsie. Young Sycamore. The Flower. The Poor. Burning the Christmas Greens. The Descent. The Pink Locust. Eugene O'Neill (1888-1953). The Hairy Ape. Elizabeth Madox Roberts (1881-1941). Death at Bearwallow. H.D. (Hilda Doolittle) (1886-1961). Sea Rose. The Helmsman. Oread. Helen. from Trilogy&#58; from The Walls Do Not Fall [43] from Tribute to the Angels. [8,12,19,20,23,43]. Sheaf&#58; Political Poetry in the Modern Period. Joseph Kalar (1906-1972). Papermill. Kenneth Fearing (1902-1961). <br>1933.Alfred Hayes (1911-1985). In a Coffee Pot. Tillie Lerner Olsen (1913-2007). I Want You Women Up North to Know. Kay Boyle (1903-1993). A Communication to Nancy Cunard. Langston Hughes (1902-1967). Goodbye Christ. Air Raid over Harlem. Lola Ridge (1871-1941). Stone Face. Edwin Rolfe (1909-1954). Asbestos. Season of Death. First Love. Elegia. Genevieve Taggard (1894-1948). Up State&#151;Depression Summer. To the Negro People. Ode in Time of Crisis. To the Veterans of the Abraham Lincoln Brigade. E. E. Cummings (1894-1962). [Buffalo Bill's]. [into the strenuous briefness]. [the Cambridge ladies who live in furnished souls]. [i like my body when it is with your]. [my sweet old etcetera]. [since feeling is first]. [i sing of Olaf glad and big]. [Picasso]. [anyone lived in a pretty how town]. [plato told]. [what if a much of a which of a wind]. [pity this busy monster, manunkind]. T. S. Eliot (1888-1965). The Love Song of J. Alfred Prufrock. Preludes. Tradition and the Individual Talent. The Waste Land. The Dry Salvages. F. Scott Fitzgerald (1896-1940). Babylon Revisited. Katherine Anne Porter (1890-1980). He. Flowering Judas. The Grave. Marianne Moore (1887-1972). Poetry. England. To a Chameleon. An Egyptian Pulled Glass Bottle in the Shape of a Fish. The Pangolin. What Are Years? Nevertheless. The Mind Is an Enchanting Thing. Louise Bogan (1897-1970). Women. The Sleeping Fury. Roman Fountain. After the Persian. The Dragonfly. Night. Ernest Hemingway (1899-1961). Hills Like White Elephants. Wallace Stevens (1879-1955). Sunday Morning. The Snow Man. Peter Quince at the Clavier. Anecdote of the Jar. A High-Toned Old Christian Woman. Of Modern Poetry. The Course of a Particular. Of Mere Being. William Faulkner (1897-1962). Delta Autumn. Barn Burning. Hart Crane (1899-1932). Black Tambourine. Chaplinesque. At Melville's Tomb. from The Bridge&#58; To Brooklyn Bridge; The River. The Broken Tower.Cluster&#58; America in the World / The World in America&#151;Expatriation, Immigration, and the Rise of the Celebrity-Publicity Culture. Walter Lippmann (1889-1974). from Drift and Mastery&#58; An Attempt to Diagnose the Current Unrest. Harold E. Stearns (1891-1943). The Intellectual Life. Harry Crosby (1898-1924). Harry Crosby's Reasons for Expatriating. Kenneth L. Roberts (1885-1957). Black Magic. Oswald Villard (1872-1949). Creating Reputations, Inc. Walter. Lippmann (1889-1974). Blazing Publicity. Marcus Garvey (1887-1940). Universal Negro Improvement Association Editorial. The New Negro Renaissance. Alain Locke (1885-1954). The New Negro. Jean Toomer (1894-1967). from Cane. Karintha. Song of the Son. Blood-Burning Moon. Seventh Street. Box Seat. Langston Hughes (1902-1967). The Negro Speaks of Rivers. Drum. The Same. Negro. Bad Luck Card. I, Too. Dream Variations. Harlem. Freedom Train. Big Meeting. The Negro Artist and the Racial Mountain. When the Negro Was in Vogue. Radioactive Red Caps. Thank You, M'am. Countee Cullen (1903-1946). Incident. From the Dark Tower. Simon the Cyrenian Speaks. Yet Do I Marvel. Pagan Prayer. Heritage. Scottsboro, Too, Is Worth Its Song. Gwendolyn B. Bennett (1902-1981). Heritage. To Usward. Advice. Lines Written at the Grave of Alexandre Dumas. Sterling A. Brown (1901-1989). When de Saints Go Ma'ching Home. Strong Men. Ma Rainey. Slim in Hell. Remembering Nat Turner. Song of Triumph. Zora Neale Hurston (1891-1960). Sweat. The Gilded Six-Bits. Claude McKay (1889-1948). The Harlem Dancer. If We Must Die. The Lynching. Harlem Shadows. I Shall Return. America. In Bondage. Flame-Heart. Flower of Love. A Red Flower. Anne Spencer (1882-1975). Lines to a Nasturtium. Substitution. For Jim, Easter Eve. Nella Larsen (1891-1964). Passing. George Samuel Schuyler (1895-1977). Our Greatest Gift to America. The Negro-Art Hokum.Sheaf&#58; Blues Lyrics. Langston Hughes (1902-1967). The Weary Blues. Blues Lyrics.Cluster&#58; E Pluribus Unum&#58; Ideology, Patriotism, and Politesse. Sedition Act (1918-1921). A. Mitchell Palmer (1872-1936). The Case Against the 'Reds'. W.C. Wright (unknown).from The Klu Klux Klan Unmasked. Lothrop Stoddard (1883-1950). from The Rising Tide of Colored Against White-World Conspiracy. Mary Antin (1881-1949). from The Promised Land. Eugene Debs (1855-1926). Sound Socialist Tactics. Charlotte Perkins. Gilman (1860-1935). Vanguard, Rear-Guard, and Mud-Guard. Margaret Sanger (1879-1966). Franklin Delano Roosevelt (1882-1945). The Four Freedoms. Issues and Visions in Modern America. Randolph Bourne (1886-1918). Trans-National America. Anzia Yezierska (1881? -1970). America and I. Michael Gold (1893-1967). from Jews Without Money&#58; The Soul of a Landlord. H. L. Mencken (1880-1956). The Sahara of the Bozarts. John Dos Passos (1896-1970). from U.S.A.&#58; The Body of an American; The Bitter Drink. Albert Maltz (1908-1985). The Happiest Man on Earth. Lillian Hellman (1905-1984). from Scoundrel Time. Mary McCarthy (1912-1989). from Memories of a Catholic Girlhood&#58; Names. Clifford Odets (1906-1963). Waiting for Lefty. Meridel LeSueur (1900-1996). Women on the Breadlines. Sheaf&#58; Folk Music Lyrics of the 1920s and 1930s. John Steinbeck (1902-1968). from <P>Chapter 23, The Grapes of Wrath. Harry McClintock (1882-1952). The Big Rock Candy Mountain. Joe Hill (1879-1915). Pie in the Sky. Anonymous. Winnsboro Cotton Mill Blues. Aunt Molly Jackson (1880-1960). I am a Union Woman. Anonymous. Working on the Project. Woody Guthrie (1912-1967). Jesus Christ was a Man. The Ballad of Tom Joad. Mourning Dove (Okanogan) (1888-1936). from Coyote Stories&#58; Preface; The Spirit Chief Names the Animal People. John Joseph Mathews (Osage) (1894-1979). from Sundown&#58; I; II. Thomas S. Whitecloud (Chippewa) (1914-1972). Blue Winds Dancing. D'Arcy McNickle (1904-1977). Hard Riding. Robert Penn Warren (1905-1989). Founding Fathers, Early-Nineteenth-Century Style, Southeast U.S.A. Infant Boy at Midcentury. The Leaf. Evening Hawk. Heart of Autumn. Amazing Grace in the Back Country. Fear and Trembling. John Crowe Ransom (1888-1974). Here Lies a Lady. Philomela. Piazza Piece. The Equilibrists. Allen Tate (1899-1979). Ode to the Confederate Dead. Charles Reznikoff (1894-1976). [How shall we mourn you who are killed and wasted]. Aphrodite Vrania. [The shoemaker sat in the cellars dusk beside his bench]. Hellenist. [In steel clouds]. [About an excavation]. The English in Virginia, April <br>1607.from Testimony&#58; I; II. John Steinbeck (1902-1968). The Promise (from The Red Pony).From <P>Chapter 23, The Grapes of Wrath (Folk Music Lyrics Sheaf). Richard Wright (1908-1960). The Ethics of Living Jim Crow.Big Boy Leaves Home. Margaret Walker (1915-1998). from Jubilee&#58; <br>7.Cook in the Big House; <br>8.Randall Ware. Southern Song. For My People. Ballad of the Hoppy-Toad. Solace. The Crystal Palace. Saunders Redding (1906-1988). from No Day of Triumph, <P>Chapter One&#58; Troubled in Mind. Pietro Di Donato (1911-1992). Christ in Concrete. Younghill Kang (1903-1972). from East Goes West,<br> Part One, Book Three. Am&eacute;rico Paredes (1915-1999). The Rio Grande. Night on the Flats. The Four Freedoms. Hast&iacute;o. Moonlight on the Rio Grande. Guitarreros. When It Snowed in Kitabamba. Ichiro Kikuchi. Sheaf&#58; Carved on the Walls&#58; Poetry by Early Chinese Immigrants. from The Voyage&#58; 5 [Four days before the Qiqiao Festival]; 8 [Instead of remaining a citizen of China, I willingly became an ox]. from The Detainment&#58; 20 [Imprisonment at Youli, when will it end?]; 30 [After leaping into prison, I cannot come out]; 31 [There are tens of thousands of poems composed on these walls]. from The Weak Shall Conquer&#58; 35 [Leaving behind my writing brush and removing my sword, I came]; 38 [Being idle in the wooden building, I opened a window]; 42 [The dragon out of water is humiliated by ants]. from About Westerners&#58; 51 [I hastened here for the sake of my stomach and landed promptly]; 55 [Shocking news, truly sad, reached my ears]. from Deportees, Transients&#58; 57 [On a long voyage I travelled across the sea]; 64 Crude Poem Inspired by the Landscape; 69 [Detained in this wooden house for several tens of days]. Acknowledgments. <br>Index of Authors, Titles, and First Lines.<br>
133Poems of New YorkElizabeth Schmidt0Elizabeth Schmidt (Editor), Kevin Youngpoems-of-new-yorkelizabeth-schmidt97803754150430375415041$11.02HardcoverKnopf Doubleday Publishing GroupAugust 2002Poetry Anthologies, American Poetry, Poetry of Places, American Literature Anthologies2564.34 (w) x 6.49 (h) x 0.74 (d)New York City has always been a larger-than-life, half-mythical place, and this collection offers an appropriately stunning mosaic of its many incarnations in poetry–ranging from Walt Whitman’s exuberant celebrations to contemporary poets’ moving responses to the September 11 attack on the city. <p>All the icons of this greatest of cities swirl and flash through these pages: taxis and subways, bridges and skyscrapers, ghettos and roof gardens and fire escapes, from the South Bronx to Coney Island to Broadway to Central Park, and from Langston Hughes’s Harlem to James Merrill’s Upper East Side. Wallace Stevens, e. e. cummings, W. H. Auden, Dorothy Parker, Elizabeth Bishop, Allen Ginsberg, and Audre Lorde are just a few of the poets gathered here, alongside a host of new young voices.</p> <p>Encompassing as many moods, characters, and scenes as this multifaceted, ever-changing metropolis has to offer, <i>Poems of New York</i> will be treasured by literary lovers of New York everywhere.</p>If I Should Learn by Edna St. Vincent Millay <p>If I should learn, in some quite casual way,<br> That you were gone, not to return again--<br> Read from the back-page of a paper, say,<br> Held by a neighbor in a subway train,<br> How at the corner of this avenue And such a street (so are the papers filled)<br> A hurrying man--who happened to be you--<br> At noon to-day had happened to be killed,<br> I should not cry aloud--I could not cry Aloud, or wring my hands in such a place--<br> I should but watch the station lights rush by With a more careful interest on my face,<br> Or raise my eyes and read with greater care Where to store furs and how to treat the hair.</p><p><P>New York City has always been a larger-than-life, half-mythical place, and this collection offers an appropriately stunning mosaic of its many incarnations in poetry&#8211;ranging from Walt Whitman&#8217;s exuberant celebrations to contemporary poets&#8217; moving responses to the September 11 attack on the city. <P>All the icons of this greatest of cities swirl and flash through these pages&#58; taxis and subways, bridges and skyscrapers, ghettos and roof gardens and fire escapes, from the South Bronx to Coney Island to Broadway to Central Park, and from Langston Hughes&#8217;s Harlem to James Merrill&#8217;s Upper East Side. Wallace Stevens, e. e. cummings, W. H. Auden, Dorothy Parker, Elizabeth Bishop, Allen Ginsberg, and Audre Lorde are just a few of the poets gathered here, alongside a host of new young voices. <P>Encompassing as many moods, characters, and scenes as this multifaceted, ever-changing metropolis has to offer, <i>Poems of New York</i> will be treasured by literary lovers of New York everywhere.</p><h3>The New Yorker</h3><p>In 1811, city planners unveiled the urban grid that would become the New York we know; not long afterward, the city's first poet, Walt Whitman, came along to chronicle its particular nexus of enthusiasm, expansiveness, and elegant ennui. This well-selected volume of New York poems, conceived in the days following September 11, 2001, includes not only the tried-and-true anthology pieces but an assortment of excellent lesser-known poems; we're reminded that in New York all things end "Too soon! Too soon!" (as Ferlinghetti exclaimed), although the city's sophisticated residents will murmur only "It gets so terribly late" (Elizabeth Bishop, teasing a friend). There are some stirring September 11th elegies here, but Whitman's words speak most consolingly, across the century, to the city's new sense of strength imperilled: "It is not upon you alone the dark patches fall, / The dark threw its patches down upon me also."</p><P><i>Foreword</i><P><i>WALT WHITMAN (1819&#8211;1892)<br></i>Mannahatta Broadway Crossing Brooklyn Ferry <P><i>HERMAN MELVILLE (1819&#8211;1891)<br></i>The House-Top&#58; A Night Piece<P><i>AMY LOWELL (1874&#8211;1925)<br></i>The Taxi Anticipation <P><i>WALLACE STEVENS (1879&#8211;1955)<br></i>Arrival at the Waldorf <P><i>WILLIAM CARLOS WILLIAMS (1883&#8211;1963)<br></i>The Great Figure <P><i>SARA TEASDALE (1884&#8211;1933)<br></i>Union Square Broadway<P><i>MARIANNE MOORE (1887&#8211;1972)<br></i>New York <P><i>CLAUDE MCKAY (1889&#8211;1948)<br></i>The Tropics in New York The City&#8217;s Love A Song of the Moon<P><i>EDNA ST. VINCENT MILLAY (1892&#8211;1950)<br></i>Recuerdo<br>&#8216;&#8216;If I should learn&#8217;&#8217; <P><i>DOROTHY PARKER (1893&#8211;1967)<br></i>Observation <P><i>E. E. CUMMINGS (1894&#8211;1962)<br></i>&#8220;Taxis toot whirl people moving&#8221; <P><i>CHARLES REZNIKOFF (1894&#8211;1976)<br></i>&#8220;Walk about the subway station&#8221; <P><i>FEDERICO GARC&#205;A LORCA (1898&#8211;1936)<br></i>Dawn<P><i>HART CRANE (1899&#8211;1933)<br></i>To Brooklyn Bridge The Harbor Dawn The Tunnel <P><i>LANGSTON HUGHES (1902&#8211;1967)<br></i>The Weary Blues Good Morning Harlem Juke Box Love Song Subway Rush Hour <P><i>HELENE JOHNSON (1906&#8211;1995)<br></i>The Street to the Establishment <P><i>W. H. AUDEN (1907&#8211;1973)<br></i>Refugee Blues September 1, 1939 <P><i>GEORGE OPPEN (1908&#8211;1984)<br></i>Pedestrian <P><i>ELIZABETH BISHOP (1911&#8211;1979)<br></i>The Man-Moth Letter to N.Y. <P><i>MURIEL RUKEYSER (1913&#8211;1980)<br></i>Seventh Avenue <P><i>MAY SWENSON (1913&#8211;1989)<br></i>Staying at Ed&#8217;s Place At the Museum of Modern Art<P><i>KARL SHAPIRO (1913&#8211;2000)<br></i>Future-Present <P><i>LAWRENCE FERLINGHETTI (1919&#8211; )<br></i>&#8220;The Pennycandystore beyond the El&#8221;<P><i>AMY CLAMPITT (1920&#8211;1994)<br></i>Dancers Exercising <P><i>GRACE PALEY (1922&#8211; )<br></i>The Nature of This City Fear On Mother&#8217;s Day <P><i>HOWARD MOSS (1922&#8211;1987)<br></i>The Building The Roof Garden <P><i>DENISE LEVERTOV (1923&#8211;1997)<br></i>The Cabdriver&#8217;s Smile <P><i>JAMES SCHUYLER (1923&#8211;1991)<br></i>This Dark Apartment An East Window on Elizabeth Street March Here <P><i>WISLAWA SZYMBORSKA (1923&#8211; )<br></i>Photograph from September 11 <P><i>KENNETH KOCH (1925&#8211; )<br></i>Girl and Baby Florist Sidewalk Pram Nineteen Seventy Something<P><i>GERALD STERN (1925&#8211; )<br></i>96 Vandam Let Me Please Look Into My Window<P><i>FRANK O&#8217;HARA (1926&#8211;1966)<br></i>Steps Gamin <P><i>JAMES MERRILL (1926&#8211;1995)<br></i>An Urban Convalescence <br>164 East 72nd Street <P><i>ALLEN GINSBERG (1926&#8211;1997)<br></i>I am a Victim of Telephone My Sad Self <P><i>W. S. MERWIN (1927&#8211; )<br></i>St. Vincent&#8217;s <P><i>GALWAY KINNELL (1927&#8211; )<br></i>Room of Return Running on Silk<P><i>JOHN ASHBERY (1927&#8211; )<br></i>A Sendentary Existence So Many Lives <P><i>CHARLES TOMLINSON (1927&#8211; )<br></i>All Afternoon <P><i>PHILIP LEVINE (1928&#8211; )<br></i>Get Up <P><i>RICHARD HOWARD (1929&#8211; )<br></i>209 Canal Among the Missing<P><i>L. E. SISSMAN (1929&#8211;1976)<br></i>Tears at Korvette&#8217;s Visiting Chaos <P><i>ADRIENNE RICH (1929&#8211; )<br></i>Upper Broadway<P><i>GREGORY CORSO (1930&#8211;2001)<br></i>Eastside Incidents The Whole Mess . . . Almost<P><i>DEREK WALCOTT (1930&#8211; )<br></i>The Bridge <P><i>AMIRI BARAKA (1934&#8211; )<br></i>Return of the Native<P><i>MARK STRAND (1934&#8211; )<br></i>Night Piece <P><i>AUDRE LORDE (1934&#8211;1992)<br></i>To My Daughter the Junkie on a Train A Trip on the Staten Island Ferry <P><i>TED BERRIGAN (1934&#8211;1983)<br></i>Whitman in Black <P><i>HETTIE JONES (1934&#8211; )<br></i>Dust&#8212; A Survival Kit, Fall 2001 <P><i>JUNE JORDAN (1936&#8211;2002)<br></i>Toward a City that Sings <br>&#8220;If you saw a Negro lady&#8221; <P><i>C. K. WILLIAMS (1936&#8211; )<br></i>Love&#58; Wrath <br><i>From </i>War <P><i>CHARLES SIMIC (1938&#8211; )<br></i>Couple at Coney Island For the Very Soul of Me <P><i>THOMAS M. DISCH (1940&#8211; )<br></i>The Argument Resumed; or, Up Through Tribeca In Praise of New York <P><i>BILLY COLLINS (1941&#8211; )<br></i>Man Listening to Disc <P><i>ERICA JONG (1942&#8211; )<br></i>Walking Through the Upper East Side <P><i>SHARON OLDS (1942&#8211; )<br></i>Boy Out in the World <P><i>NIKKI GIOVANNI (1943&#8211; )<br></i>Just a New York Poem The New Yorkers <P><i>RONALD WARDALL (1947&#8211; )<br></i>Three Weeks After <P><i>DAVID LEHMAN (1948&#8211; )<br></i>The World Trade Center October 11, 1998 <br>September 14, 2001 <P><i>LAWRENCE JOSEPH (1948&#8211; )<br></i>In the Age of Postcapitalism <P><i>DOUG DORPH (1949&#8211; )<br></i>Love <P><i>EDWARD HIRSCH (1950&#8211; )<br></i>Man on a Fire Escape <P><i>JORIE GRAHAM (1951&#8211; )<br></i>Expulsion <P><i>ROBERT POLITO (1951&#8211; )<br></i>Overheard in the Love Hotel <P><i>NICHOLAS CHRISTOPHER (1951&#8211; )<br></i>Construction Site, Windy Night <br>1972, #43<br>The Last Hours of La&#243;dik&#234;, Sister of Hektor <P><i>ELIZABETH MACKLIN (1952&#8211; )<br></i>A Married Couple Discovers Irreconcilable Differences <P><i>VICKIE KARP (1953&#8211; )<br></i>Glass<P><i>LAURIE SHECK (1953&#8211; )<br></i>In the South Bronx The Subway Platform <P><i>CORNELIUS EADY (1954&#8211; )<br></i>The Amateur Terrorist Dread<P><i>PHILLIS LEVIN (1954&#8211; )<br></i>Out of Chaos<P><i>VIJAY SESHADRI (1954&#8211; )<br></i>A Werewolf in Brooklyn Immediate City <P><i>JUDITH BAUMEL (1956&#8211; )<br></i>You weren&#8217;t Crazy and You weren&#8217;t Dead<P><i>LI-YOUNG LEE (1957&#8211; )<br></i>From The City in Which I Love You <P><i>MART&#205;N ESPADA (1957&#8211; )<br></i>The Owl and the Lightning<P><i>JAMES LASDUN (1958&#8211; )<br></i>Woman Police Officer in Elevator <P><i>REGINALD SHEPHERD (1963&#8211; )<br></i>Antibody<P><i>DEBORAH GARRISON (1965&#8211; )<br></i>Worked Late on a Tuesday Night I Saw You Walking <P><i>MALENA M&#214;RLING (1965&#8211; )<br></i>Let Me Say This<P><i>WILLIE PERDOMO (1967&#8211; )<br></i>123rd Street Rap<P><i>DAVID BERMAN (1967&#8211; )<br></i>New York, New York <P><i>KEVIN YOUNG (1970&#8211; )<br></i>City-as-School <P><i>MELANIE REHAK (1971&#8211; )<br></i>Adonis All Male Revue, November 24<P><i>DAVID SEMANKI (1971&#8211; )<br></i>Rain <P><i>NATHANIEL BELLOWS (1972&#8211; )<br></i>Liberty Island <P><i>Acknowledgments</i><article> <h4>Adam Kirsch</h4>Poems of New York, a new entry in the Everyman’s Library Pocket Poets series, succeeds extraordinarily well in capturing the major strands of New York poetry. Part of the charm of the book is simply in the details, the familiar things transformed by metaphor.<br> —<i>The New York Observer</i> </article> <article> <h4>The New Yorker</h4>In 1811, city planners unveiled the urban grid that would become the New York we know; not long afterward, the city's first poet, Walt Whitman, came along to chronicle its particular nexus of enthusiasm, expansiveness, and elegant ennui. This well-selected volume of New York poems, conceived in the days following September 11, 2001, includes not only the tried-and-true anthology pieces but an assortment of excellent lesser-known poems; we're reminded that in New York all things end "Too soon! Too soon!" (as Ferlinghetti exclaimed), although the city's sophisticated residents will murmur only "It gets so terribly late" (Elizabeth Bishop, teasing a friend). There are some stirring September 11th elegies here, but Whitman's words speak most consolingly, across the century, to the city's new sense of strength imperilled: "It is not upon you alone the dark patches fall, / The dark threw its patches down upon me also." </article><article> <h4>Publishers Weekly</h4>From Walt Whitman's "Mannahatta" to Ted Berrigan's "Whitman in Black" and beyond to Hettie Jones's "Dust A Survival Kit, Fall 2001," Poems of New York collects poetic responses to Gotham's many facets. Selected and edited by Open City contributing editor and New York Times Book Review poetry reviewer Elizabeth Schmidt, the more than 125 poems here tend toward less familiar works from familiar names. Instead of Frank O'Hara's "A Step Away from Them" we get "Steps" ("all I want is a room up there/ and you in it") though Auden's "September 1, 1939" and Williams's famous "The Great Figure" the figure `5' glimpsed on a fire truck are here. As Schmidt notes in her introduction, "Poets who have written about New York are masters at preserving, and allowing us to cherish, moments of life in this theater of chance and change." </article>
134American DreamsSapphire13<p><P>Sapphire is the author of <b>American Dreams</b>, a collection of poetry which was cited by <i>Publishers Weekly</i> as, "One of the strongest debut collections of the nineties." <b>Push</b>, her novel, won the Book-of-the-Month Club Stephen Crane award for First Fiction, the Black Caucus of the American Library Association's First Novelist Award, and, in Great Britain, the Mind Book of the Year Award. <b>Push</b> was named by the <i>Village Voice</i> and <i>Time Out New York</i> as one of the top ten books of 1996. <b>Push</b> was nominated for an NAACP Image Award in the category of Outstanding Literary Work of Fiction. About her most recent book of poetry <i>Poet's and Writer's Magazine</i> wrote, "With her soul on the line in each verse, her latest collection, <b>Black Wings & Blind Angels</b>, retains Sapphire's incendiary power to win hearts and singe minds."<br>&#160;<br>Sapphire's work has appeared in <i>The New Yorker</i>, <i>The New York Times Magazine</i>, <i>The New York Times Book Review</i>, <i>The Black Scholar</i>, <i>Spin</i>, and <i>Bomb</i>. In February of 2007 Arizona State University presented <i>PUSHing Boundaries, PUSHing Art&#58; A Symposium on the Works of Sapphire</i>. Sapphire's work has been translated into eleven languages and has been adapted for stage in the United States and Europe. <i>Precious</i>, the film adaption of her novel, recently won the Grand Jury Prize and the Audience Awards in the U.S. dramatic competition at Sundance (2009).</p>Sapphireamerican-dreamssapphire97806797679920679767991$13.68PaperbackKnopf Doubleday Publishing GroupJune 19961st Vintage Books EditionMulticultural Aspects/Gay & Lesbian Communities, Peoples & Cultures - American Anthologies, Gay & Lesbian Literature Anthologies, Literature Anthologies - General & Miscellaneous1925.18 (w) x 8.02 (h) x 0.43 (d)<p>In the tradition of Alice Walker, this electrifying new African American voice delivers the verdict on the urban condition in a sensual, propulsive, and prophetic book of poetry and prose.</p> <p>Whether she is writing about an enraged teenager gone "wilding" in Central Park, fifteen-year-old Latasha Harlins gunned down by a Korean grocer, or a brutalized child who grows up to escape her probable fate through the miracle of art, Sapphire's vision in this collection of poetry and prose is unswervingly honest.</p> <p>"Stunning . . . . One of the strongest debut collections of the '90s."—<i>Publishers Weekly</i></p><p><P>In the tradition of Alice Walker, this electrifying new African American voice delivers the verdict on the urban condition in a sensual, propulsive, and prophetic book of poetry and prose. <br><br>Whether she is writing about an enraged teenager gone &quot;wilding&quot; in Central Park, fifteen-year-old Latasha Harlins gunned down by a Korean grocer, or a brutalized child who grows up to escape her probable fate through the miracle of art, Sapphire's vision in this collection of poetry and prose is unswervingly honest.<br><br>&quot;Stunning . . . . One of the strongest debut collections of the '90s.&quot;&#151;<i>Publishers Weekly</i></p><h3>Publishers Weekly</h3><p>In one of the strongest debut collections of the 90s, this black lesbian feminist presents a fusion of poetry and prose, interspersed with short stories. Not for the squeamish, Sapphire's imagery is so fierce that readers will want to spread out the book over several sittings. Accounts of a young girl's rape by her father frame and inform all else, but Sapphire draws in irony as a buffer: in one extremely vivid poem, familiar phrases from the Mickey Mouse Club alternate with memories of assault. Early in her career, this writer felt the need to tell the stories of all victims (Tawana Brawley, the Central Park jogger, a nameless woman she meets on the bus), but to accomplish this she must adopt their emotional horrors as her own. ``Now that you know, / you can begin / to heal,'' the first poem ends. It is this commitment to human sensitivity that makes the terrifying exploits described here palatable. It also permits the narrator, 80 pages later, to describe the grief she feels at her mother's deathbed. Perfectly paced, sidestepping explication, Sapphire's words provide pointers to her characters' dramas, but she's still capable of stunning readers with a final image. (Feb.)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Are You Ready to Rock?</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">American Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mickey Mouse Was a Scorpio</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">in my father's house</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">boys love baseball (or a quarter buys a lot in 1952)</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflections from Glass Breaking</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rabbit Man</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trilogy: one, two, three</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A New Day for Willa Mae</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eat</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arisa</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Violet '86</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autopsy Report 86-13504</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">where jimi is</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD></table><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>In one of the strongest debut collections of the 90s, this black lesbian feminist presents a fusion of poetry and prose, interspersed with short stories. Not for the squeamish, Sapphire's imagery is so fierce that readers will want to spread out the book over several sittings. Accounts of a young girl's rape by her father frame and inform all else, but Sapphire draws in irony as a buffer: in one extremely vivid poem, familiar phrases from the Mickey Mouse Club alternate with memories of assault. Early in her career, this writer felt the need to tell the stories of all victims (Tawana Brawley, the Central Park jogger, a nameless woman she meets on the bus), but to accomplish this she must adopt their emotional horrors as her own. ``Now that you know, / you can begin / to heal,'' the first poem ends. It is this commitment to human sensitivity that makes the terrifying exploits described here palatable. It also permits the narrator, 80 pages later, to describe the grief she feels at her mother's deathbed. Perfectly paced, sidestepping explication, Sapphire's words provide pointers to her characters' dramas, but she's still capable of stunning readers with a final image. (Feb.) </article> <article> <h4>Library Journal</h4>These riveting vignettes--some are poems, others short prose works--offer a real voice speaking on topics too often distorted by media hype: sexual abuse, prostitution, racial and sexual violence, lesbian love, and mother-daughter relations. In spite of a tendency toward cliche, the confessional pieces included here are painful and affecting; their explicit, sordid detail is utterly convincing, and the author's intelligence allows her to generalize beyond personal anger and pain. Dramatizations of such public events as the Central Park wilding incident and the Los Angeles shooting of a black teenager by a Korean American grocer, however, seem merely descriptive and sensational. This is volatile stuff, and not all of it works, but the pieces that do, go over with a bang. Recommended.-- Ellen Kaufman, Dewey Ballantine Law Lib., New York </article>
135Black Theatre USA, V2: Plays by African Americans 1935-Today, Vol. 2Ted Shine0Ted Shine, Ted Shine, James Vernon Hatch, James V. Hatch (Editor), Ted Shineblack-theatre-usa-v2ted-shine97806848230720684823071$19.27HardcoverSimon & Schuster Adult Publishing GroupFebruary 1996Revised and Expanded EditionPeoples & Cultures - American Anthologies, Drama Anthologies, American Drama, Peoples & Cultures - Drama, American Literature Anthologies5287.00 (w) x 9.90 (h) x 1.30 (d)This revised and expanded Black Theatre U.S.A. broadens its collection to fifty-one outstanding plays, enhancing its status as the most authoritative anthology of African American drama with 22 new selections. Building on the well-respected first edition published in 1974, this edition features previously unpublished works including In Dahomey, Liberty Deferred, and Star of Ethiopia, and the Department of Interior's infamous 1918 food pageant. Contemporary plays by women have been added - Robbie McCauley's Sally's Rape, Anna Deavere Smith's Fires in the Mirror, and Aishah Rahman's The Mojo and the Sayso, as well as the modern classics - Ntozake Shange's Colored Girls..., Adrienne Kennedy's Funnyhouse of a Negro, and Lorraine Hansberry's A Raisin in the Sun. The range of this collection extends from 1847 to 1992, including the great names in the African American pantheon of writers - Paul Laurence Dunbar, W. E. B. Du Bois, Angelina Grimke, Zora Neale Hurston, Langston Hughes, Richard Wright, and James Baldwin. The chronology begins with William Wells Brown's The Escape: or, a Leap for Freedom, based on his own life as an escaped slave. Two expatriot authors, Ira Aldridge and Victor Sejour, provide glimpses of life in Europe, while at home, playwrights struggled with the issues of birth control, miscegenation, lynching, and migration. The book embraces both commercial successes such as George C. Wolfe's The Colored Museum, and Charles Fuller's A Soldier's Play, as well as lesser-known masterpieces - Ben Caldwell's The First Militant Preacher, Owen Dodson's The Confession Stone, and Ted Shine's Contribution. The stylistic range, too, runs the gamut of genre from the realism of Ted Ward, Lonne Elder III, and Ed Bullins to the surrealism of Marita Bonner and Aishah Rahman. Comedy is present in Abram Hill's On Strivers Row and Douglas Turner Ward's Day of Absence which mock the racism of both Blacks and Whites.<p>This revised and expanded Black Theatre U.S.A. broadens its collection to fifty-one outstanding plays, enhancing its status as the most authoritative anthology of African American drama with 22 new selections. Building on the well-respected first edition published in 1974, this edition features previously unpublished works including In Dahomey, Liberty Deferred, and Star of Ethiopia, and the Department of Interior's infamous 1918 food pageant. Contemporary plays by women have been added - Robbie McCauley's Sally's Rape, Anna Deavere Smith's Fires in the Mirror, and Aishah Rahman's The Mojo and the Sayso, as well as the modern classics - Ntozake Shange's Colored Girls..., Adrienne Kennedy's Funnyhouse of a Negro, and Lorraine Hansberry's A Raisin in the Sun. The range of this collection extends from 1847 to 1992, including the great names in the African American pantheon of writers - Paul Laurence Dunbar, W. E. B. Du Bois, Angelina Grimke, Zora Neale Hurston, Langston Hughes, Richard Wright, and James Baldwin. The chronology begins with William Wells Brown's The Escape: or, a Leap for Freedom, based on his own life as an escaped slave. Two expatriot authors, Ira Aldridge and Victor Sejour, provide glimpses of life in Europe, while at home, playwrights struggled with the issues of birth control, miscegenation, lynching, and migration. The book embraces both commercial successes such as George C. Wolfe's The Colored Museum, and Charles Fuller's A Soldier's Play, as well as lesser-known masterpieces - Ben Caldwell's The First Militant Preacher, Owen Dodson's The Confession Stone, and Ted Shine's Contribution. The stylistic range, too, runs the gamut of genre from the realism of Ted Ward, Lonne Elder III, and Ed Bullins to the surrealism of Marita Bonner and Aishah Rahman. Comedy is present in Abram Hill's On Strivers Row and Douglas Turner Ward's Day of Absence which mock the racism of both Blacks and Whites.</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Early Period</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Recent Period</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Doctor</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Brown Overcoat</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Escape, or, A Leap for Freedom</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Dahomey</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Star of Ethiopia</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why We Are at War</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Appearances</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rachel</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mine Eyes Have Seen</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aftermath</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">They That Sit in Darkness</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Unborn Children</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Church Fight</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Undertow</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Purple Flower</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Deacon's Awakening</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Balo</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Sunday Morning in the South</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Cruiter</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Man Pete</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Job Hunters</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Don't You Want To Be Free?</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Big White Fog</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The First One</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Graven Images</TD><TD WIDTH="10%" ALIGN="RIGHT">334</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Natural Man</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Soldier's Play</TD><TD WIDTH="10%" ALIGN="RIGHT">364</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Liberty Deferred</TD><TD WIDTH="10%" ALIGN="RIGHT">394</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mulatto</TD><TD WIDTH="10%" ALIGN="RIGHT">412</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Native Son</TD><TD WIDTH="10%" ALIGN="RIGHT">432</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Take a Giant Step</TD><TD WIDTH="10%" ALIGN="RIGHT">475</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Raisin in the Sun</TD><TD WIDTH="10%" ALIGN="RIGHT">512</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ceremonies in Dark Old Men</TD><TD WIDTH="10%" ALIGN="RIGHT">555</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tumult and the Shouting</TD><TD WIDTH="10%" ALIGN="RIGHT">589</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Limitations of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">631</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Strivers Row</TD><TD WIDTH="10%" ALIGN="RIGHT">634</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Day of Absence</TD><TD WIDTH="10%" ALIGN="RIGHT">672</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Amen Corner</TD><TD WIDTH="10%" ALIGN="RIGHT">691</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Confession Stone</TD><TD WIDTH="10%" ALIGN="RIGHT">724</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Funnyhouse of a Negro</TD><TD WIDTH="10%" ALIGN="RIGHT">741</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wine in the Wilderness</TD><TD WIDTH="10%" ALIGN="RIGHT">752</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for colored girls who have considered suicide...</TD><TD WIDTH="10%" ALIGN="RIGHT">771</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sally's Rape</TD><TD WIDTH="10%" ALIGN="RIGHT">776</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dutchman</TD><TD WIDTH="10%" ALIGN="RIGHT">789</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Goin' a Buffalo</TD><TD WIDTH="10%" ALIGN="RIGHT">800</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prayer Meeting: Or, The First Militant Preacher</TD><TD WIDTH="10%" ALIGN="RIGHT">827</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contribution</TD><TD WIDTH="10%" ALIGN="RIGHT">831</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blk Love Song #1</TD><TD WIDTH="10%" ALIGN="RIGHT">840</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Colored Museum</TD><TD WIDTH="10%" ALIGN="RIGHT">859</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mojo and the Sayso</TD><TD WIDTH="10%" ALIGN="RIGHT">881</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fires in the Mirror</TD><TD WIDTH="10%" ALIGN="RIGHT">899</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliographies</TD><TD WIDTH="10%" ALIGN="RIGHT">909</TD></table>
136The Signet Classic Book of American Short StoriesBurton Raffel0<p>Burton Raffel has taught English, Classics, and Comparative Literature at universities in the United States, Israel, and Canada. His books include translations of <b>Beowulf, Horace: Odes, Epodes, Epistles, Satires, The Complete Poetry and Prose of Chairil Anwar, From the Vietnamese, Ten Centuries of Poetry, The Complete Poetry of Osip Emilevich, Mandelstram (with Alla Burago)</b>, and <b>Poems From the Old English</b> and <b>The Annotated Milton</b>; several critical studies, <b>Introduction to Poetry, How to Read a Poem, The Development of Modern Indonesian Poetry</b>, and <b>The Forked Tounge: A Study of the Translation Process</b>; and <b>Mia Poems</b>, a volume of his own poetry. Mr. Raffel practiced law on Wall Street and taught in the Ford Foundation’s English Language Teacher Training Project in Indonesia.</p>Burton Raffelthe-signet-classic-book-of-american-short-storiesburton-raffel97804515296330451529634$7.75Mass Market PaperbackPenguin Group (USA)November 2004ReissueShort Story Anthologies, American Literature Anthologies6884.38 (w) x 6.88 (h) x 1.14 (d)<p><b><i>The best of American short fiction</i></b></p> <p>Spanning over 100 years of literary history, here are 33 of the finest short stories by Washington Irving<br> • Nathaniel Hawthorne<br> • Edgar Allan Poe<br> • Herman Melville<br> • Harriet Beecher Stowe<br> • Bret Harte<br> • Bayard Taylor<br> • Rose Terry Cooke<br> • Ambrose Bierce<br> • Hamlin Garland<br> • Mary E. Wilkens Freeman<br> • Henry James<br> • Charlotte Perkins Gilman<br> • Sarah Orne Jewett<br> • Grace Elizabeth King<br> • Harold Frederic<br> • Kate Chopin<br> • Stephen Crane<br> • Edith Wharton<br> • Mark Twain<br> • Jack London<br> • F. Hopkinson Smith<br> • Zona Gale<br> • O. Henry<br> • Sherwood Anderson<br> • Ernest Hemingway<br> • John Dos Passos<br> • Stephen Vincent Benet<br> • Willa Cather<br> • William Faulkner<br> • James Thurber<br> • F. Scott Fitzgerald<br> • William Saroyan</p> <p>&nbsp;</p><p><P>The best of American short fiction <P>Spanning over 100 years of literary history, here are 33 of the finest short stories by Washington Irving <br>&bull; Nathaniel Hawthorne <br>&bull; Edgar Allan Poe <br>&bull; Herman Melville <br>&bull; Harriet Beecher Stowe <br>&bull; Bret Harte <br>&bull; Bayard Taylor <br>&bull; Rose Terry Cooke <br>&bull; Ambrose Bierce <br>&bull; Hamlin Garland <br>&bull; Mary E. Wilkens Freeman <br>&bull; Henry James <br>&bull; Charlotte Perkins Gilman <br>&bull; Sarah Orne Jewett <br>&bull; Grace Elizabeth King <br>&bull; Harold Frederic <br>&bull; Kate Chopin <br>&bull; Stephen Crane <br>&bull; Edith Wharton <br>&bull; Mark Twain <br>&bull; Jack London <br>&bull; F. Hopkinson Smith <br>&bull; Zona Gale <br>&bull; O. Henry <br>&bull; Sherwood Anderson <br>&bull; Ernest Hemingway <br>&bull; John Dos Passos <br>&bull; Stephen Vincent Benet <br>&bull; Willa Cather <br>&bull; William Faulkner <br>&bull; James Thurber <br>&bull; F. Scott Fitzgerald <br>&bull; William Saroyan</p>
137The American Transcendentalists: Essential WritingsLawrence Buell0<p>Lawrence Buell is the Powell M. Cabot Professor of American Literature at Harvard University. He is the award-winning author of many notable books, including Literary Transcendentalism, The Environmental Imagination, and Emerson.</p>Lawrence Buellthe-american-transcendentalistslawrence-buell9780812975093081297509X$11.75PaperbackRandom House Publishing GroupJanuary 2006American Literature Anthologies6405.17 (w) x 7.99 (h) x 1.26 (d)<p>Transcendentalism was the first major intellectual movement in U.S. history, championing the inherent divinity of each individual, as well as the value of collective social action. In the mid-nineteenth century, the movement took off, changing how Americans thought about religion, literature, the natural world, class distinctions, the role of women, and the existence of slavery.<br> Edited by the eminent scholar Lawrence Buell, this comprehensive anthology contains the essential writings of Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and their fellow visionaries. There are also reflections on the movement by Charles Dickens, Henry James, Walt Whitman, Louisa May Alcott, and Nathaniel Hawthorne. This remarkable volume introduces the radical innovations of a brilliant group of thinkers whose impact on religious thought, social reform, philosophy, and literature continues to reverberate in the twenty-first century.</p><p>1.</p> <p>Mary Moody Emerson</p> <p>Letters to a Future Transcendentalist</p> <p>(1817—51)</p> <p>Mary Moody Emerson (1774-1863) was Ralph Waldo Emerson's aunt and first mentor. She was a striking figure in her own right. She impressed all who came into contact with her—which included most of the Transcendentalist circle—with her unsystematic brilliance, her spiritual intensity, her biting wit, and her eccentric force. The younger sister of Emerson's father, she became the family matriarch after his early death. She had high hopes that Ralph Waldo would distinguish himself in the ministerial career that the men in his family had pursued for six unbroken generations back to colonial times. She wound up driving him toward Transcendentalism even as she tried to warn him away.</p> <p>The many letters she sent him over more than forty years display her unique talents. They led Emerson, astonishingly, to praise her as one of the great prose stylists of her day, although she wrote almost nothing for publication. Both of them relished their correspondence. Many of Mary Emerson's turns of thought and even her turns of phrase resurface in his own later essays. They took a similar delight in the natural world, in ranging widely through Asian as well as western thought and literature, in moral and spiritual inquiry, and in a headlong free-associative style of thought and expression.</p> <p>Here are a dozen passages from Mary's letters to her nephew, starting with a comically extravagant letter of congratulation upon the start of his freshman year at Harvard at the tender but then typical age of fourteen. Often she responds pointedly to his own letters and compositions, from a juvenile proposal for "reform" of drama through high-minded literary criticism (item 4) to major work like his 1838 Divinity School Address (item 11), which took her aback, as it did most of his elders. Mary's oblique reflection on the controversy, her fable of Urah, may have suggested Emerson's poem "Uriel" (see Section V-B below).</p> <p>Too conservative to approve of Waldo's Transcendental turn, Mary Emerson nonetheless helped set him—and the movement—on the way. But no matter how famous he became, she never ceased to admonish him when she thought he deserved it. Her charge that wealth was a topic unworthy of him (item 12) is a prime example.</p> <p>SOURCE: The Selected Letters of Mary Moody Emerson, ed. Nancy Craig Simmons. Athens: University of Georgia Press, 1993. Spelling as well as punctuation of these letters have been partially normalized for the sake of readability.</p> <p>(1)</p> <p>What dull Prosaic Muse would venture from the humble dell of an unlettered district, to address a son of Harvard? . . . In that great Assembly, where human nature is purified from its native dross &amp; ignorance, may the name of my dear Waldo be inrolled.</p> <p>[NOVEMBER 4, 1817]</p> <p>(2)</p> <p>The spirits of inspiration are abroad tonight. I have rode only to go out &amp; see the wonderous aspect of nature. . . . We love nature—to individuate ourselves in her wildest moods; to partake of her extension, &amp; glow with her colors &amp; fly on her winds; but we better love to cast her off and rely on that only which is imperishable. Shakespeare has admirably described the universal influence of the infinite Spirit by that of the sun, whose light &amp; warmth brings to maturity the healthiest plant &amp; the most poisonous—corrupts the corruptible, &amp; nourishes the splendid tribe of flora with the same beam. What an illustration—and of what a truth! . . . Right and wrong have had claims prior to all rites—immutable &amp; eternal in their nature . . . [JANUARY 18, 1821]</p> <p>(3)</p> <p>I have been fortunate this week to find a Visitor here from India, well versed in its literature &amp; theology. He showed us some fine representations of the incarnation of Vishnoo. They are much akin to Grecian fable—and from his representation I believe the incarnations to be much like the doctrine of transmigration. At bottom of the histories of the incarnations is often the doctrine of the universal presence &amp; agency of One God. . . .</p> <p>As to books, I've been only where you have, sometimes in Merlin's cave and Homer's shades, sometimes. Was delighted with the speech made by Ulysses to the shade of his mother. [Alexander] Pope's—is it better in original? Have been surprised to find in the 10th book of [the Roman poet] Juvenal some lines very like to the concluding ones of [Samuel] Johnson's "Vanity of Human Wishes." Could Johnson have borrowed from the heathen? [MAY 24, 1822]</p> <p>(4)</p> <p>. . . As to words &amp; languages being so important—I will have nothing of it. The images, the sweet immortal images are within us—born there, our native right, and sometimes one kind of sounding word or syllable wakens the instrument of our souls and sometimes another. But we are not slaves to sense any more than to political usurpers, but by fashion &amp; imbecility. Aye, if I understand you, so you think.</p> <p>In the zeal of writing I began with the last sentence of your letter, &amp; have just read backwards till I am now for the first time in cool possession of the whole letter—Glad to hear you complain of fine splendid expressions without proportionate fine thoughts. But not that in order to judge you must read all the pieces or rather that you intend a reform which will oblige you to go thro' such bogs &amp; fens &amp; sloughs of passion &amp; crime. . . . And to me who am, if possible, more ignorant on the history &amp; character of the Drama than any other subject, it seems a less usefull exercise as it respects the reformer than any scientific or literary pursuit. [JUNE 26, 1822]</p> <p>(5)</p> <p>. . . Would to God thou wert ambitious—respected thyself more &amp; the world less. Thou wouldst not to Cambridge [to enroll at Harvard Divinity School.] . . . It is but a garnished sepulchre where may be found some relics of the body of Jesus—some grosser parts which he took not at his ascent . . . [NOVEMBER 7, 1824]</p> <p>(6)</p> <p>It is worse than idle to ridicule the fall—unless you can account for the origin of evil. . . . The apple may be allegorical—but if it were real it answered for a sign, an arbitrary one, be sure, of a government disciplinary &amp; perspective. The principle of obedience is the first in education—and the more trifling the object the more important the danger of defection. . . . Evil must have a beginning. If it were eternal—! What should we infer—that eternal right was coeval with—&amp; implied in its opposite? . . . Well, one &amp; all have the subject in the dark where God intended. And I never talk of the fall nor think of it—for the difficulties are too great. [JULY 8, 1827]</p> <p>(7)</p> <p>Would I could die today that this aching sense of immortality might be satisfied or cease to ache. The difficulty remains the same when I struggle with the extension of never never never—just as I repeated the exercise in childhood: cant form an idea, cant stretch myself to that which has no end. It may be owing to the limits of childhood repeating the idea &amp; wishing to come at an end in vain. . . . It is this impossibility of losing oneself, tho' ages pass over the change, that argues immortality. [SEPTEMBER 9, 1827]</p> <p>(8)</p> <p>My thanks for the sensibility you express at my being hurt to be thought by you distraught. But after all I do appear so to other folks, when under the influence of the indifference I feel to society (or somthing worse) with the extreme pleasure of wittnessing their fine things. The fears which I read in the countenance of my family lead me to act more independently than I should, if I were coaxed with their confidence. . . . You have borne with my outre manners and protected them better than any youth. Only forgive me greater &amp; worser defects of character—and these which pass away with the discordant humours of the body are of no import. [MAY 2, 1828]</p> <p>(9)</p> <p>Let us not complain of calvinism—its most terrible points are better than nothing. If the bible is a fable I would cherish it now in age with undying zeal—It may have a truth of infinite weight like other fables which have a little. But it is not a fable I know. It answers to the living consciousness of God's impress on the soul. It develops the divinity within. Not the poetic gospelless divinity of German idealism—whose baseless fabrick will vanish into thin air. [AUGUST (?) 1829]</p> <p>(10)</p> <p>You most beloved of ministers, who seemed formed by face, manner &amp; pen to copy &amp; illustrate the noblest of all institutions, are you at war with that angelic office? . . . And I may ask what you mean by speaking of "a great truth whose authority you would feel as its own"? In the letter of Dec 25 you [write] "whether the heart were not the Creator." Now if this withering Lucifer doctrine of pantheism be true, what moral truth can you preach or by what authority should you feel it? Without a personal God you are on an ocean mast unrigged for any port or object. Then why not continue to preach—&amp; pray too? Where is the truth, so infinitely weighty with the true theist, injured? Some body must keep up these idle institutions &amp; they may keep men from jail and gallows. What better scope for the intellectual reservoir? And such has been your integrity, whenever I have been indulged with hearing or reading, what St Paul, who had the fullest convictions of Jesus being the only medium of communication with the Incomprehensible, would not tax your sincerity, tho' he would regret the different character you assigned. Pardon me if I declaim with the garrulity of age.</p> <p>[FEBRUARY 1832]</p> <p>(11)</p> <p>I love to gaze after the illuminati. . . . Yet believe with Burke that no improvement can be expected in the great truths &amp; institutions of morality and religion. And I lost my inquiries in thinking of the fabled Urah, who belonging to the coterie of Plato, was sent down by that high person . . . to reform a certain district and give it some utopian ornaments—so dully progressive so sober &amp; stale that in his disgust he breathed a fire which consumed every old land mark—tore up the moss-covered mounds; and the very altars which had been the refuge of the poor &amp; sinfull &amp; decrepit instead of being bettered were almost demolished—and in the destruction it is said that the wings of the spiritual vehicle were so scorched that he was forced to ask aid of a disciple of the old reforming Patriarch who was buried on some old loved spot, and he, tho' looked on as a very plodder, constructed a chariot of clouds which conveyed the messenger home to new fledge his wings. And the story goes, that when they were in action again he visited the same place &amp; found it overrun with barbarism &amp; governed by an ugly Radicale. [SEPTEMBER 1838?]</p> <p>(12)</p> <p>Wealth my dear Waldo: how could you—you gifted to rouse the interior to make even Christians think &amp; feel at certain high sentiments—how, under what illusion, could you lecture to Concord of its advantages? You sap the foundations of all that is great &amp; independant. Oh send the young to Brothels &amp; intemperance. . . . You who have steadily stood for the rights of the slave are riveting his chains &amp; pursuing the fugitive with increasing the rage the mania for wealth. Were you poor (and the papers speak of your high taxes) what a beautifull vision you might have drawn of its baseless fabrick while you awakened charity in its depths and glory. Forgive me if I offend, &amp; send me the lecture.</p> <p>[FEBRUARY 1851]</p> <p>2.</p> <p>Samuel Taylor Coleridge</p> <p>Reason Versus Understanding</p> <p>(1825, 1829)</p> <p>Coleridge (1772-1834) was a leading British Romantic poet and one of the most inventive critical thinkers of his age. Along with Thomas Carlyle, he was more influential in interpreting German thought for American audiences than any other early-nineteenth-century British writer. A prime example is Coleridge's restatement of the Kantian distinction between "Reason" and "Understanding," in the face of the prevailing Anglo-American view, which rested on John Locke's contention that all knowledge is derived empirically, from sense experience. In Locke's view, reason and understanding were synonymous. Coleridge prepared the way for the Transcendentalist conception of Reason as a power of mind or soul that enables a person to grasp divine or Transcendent truth intuitively. (Ironically, Kant himself had explicitly denied the human mind such power. Such are the vagaries of intellectual history.) Coleridge's distinction reached most Transcendentalists through the American edition of his Aids to Reflection (1829), edited by Vermont Calvinist James Marsh (1794-1842). This indeed was "the decisive event in establishing respect" for Coleridge "as a thinker," as the authoritative modern scholarly edition of Aids declares. Marsh's prefatory remarks chastised Locke and seconded the importance of the Reason-Understanding distinction in ways that prompted both foes and friends to lump Marsh with the Transcendentalists—to his acute irritation.</p> <p>SOURCE: Aids to Reflection, ed. James Marsh. Burlington, Vermont: Chauncey Goodrich, 1829. Reprinted from the original English edition of 1825.</p> <p>Reason is the Power of universal and necessary Convictions, the Source and Substance of Truths above Sense, and having their evidence in themselves. . . . Contemplated distinctively in reference to formal (or abstract) truth, it is the speculative Reason; but in reference to actual (or moral) truth, as the fountain of ideas and the Light of the Conscience, we name it the Practical Reason. Whenever by self-subjection to this universal Light, the Will of the Individual, the particular Will, has become a Will of Reason, the man is regenerate: and Reason is then the Spirit of the regenerated man, whereby the Person is capable of a quickening inter-communication with the Divine Spirit. . . .</p> <p>On the other hand, the Judgments of the Understanding are binding only in relation to the objects of our Senses, which we reflect under the forms of the Understanding. . . .</p> <p>To apply these remarks for our present purpose, we have only to describe Understanding and Reason, each by its characteristic qualities. The comparison will show the difference.</p> <p>UNDERSTANDINGREASON</p> <p>1.Understanding is discursive.1.Reason is fixed.</p> <p>2.The Understanding in all its 2.The Reason in all its decisions</p> <p>judgments refers to some other appeals to itself as the ground</p> <p>faculty as its ultimate authority.and substance of their truth.</p> <p>3.Understanding is the faculty 3.Reason of Contemplation. . . .</p> <p>of Reflection.-Reason is a direct Aspect of Truth, an inward Beholding, having a similar relation to the Intelligible or Spiritual, as Sense has to the Material or Phenomenal.</p><p>Transcendentalism was the first major intellectual movement in U.S. history, championing the inherent divinity of each individual, as well as the value of collective social action. In the mid-nineteenth century, the movement took off, changing how Americans thought about religion, literature, the natural world, class distinctions, the role of women, and the existence of slavery.<br>Edited by the eminent scholar Lawrence Buell, this comprehensive anthology contains the essential writings of Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and their fellow visionaries. There are also reflections on the movement by Charles Dickens, Henry James, Walt Whitman, Louisa May Alcott, and Nathaniel Hawthorne. This remarkable volume introduces the radical innovations of a brilliant group of thinkers whose impact on religious thought, social reform, philosophy, and literature continues to reverberate in the twenty-first century.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters to a future transcendentalist</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reason versus understanding</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Humanity's likeness to God</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The age of machinery</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A young minister refuses to perform a crucial duty</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The significance of Kantian philosophy</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Victor Cousin and the future of American philosophy</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The doctrine and discipline of human culture</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The reconciliation of God, humanity, state, and church</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The American scholar"</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Transcendentalism"</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter of intent to resign</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The transcendentalist"</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Boston transcendentalism</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A transcendentalist's profession of faith</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Divinity school address</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The new school in literature and religion"</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">God's personhood vindicated</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A discourse on the latest form of infidelity</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The latest form of infidelity" examined</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Recollection of mystical experiences</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A discourse of the transient and permanent in Christianity</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Transcendental Bible"</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christianity and Hinduism compared</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The sympathy of religions"</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The laboring classes"</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ralph Waldo Emerson declines George Ripley's invitation to join Brook Farm</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Self-reliance"</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Plan of the West Roxbury community"</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brook Farm's (first published) constitution</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "A sermon of merchants"</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Italian revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Resistance to civil government"</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A controversial experiment in progressive education : part one</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A controversial experiment in progressive education : part two</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Margaret Fuller conversation on gender</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The great lawsuit"</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why Concord? : ("Musketaquid")</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Life in the woods"</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Walking"</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two proposals for land preservation</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Saints, and their bodies"</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The significance of British West Indian emancipation</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the narrative of Frederick Douglass</TD><TD WIDTH="10%" ALIGN="RIGHT">354</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The function of conscience" and "The fugitive slave law"</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The fugitive slave law"</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "A plea for Captain John Brown"</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The editors to the reader"</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Verses of the portfolio</TD><TD WIDTH="10%" ALIGN="RIGHT">388</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The poet"</TD><TD WIDTH="10%" ALIGN="RIGHT">392</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "American literature"</TD><TD WIDTH="10%" ALIGN="RIGHT">405</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Music philosophically considered</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Preface to Leaves of grass</TD><TD WIDTH="10%" ALIGN="RIGHT">416</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">selected "Orphic sayings"</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Report of Margaret Fuller conversation on "life"</TD><TD WIDTH="10%" ALIGN="RIGHT">424</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Sayings of Confucius"</TD><TD WIDTH="10%" ALIGN="RIGHT">427</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A walk to Walden</TD><TD WIDTH="10%" ALIGN="RIGHT">429</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First days at Walden</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boat song</TD><TD WIDTH="10%" ALIGN="RIGHT">442</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hymn of the Earth</TD><TD WIDTH="10%" ALIGN="RIGHT">443</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Wachusett"</TD><TD WIDTH="10%" ALIGN="RIGHT">444</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Enosis</TD><TD WIDTH="10%" ALIGN="RIGHT">446</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Correspondences</TD><TD WIDTH="10%" ALIGN="RIGHT">447</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The pines and the sea</TD><TD WIDTH="10%" ALIGN="RIGHT">448</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Each and all</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The problem</TD><TD WIDTH="10%" ALIGN="RIGHT">451</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uriel</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The rhodora : on being asked, whence is the flower?</TD><TD WIDTH="10%" ALIGN="RIGHT">455</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hamatreya</TD><TD WIDTH="10%" ALIGN="RIGHT">455</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The snow-storm</TD><TD WIDTH="10%" ALIGN="RIGHT">457</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ode, inscribed to W. H. Channing</TD><TD WIDTH="10%" ALIGN="RIGHT">458</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bacchus</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hymn : sung at the completion of the Concord monument, April 19, 1836</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brahma</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boston hymn read in music hall, January 1, 1863</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Days</TD><TD WIDTH="10%" ALIGN="RIGHT">467</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meditations, Sunday, May 12, 1833</TD><TD WIDTH="10%" ALIGN="RIGHT">469</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My seal-ring</TD><TD WIDTH="10%" ALIGN="RIGHT">471</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Each Orpheus]</TD><TD WIDTH="10%" ALIGN="RIGHT">472</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To a friend</TD><TD WIDTH="10%" ALIGN="RIGHT">472</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Questionings</TD><TD WIDTH="10%" ALIGN="RIGHT">473</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[I stood upon the sullen shore]</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Oh melancholy liberty</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[One look the mother cast upon her child]</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[I see them ...]</TD><TD WIDTH="10%" ALIGN="RIGHT">478</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Better a sin which purposed wrong to none]</TD><TD WIDTH="10%" ALIGN="RIGHT">478</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[To Emerson]</TD><TD WIDTH="10%" ALIGN="RIGHT">479</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Lo! cast upon the shoal of time]</TD><TD WIDTH="10%" ALIGN="RIGHT">479</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Great God, I ask thee ...]</TD><TD WIDTH="10%" ALIGN="RIGHT">482</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Haze</TD><TD WIDTH="10%" ALIGN="RIGHT">482</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[My love must be as free]</TD><TD WIDTH="10%" ALIGN="RIGHT">483</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The inward morning</TD><TD WIDTH="10%" ALIGN="RIGHT">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sic Vita</TD><TD WIDTH="10%" ALIGN="RIGHT">485</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Smoke</TD><TD WIDTH="10%" ALIGN="RIGHT">486</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The new birth</TD><TD WIDTH="10%" ALIGN="RIGHT">488</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The presence</TD><TD WIDTH="10%" ALIGN="RIGHT">489</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">489</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Barberry bush</TD><TD WIDTH="10%" ALIGN="RIGHT">490</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The garden</TD><TD WIDTH="10%" ALIGN="RIGHT">490</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The brother's blood</TD><TD WIDTH="10%" ALIGN="RIGHT">491</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yourself</TD><TD WIDTH="10%" ALIGN="RIGHT">491</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The better self</TD><TD WIDTH="10%" ALIGN="RIGHT">492</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To you</TD><TD WIDTH="10%" ALIGN="RIGHT">494</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Leila"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Ktaadn"</TD><TD WIDTH="10%" ALIGN="RIGHT">505</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A transcendental childhood</TD><TD WIDTH="10%" ALIGN="RIGHT">513</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glimpses of transcendental Concord</TD><TD WIDTH="10%" ALIGN="RIGHT">523</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Recollections of a transcendentalist insider</TD><TD WIDTH="10%" ALIGN="RIGHT">526</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Emerson observed</TD><TD WIDTH="10%" ALIGN="RIGHT">529</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A dying transcendentalist looks back</TD><TD WIDTH="10%" ALIGN="RIGHT">532</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Historic notes of life and letters in Massachusetts"</TD><TD WIDTH="10%" ALIGN="RIGHT">538</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Transcendentalism in New England</TD><TD WIDTH="10%" ALIGN="RIGHT">542</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transcendentalism as feminist</TD><TD WIDTH="10%" ALIGN="RIGHT">546</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Concord pilgrimage</TD><TD WIDTH="10%" ALIGN="RIGHT">554</TD></TABLE>
138Finding Freedom: Writings from Death RowJarvis Jay Masters0Jarvis Jay Masters, Melody E. Chavisfinding-freedomjarvis-jay-masters9781881847083188184708X$11.23PaperbackPadma PublishingSeptember 1997Literary Criticism, American1795.49 (w) x 8.53 (h) x 0.64 (d)
139The Best American Short Stories 2004Lorrie Moore14<p><br>Lorrie Moore is the author of the story collections Like Life and Self-Help, and the novels Who Will Run the Frog Hospital? and Anagrams. Her work has appeared in The New Yorker, The Best American Short Stories, and Prize Stories&#58; The O. Henry Awards. She is a professor of English at the University of Wisconsin in Madison. <br></p>Lorrie Moore, Katrina Kenisonthe-best-american-short-stories-2004lorrie-moore97806181973540618197354$28.95PaperbackHoughton Mifflin HarcourtOctober 2004~American Fiction, Short Story Collections (Single Author), Short Story Anthologies, American Literature Anthologies4981.11 (w) x 5.50 (h) x 8.50 (d)<p>Since its inception in 1915, the Best American series has become the premier annual showcase for the country's finest short fiction and nonfiction. For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected—and most popular—of its kind.<br> Lorrie Moore brings her keen eye for wit and surprise to the volume, and The Best American Short Stories 2004 is an eclectic and enthralling gathering of well-known voices and talented up-and-comers. Here are stories that probe the biggest issues: ambition, gender, romance, war. Here are funny and touching and striking tales of a Spokane Indian, the estranged wife of an Iranian immigrant, an American tutor in Bombay. In her introduction Lorrie Moore writes, "The stories collected here impressed me with their depth of knowledge and feeling of character, setting, and situation . . . They spoke with amused intelligence, compassion, and dispassion."</p><h1><font size="+3">The Best American Short Stories 2004</font></h1> <hr noshade size='1'> <h4><b>Houghton Mifflin Company</b></h4> <font size="-1"><b>Copyright © 2004</b></font> <font size="-1"><b>Houghton Mifflin<br> All right reserved.</b></font><br> <font size="-1"><b>ISBN: 0-618-19734-6</b></font> <br> <hr noshade size='1'> <br> <h3>Introduction</h3> Over the years I have listened to fellow teachers and writers pronounce on literary fiction - its predators, prey, habits, and habitats - and as I've gotten older I have stopped taking notes and attempted instead not to fidget rudely in my seat. For some reason it seems that everything I hear now sounds increasingly untrue. Or at least no more true than its exact opposite. It seems that no matter what one says about reading and writing, or about short stories and novels, a hundred exceptions support the opposite case. Short stories are for busy people or short attention spans: Well, then why can a reader duck in and out of a novel for ten-minute intervals but not do so successfully with a short story? People don't read anymore: Then why are books being published - and sold - at a record number? There is no literary community: What are all these writing programs and reading series and book-groups-in-the-middle-of-nowhere? Perhaps all these assertions occur because, too often, and more and more, writers are asked to speak publicly of their art (oh, dear) or their approach to their craft (that alarmingly nautical phrase), and what has resulted may be simply the desperate, improvised creative-writing yack of good people uncomfortably far from their desks. <p>Nonetheless, opportunities such as thisintroduction encourage implausible pronouncements and sweeping generalizations, and though I am not easily encouraged, I am surely immune from nothing - a lesson learned from literature.</p> <p>There is no thoroughly convincing theory of the short story - it is technically a genre, not a form, but resists the definitions that usually cluster around both. There is the defining length (an unedifying fifty-page range), there is the short story's lonely voice from a submerged population (Frank O'Connor's famous hypothesis), and there are various "slice of life" ideas and notions of literary apprenticeship (stories are what writers do on their way to a novel).</p> <p>All of these convey what happens sometimes - what happens a lot - but in lieu of a truly winning overriding theory, we should rely perhaps on simple descriptions, in which case the more the merrier. Let me throw some into the pot. Many that I've heard - and used myself - are fashioned as metaphors comparing shorter and longer narratives, attempting to define the one through its relationship to the other. A short story is a love affair; a novel is a marriage.</p> <p>A short story is a photograph; a novel is a film. A short story is a weekend guest; a novel is a long-term boarder. A story is a brick; a novel is a brick wall. And my favorite, the asymmetrical a short story is a flower; a novel is a job.</p> <p>From its own tradition, the novel arrives to reader and writer alike, baggy, ad hoc, bitter with ambition, already half ruined. The short story arrives, modest, prim, and purposeful, aiming for perfection, though the lengthier it is, the more novel-like, the more it puts all that at risk, acquiring instead, in a compelling trade, the greater, sustained attention of the reader, upon whom a more lasting impression will be made, if all goes well. (This year's anthology, I think, tends to favor the longer short story.)</p> <p>Yet a story's very shortness ensures its largeness of accomplishment, its selfhood and purity. Having long lost its ability to pay an author's rent (in that golden blip between Henry James and television, F. Scott Fitzgerald, for one, wrote stories to fund his novels), the short story has been freed of its commercial life to become serious art, by its virtually every practitioner. As a result, short or long, a story lies less. It sings and informs and blurts. It has nothing to lose.</p> <p>In adding my own heedless descriptions to the stew, I have often liked to think that short stories have something in common with songs - not just the digested-in-a-single-sitting aspect of them, but their distillation of emotion and circumstance, their interest in beautiful pain. Like songs, there is often more urgency to them, less forewarning and professional calculation in their creation. Similarly, like songs, they are often about some kind of love gone bad - love for an overcoat, a tenor, a babysitter, to name three famous ones (by Gogol, Joyce, and Cheever) - or, at random from this book, love for a ranch, a waitress, a goat, a daughter (Proulx, Boyle, Munro, Lewis). These love objects represent lives and possibilities, spiritual entrances and exits, which are at one time within reach of a person but, as the story tells us, due to interesting, musical, and sorrowful particularities, soon pass by and away and without - like a long, empty train at a crossing.</p> <p>Oh, darlin'.</p> <p>For now, for my purposes here, this may have to do for a coarse, working hypothesis of the short story.</p> <p>If literature exists, as one wag has it, so that readers can spend time with people they would never want to in real life, then a short story might be considered doubly, deeply literary in that even its author - not just its reader - has decided to spend an abbreviated amount of time with its inhabitants (the characters a writer commits a lot of time to end up in novels).</p> <p>Perhaps this limitation accounts for the prevailing sadness of short stories. Authors of short stories are interested in the difficult emotions of their protagonists only up to a point. They are more interested in constructing a quick palimpsest of wounds and tones and triggering events. After that, the authors depart, exactly where the reader must depart: pre-noose. That is part of a story's melancholy and civility. Leave the bustling communities, cathartic weddings, and firing squads for novels.</p> <p>As for their oft stated affinity with poetry, short stories do have in common with poems an interest in how language completes one's understanding of the world, although the way language is used by ordinary people (registered within a story as the voices of its characters) can also disguise and obscure that understanding, a psychological and dramatic element a story usually takes more interest in than a poem. I would say that all the stories included herein are interested in how people talk. They are interested in the value, beauty, and malarkey of words that people utter to themselves or others. That is how human life is best captured on the page: through its sound. The stories here are interested, too, in the settings that shape this sound - landscapes are given vivid paint and life. Finally, stories generally, and certainly the ones here, are interested in some cultural truth delivered and given amnesty through the paradoxical project of narrative invention and the mechanisms of imagination. Unlike novels or poems, but more akin to a play, the short story is also an end-oriented form, and in the best ones the endings shine a light back upon the story illumining its meaning with both surprise and inevitability. If a story is not always, therapeutically, an axe for the frozen sea within us, then it is at least a pair of brutally sharpened ice skates.</p> <p>As for this year's story selection itself, correctly or not, I didn't view the process as a contest - why pit an apple against an orange - but as the assembling of a book, and the great variety of first-rate reading that is in it, I think, speaks to the health of the North American short story. (Eat your fruit!) Much has been made in this series about the editorial custom of "reading blind" - an honorable phrase suggestive of a fluency in Braille - and I did, late in the process, gruesomely burst a blood vessel in my eye, which made it difficult sometimes to see. But I must confess: I had read some of these stories before they came to me with their authors' names blackened out. I did so simply because I was not going to forego my usual habit of reading short stories as they appeared throughout the year in various magazines. This did not affect my opinions one way or the other, however, nor - I swear - did holding those babies up to the window light to see if I could make out any of those blacked-out names. Friends? Relatives? Could I pretend that brazen copyediting had caused me to fail to recognize one of my own stories and accidentally-on-purpose choose it? With all too many stories to pick from, in the end, as editorial criteria, I was left with only my own visceral responses to the stories themselves: Was I riveted? Did a story haunt me for days? Or did one nail drive out the other, as I ultimately read them in that most ungenerous but revealing of ways: from piles. Before reading all of them, as I received them in large packets in the mail (from Katrina Kenison, whose lovely name, in a spell of midwinter doldrums, I began to covet), I imagined my "editorial criteria" might be a simple matter of suicide prevention - which stories, for instance, did not send my own hands flying to my throat - though somewhat unexpectedly the reading became a joyous activity I felt disappointed to conclude (in the end, coveting Katrina Kenison's job, as well).</p> <p>The stories collected here impressed me with their depth of knowledge and feeling of character, setting, and situation - or at least with their convincingly fabricated semblance thereof. They spoke with amused intelligence, compassion, and dispassion, and I trusted their imaginative sources, which seemed not casual but from the deep center of a witnessing life and a thoughtful mind. True eloquence, said Daniel Webster, a little theatrically, cannot be brought from afar but must exist in the person, the subject, the occasion. "If it comes at all it comes like the outbreaking of a fountain from the earth or the bursting of volcanic fires with spontaneous, original, native force, the clear conception outrunning the deductions of logic." Outrunning the deductions of logic is what literature does and why we read it. And a story - with its narrative version of a short man's complex - aims for quick eloquence and authority in voice and theme. But emotional heart and dramatic unpredictability are part of why it is the preferred form of fiction writers learning their art and why it has taken over much of our literary education - the Napoleon of the narrative world. A story's economy, its being one writer's intimate response to a world (as opposed to a novelist's long creation of a world), a response that must immerse a reader vividly and immediately, allows a gathering of twenty such responses in an anthology such as this and offers a kind of group portrait of how humanity is currently faring. Is that not, too, why we read short stories? To see in ways that television and newspapers cannot show us what others are up to - those who are ostensibly like us, as well as those ostensibly not? The stories here, I felt, did that.</p> <p>In the end, I noticed an assortment of perhaps not accidental things, such as the number of stories set in the distant past which failed to win me over entirely (is the short story sometimes too abbreviated a space to close that distance authentically and make the long ago seem real?). On the other hand, I noticed that a number of stories I'd chosen were written from the point of view of the opposite sex of the author (those by Fox, Smith, Proulx, Eisenberg, Waters). (Is the short story especially hospitable to this kind of transgendered sympathy and ventriloquism?)</p> <p>Mostly, however, I was intrigued by the very different stories I'd chosen that had certain random themes in common - or I assume random. One would be reluctant, even foolish, to offer these things up as indicative of something that in a widespread way is on the American mind. Nonetheless, two stories - Nell Freudenberger's "The Tutor" and Sarah Shun-lien Bynum's "Accomplice" - focus on a girl's academic ambitions and the awkward relationship those ambitions have to each girl's devoted father. "'A toast,' said Julia's father," writes Freudenberger in a moment charged with love and irony. "'To my daughter the genius.'" And in Bynum's "Accomplice": There she saw her father, leaning forward very slightly, and holding onto the pew in front of him. He was smiling at her. Hugely. She lost her bearings entirely."</p> <p>Two urban romances - "Grace" by Paula Fox and "Tooth and Claw," T. C. Boyle's loose update of "The Lady or the Tiger?" - use animals as MacGuffins, emblems, touchstones, and substitutes for human emotion, character, and appetite, as does Alice Munro's "Runaway." Here is Munro's quite useful description of a goat: "At first she had been Clark's pet entirely, following him everywhere, dancing for his attention. She was as quick and graceful and provocative as a kitten, and her resemblance to a guileless girl in love had made them both laugh. But as she grew older she seemed to attach herself to Carla, and in this attachment she was suddenly much wiser, less skittish - she seemed capable, instead, of a subdued and ironic sort of humor." And here is Boyle's wild African serval locked in a bedroom: "The carpeting - every last strip of it - had been torn out of the floor, leaving an expanse of dirty plywood studded with nails, and there seemed to be a hole in the plasterboard just to the left of the window. A substantial hole. Even through the closed door I could smell the reek of cat piss or spray or whatever it was. 'There goes my deposit,' I said."</p> <p>Two stories - by the poet R. T. Smith and by Mary Yukari Waters - compassionately satirize the custodial culture that can spring up decades later in a war-vanquished land. Waters's "Mirror Studies" begins: "The Kashigawa district, two hours from the Endos' home in Tokyo, was an isolated farming community with two claims to distinction: indigenous harrier monkeys up in the hills, and a new restaurant - Fireside Rations - that served 'rice' made from locally grown yams. This restaurant had been featured in an Asahi Shimbun article about the trendy resurgence of wartime food, also known as nostalgia cuisine ... City dwellers, jaded by French and Madeiran cuisine, were flocking out on weekends to try it." In Smith's dramatic monologue, "Docent," a romantically jilted tour guide, done up with Confederate absurdity in a hoop skirt and hairnet, warns, "If you have a morbid curiosity about the Fall of the South - which is not the same as a healthy historical interest - please save your comments for your own diaries and private conversations."</p> <p>Edward Jones's "A Rich Man" and Thomas McGuane's "Gallatin Canyon" pull no punches in their sharply written tales of masculine vanity's bravado and backfirings. In "A Rich Man," Horace, set up for a fall, sees himself as "the cock of the walk." When, in "Gallatin Canyon," the protagonist, proud of his recent material success, asks his girlfriend what she thinks of the new prosperity around them, she says, presciently, "I'm not sure it's such a good thing, living in a boomtown. It's basically a high-end carny atmosphere." Which is what, in a way, ensues in both stories.<br> <br> <i>Continues...</i><br> </p> <blockquote> <hr noshade size='1'> <font size='-2'>Excerpted from <b>The Best American Short Stories 2004</b> Copyright © 2004 by Houghton Mifflin . Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br> Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.</font> <hr noshade size='1'> </blockquote><p><p>Since its inception in 1915, the Best American series has become the premier annual showcase for the country's finest short fiction and nonfiction. For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected -- and most popular -- of its kind.<br> Lorrie Moore brings her keen eye for wit and surprise to the volume, and The Best American Short Stories 2004 is an eclectic and enthralling gathering of well-known voices and talented up-and-comers. Here are stories that probe the biggest issues&#58; ambition, gender, romance, war. Here are funny and touching and striking tales of a Spokane Indian, the estranged wife of an Iranian immigrant, an American tutor in Bombay. In her introduction Lorrie Moore writes, "The stories collected here impressed me with their depth of knowledge and feeling of character, setting, and situation . . . They spoke with amused intelligence, compassion, and dispassion."<p></p><h3>Publishers Weekly</h3><p>Moore takes a tried and true tack in this current edition of the popular series, choosing solid stories that rely more on careful character development and seamless writing than on inventiveness or stylistic flash. The results are occasionally stodgy, but there are plenty of satisfying entries, if few startling ones. Family relations are a recurring theme, and two stories of note unearth family ghosts. In John Edgar Wideman's "What We Cannot Speak About We Must Pass Over in Silence," a man is enmeshed in the life of his deceased friend's jailed son; in Trudy Lewis's "Limestone Diner," a grandmother comes to terms with her past through the tragic accident of a local girl. Most stories are firmly rooted in the U.S., but a few roam cautiously afield. In "The Tutor," set in India, Nell Freudenberger explores the dynamics of an expatriate father and daughter relationship; "Mirror Studies" by Mary Yukari Waters takes place in Japan and interestingly weaves in monkey studies. The selection favors well-known writers, including Alice Munro, Annie Proulx and John Updike, and some readers may wish for a more varied lineup-the New Yorker is the source of eight of the 20 entries-but there's no arguing with the power of most of these offerings by the heavy hitters of the contemporary canon. (Oct.) Copyright 2004 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What you pawn I will redeem</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tooth and claw</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Written in stone</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Accomplice</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Screenwriter</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Breasts</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some other, better Otto</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The tutor</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A rich man</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Limestone diner</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Intervention</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gallatin Canyon</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Runaway</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All Saints Day</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What kind of furniture would Jesus pick?</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Docent</TD><TD WIDTH="10%" ALIGN="RIGHT">376</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The walk with Elizanne</TD><TD WIDTH="10%" ALIGN="RIGHT">386</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mirror studies</TD><TD WIDTH="10%" ALIGN="RIGHT">398</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What we cannot speak about we must pass over in silence</TD><TD WIDTH="10%" ALIGN="RIGHT">412</TD></TABLE><article> <h4>Publishers Weekly</h4>Moore takes a tried and true tack in this current edition of the popular series, choosing solid stories that rely more on careful character development and seamless writing than on inventiveness or stylistic flash. The results are occasionally stodgy, but there are plenty of satisfying entries, if few startling ones. Family relations are a recurring theme, and two stories of note unearth family ghosts. In John Edgar Wideman's "What We Cannot Speak About We Must Pass Over in Silence," a man is enmeshed in the life of his deceased friend's jailed son; in Trudy Lewis's "Limestone Diner," a grandmother comes to terms with her past through the tragic accident of a local girl. Most stories are firmly rooted in the U.S., but a few roam cautiously afield. In "The Tutor," set in India, Nell Freudenberger explores the dynamics of an expatriate father and daughter relationship; "Mirror Studies" by Mary Yukari Waters takes place in Japan and interestingly weaves in monkey studies. The selection favors well-known writers, including Alice Munro, Annie Proulx and John Updike, and some readers may wish for a more varied lineup-the New Yorker is the source of eight of the 20 entries-but there's no arguing with the power of most of these offerings by the heavy hitters of the contemporary canon. (Oct.) Copyright 2004 Reed Business Information. </article> <article> <h4>Kirkus Reviews</h4>This year's anthology of 20 stories could almost be called The Best of The New Yorker, since 40 percent of guest editor Moore's choices appeared there first. Moore calls the collection "a kind of group portrait of how humanity is currently faring," and one gets the impression that it's faring poorly in rather consistent ways, if the number of characters here who are down-in-the-dumps guys drinking too much is any indication. Sherman Alexie's homeless Spokane Indian in "What You Pawn I Will Redeem" is an alcoholic with a "busted stomach." T. Coraghessan Boyle's southern California transplant in "Tooth and Claw" is most comfortable in a bar filled with old men drinking themselves into oblivion, like his father. And Stuart Dybek's Chicago hit man in "Breasts" wakes up with a hangover on the Sunday he's supposed to "do a job." Then there's John, in Paula Fox's "Grace," a lonely accountant whose dog, Grace, gives him some way of connecting with others until she develops heartworm, resulting in his slugging down four whiskeys and deciding to order a steak. Charles D'Ambrosio's "Screenwriter," who gets a day pass from the psych ward, visits a former patient he calls the ballerina, gets drunk, takes some of her meds, and watches her burn her nipples with cigarettes and pour hot wax on her thigh. John Updike's David Kern, who uses his 50th high-school reunion to remember his first real kiss, is a quiet relief from all this, as are Alice Munro's masterful "Runaway" and the fetching homage to Munro, Trudy Lewis's "Limestone Diner." Mary Yukari Waters and John Edgar Wideman also bring welcome spaciousness, with stories about, respectively, a Japanese primate specialist adjusting to a heart conditionand memories of the war years, and a man whose search for the imprisoned son of a deceased friend opens him back to life. A familiar and ultimately disappointing selection. Short-story aficionados know by now to turn to the Pushcart anthologies for new voices. </article>
140New York Stories: The Best of the City Section of the New York TimesConstance Rosenblum0<p><p><b>Constance Rosenblum</b>, the longtime editor of the <i>New York Times&#8217;</i> City section and former editor of the newspaper&#8217;s Arts & Leisure section, is the author of <i>Gold Digger&#58; The Outrageous Life and Times of Peggy Hopkins Joyce</i> and editor of <i>New York Stories&#58; The Best of the City Section of the New York Times</i>, also available from NYU Press.<p></p>Constance Rosenblum (Editor), Connie Rosenblumnew-york-storiesconstance-rosenblum97808147757210814775721$11.95PaperbackNew York University PressMay 20051st EditionAmericans - Regional Biography, Essays, American Literature Anthologies, United States Studies, General & Miscellaneous Literature Anthologies, Mapped Categories - Literature3036.04 (w) x 9.04 (h) x 0.74 (d)"There are eight million stories in the Naked City." This famous line from the 1948 film <i>The Naked City</i> has become an emblem of New York City itself. One publication cultivating many of New York City's greatest stories is the City section in <i>The New York Times</i>. Each Sunday, this section of <i>The New York Times</i>, distributed only in papers in the five boroughs, captivates readers with tales of people and places that make the city unique. <p>Featuring a cast of stellar writers—Phillip Lopate, Vivian Gornick, Thomas Beller and Laura Shaine Cunningham, among others—<i>New York Stories</i> brings some of the best essays from the City section to readers around the country. New Yorkers can learn something new about their city, while other readers will enjoy the flavor of the Big Apple. <i>New York Stories</i> profiles people like sixteen-year-old Barbara Ott, who surfs the waters off Rockaway in Queens, and Sonny Payne, the beloved panhandler of the F train. Other essays explore memorable places in the city, from the Greenwich Village townhouse blown up by radical activists in the 1970s to a basketball court that serves as the heart of its Downtown neighborhood.</p> <p>The forty essays collected in <i>New York Stories</i> reflect an intimate understanding of the city, one that goes beyond the headlines. The result is a passionate, well-written portrait of a legendary and ever-evolving place.</p><p>One publication cultivating many of New York City's greatest stories is the City section in The New York Times.</p><h3>Publishers Weekly</h3><p>The City section of the Sunday edition of the New York Times features vivid accounts of life, past and present, in the five boroughs. Rosenblum, who edits the City section, has collected 40 representative pieces that showcase the ups and downs of life in a metropolis that still exerts a gravitational pull on those seeking their fortune. Many of the essays are by well-known authors, such as Jan Morris, Phillip Lopate and Vivian Gornick, but others, equally winning, are by emerging writers. All of the pieces are engrossing and share a painstaking attention to craft. Mel Gussow dramatically evokes the day in 1970 when the Greenwich Village townhouse next door to him, occupied by members of the radical Weather Underground, was blown apart in an accidental detonation in their basement bomb factory. On a lighter note, Tara Bahrampour recounts the paradigmatic New York experience: searching for an affordable apartment. Field Maloney and Jill Eisenstadt each relate the glory days of Queens's Rockaway Beach as a summer resort, its sad decline and enduring allure. This is both an excellent addition to New York history and a pleasure for casual browsing. B&w photos. (May) Copyright 2005 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">The house on West 11th Street</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Spanish Harlem on his mind</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">The old neighbors</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Everyone knows this is somewhere, Part I</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Everyone knows this is somewhere, Part II</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">Nothing but net</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">New York's rumpus room</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">Manhattan '03</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">Back to the home planet</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Latte on the Hudson</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">Screech, memory</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">Bungalow chic</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">The allure of the ledge</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">There's no place like home : but there's ... no place</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%">15</TD><TD WIDTH="70%">The town that gags its writers</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%">16</TD><TD WIDTH="70%">Rockaway idyll</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%">17</TD><TD WIDTH="70%">Waiting to exhale</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%">18</TD><TD WIDTH="70%">A "Law and order'' addict tells all</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%">19</TD><TD WIDTH="70%">Look away</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%">20</TD><TD WIDTH="70%">On the run</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%">21</TD><TD WIDTH="70%">Marriage of inconvenience?</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%">22</TD><TD WIDTH="70%">Rain, rain, come again</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%">23</TD><TD WIDTH="70%">The agony of victory</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%">24</TD><TD WIDTH="70%">Street legal, finally</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%">25</TD><TD WIDTH="70%">Time out</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%">26</TD><TD WIDTH="70%">Wild masonry, murderous metal and Mr. Blonde</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%">27</TD><TD WIDTH="70%">Love's labors</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%">28</TD><TD WIDTH="70%">Ballpark of memory</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%">29</TD><TD WIDTH="70%">The paper chase</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%">30</TD><TD WIDTH="70%">The war within</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%">31</TD><TD WIDTH="70%">Uptown girl</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%">32</TD><TD WIDTH="70%">My friend Lodovico</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%">33</TD><TD WIDTH="70%">Fare-Beater Inc.</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%">34</TD><TD WIDTH="70%">The ballad of Sonny Payne</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%">35</TD><TD WIDTH="70%">The white baby</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%">36</TD><TD WIDTH="70%">New York, brick by brick</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%">37</TD><TD WIDTH="70%">Memory's curveball</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%">38</TD><TD WIDTH="70%">My neighborhood, its fall and rise</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%">39</TD><TD WIDTH="70%">Ship of dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%">40</TD><TD WIDTH="70%">The day the boy fell from the sky</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD></TABLE><article> <h4>Publishers Weekly</h4>The City section of the Sunday edition of the New York Times features vivid accounts of life, past and present, in the five boroughs. Rosenblum, who edits the City section, has collected 40 representative pieces that showcase the ups and downs of life in a metropolis that still exerts a gravitational pull on those seeking their fortune. Many of the essays are by well-known authors, such as Jan Morris, Phillip Lopate and Vivian Gornick, but others, equally winning, are by emerging writers. All of the pieces are engrossing and share a painstaking attention to craft. Mel Gussow dramatically evokes the day in 1970 when the Greenwich Village townhouse next door to him, occupied by members of the radical Weather Underground, was blown apart in an accidental detonation in their basement bomb factory. On a lighter note, Tara Bahrampour recounts the paradigmatic New York experience: searching for an affordable apartment. Field Maloney and Jill Eisenstadt each relate the glory days of Queens's Rockaway Beach as a summer resort, its sad decline and enduring allure. This is both an excellent addition to New York history and a pleasure for casual browsing. B&amp;w photos. (May) Copyright 2005 Reed Business Information. </article> <article> <h4>Library Journal</h4>In 1993, the New York Times introduced a weekend section-the City Section-devoted to life in the five boroughs of New York. Because it is distributed only in papers in New York City, most of the essays in this collection will be new to readers outside the area. Organized in broad categories such as "New Yorkers," "A Sense of Place," "Moods and Mores," and "City Lore," the topics of this compilation range from the humorous, such as the reluctance of New Yorkers to acknowledge the bizarre behavior happening around them, to the poignant, as in the essay about the vulnerability one writer feels after being burglarized. Given the subject matter, it should come as no surprise that the pieces evoke a powerful sense of place. Coming as this does from the pages of the New York Times, it is also no surprise that the material is of high literary caliber. Recommended for medium to large public libraries; academic libraries with journalism or New York City collections may also wish to consider.-Rita Simmons, Sterling Heights P.L., MI Copyright 2005 Reed Business Information. </article><article> <h4>From the Publisher</h4><p>“A reminder that there are stories still untold in New York, and writers hard at work to find them for us.”<br> -<i>The New York Times Book Review</i></p> <p>,</p> <p>“You don't have to have a particular interest in the Big Apple to pick up this book. These are stories of human life in all its quirky richness. . . . <i>New York Stories</i> is a series of love letters to a city that, for all its problems and peculiarities, beckons people from all over the world.”<br> -<i>Boston Globe</i></p> <p>,</p> <p>“Rosenblum, who edits the City section, has collected 40 representative pieces that showcase the ups and downs of life in a metropolis that still exerts a gravitational pull on those seeking their fortune. Many of the essays are by well-known authors, such as Jan Morris, Phillip Lopate and Vivian Gornick, but others, equally winning, are by emerging writers. All of the pieces are engrossing and share a painstaking attention to craft. … This is both an excellent addition to New York history and a pleasure for casual browsing.”<br> -<i>Publishers Weekly</i></p> <p>,</p> <p>“This collection of engaging stories will appeal to a broad range of adult readers interested in pushing back the concealing vapors of legend to discover the otherwise hidden gears and cogs that keep the enchanted ideal of New York City humming smoothly along.”<br> -<i>Foreward</i></p> <p>,</p> <p>“Given the subject matter, it should come as no surprise that the pieces evoke a powerful sense of place. Coming as this does from the pages of the <i>New York Times,</i> it is also no surprise that the material is of high literary caliber.”<br> -<i>Library Journal</i></p> <p>,</p> </article>
141Black Voices: An Anthology of African-American LiteratureVarious0Various, Abraham Chapmanblack-voicesvarious97804515278200451527828$8.07Mass Market PaperbackPenguin Group (USA)April 2001ReissuePeoples & Cultures - American Anthologies7204.26 (w) x 6.86 (h) x 1.17 (d)<p>Featuring poetry, fiction, autobiography and literary criticism, this is a comprehensive and vital collection featuring the work of the major black voices of a century. An unparalleled important classic anthology with timeless appeal...</p><p>Featuring poetry, fiction, autobiography and literary criticism, this is a comprehensive and vital collection featuring the work of the major black voices of a century. An unparalleled important classic anthology with timeless appeal.</p><p>Introduction</p> <p>I. Fiction</p> <p><b>Charles W. Chestnutt</b><br> Baxter's Procrustes</p> <p><b>Jean Toomer</b><br> Karintha Blood-Burning Moon</p> <p><b>Rudolph Fisher</b><br> Common Meter</p> <p><b>Arna Bontemps</b><br> A Summer Tragedy</p> <p><b>Langston Hughes</b><br> <i>Tales of Simple</i>:<br> Foreword: Who Is Simple?<br> Feet Live Their Own Life Temptation Bop Census Coffee Break Cracker Prayer Promulgations</p> <p><b>Richard Wright</b><br> The Man Who Lived Underground</p> <p><b>Ann Petry</b><br> In Darkness and Confusion</p> <p><b>Ralph Ellison</b><br> <i>Invisible Man</i> (Prologue</p> <p><b>Frank London Brown</b><br> McDougal</p> <p><b>Paule Marshall</b><br> To Da-duh, In Memoriam</p> <p><b>Diane Oliver</b><br> Neighbors</p> <p>II. Autobiography</p> <p><b>Frederick Douglass</b><br> Narrative of the Life of Frederick Douglass, An American Slave (Chapters 1, 6, 7, and 10)</p> <p><b>James Weldon Johnson</b><br> Along This Way (Selected Episodes)</p> <p><b>Richard Wright</b><br> The Ethics of Living Jim Crow</p> <p><b>J. Saunders Redding</b><br> <i>No Day of Triumph</i> (Chapter 1: Sections 1, 5, and 7)</p> <p><b>James Baldwin</b><br> Autobiographical Notes</p> <p><b>Arna Bontemps</b><br> Why I Returned</p> <p><b>Malcolm X</b><br> The Autobiography of Malcolm X (Chapter 1)</p> <p><b>Stnaley Sanders</b><br> "I'll Never Escape the Ghetto"</p> <p>III. Poetry</p> <p><b>Paul Laurence Dunbar</b><br> We Wear the Mask A Death Song Sympathy A Negro Love Song</p> <p><b>W. E. B. Du Bois</b><br> The Song of the Smoke A Litany at Atlanta</p> <p><b>James Weldon Johnson</b><br> The Creation</p> <p><b>Fenton Johnson</b><br> The Daily Grind The World Is a Mighty Ogre A Negro Peddler's Song The Old Repair Man Rulers The Scarlet Woman Tired Aunt Jane Allen</p> <p><b>Claude McKay</b><br> Baptism If We Must Die Outcast The Negro's Tragedy America The White City The White House</p> <p><b>Jean Toomer</b><br> Harvest Song Song of the Son Cotton Song Brown River, Smile</p> <p><b>Countee Cullen</b><br> Yet Do I Marvel A Song of Praise A Brown Girl Dead From the Dark Tower Incident Scottsboro, Too, Is Worth Its Song Three Epitaphs:<br> For My Grandmother For Paul Laurence Dunbar For a Lady I Know</p> <p><b>Melvin B. Tolson</b><br> An Ex-Judge at the Bar Dark Symphony Psi</p> <p><b>Frank Horne</b><br> Kid Stuff Nigger: A Chant for Children</p> <p><b>Sterling A. Brown</b><br> Sister Lou Memphis Blues Slim in Hell Remembering Nat Turner Southern Road Southern Cop The Young Ones The Ballad of Joe Meek Strong Men</p> <p><b>Arna Bontemps</b><br> A Note of Humility Gethsemane Southern Mansion My Heart Has Known Its Winter Nocturne at Bethesda A Black Man Talks of Reaping The Day-Breakers</p> <p><b>Langston Hughes</b><br> Afro-American Fragment As I Grew Older Dream Variations Daybreak in Alabama Dream Boogie Children's Rhymes Theme for English B Harlem Same in Blues Ballad of the Landlord</p> <p><b>Frank Marshall Davis</b><br> Four Glimpses of Night I Sing No New Songs Robert Whitmore Flowers of Darkness</p> <p><b>Richard Wright</b><br> Between the World and Me</p> <p><b>Robert Hayden</b><br> Tour 5<br> On the Coast of Maine Figure In Light Half Nightmare and Half Vision Market Homage to the Empress of the Blues Mourning Poem for the Queen of Sunday Middle Passage Frederick Douglass</p> <p><b>Owen Dodson</b><br> Guitar Black Mother Praying Drunken Lover The Reunion Jonathan's Song Yardbird's Skull Sailors on Leave</p> <p><b>Margaret Walker</b><br> For My People</p> <p><b>Gwendolyn Brooks</b><br> The Artist's and Models' Ball The Mother The Preacher: Ruminates Behind the Sermon The Children of the Poor We Real Cool The Chicago Defender Sends a Man to Little Rock</p> <p><b>Dudley Randall</b><br> The Southern Road Legacy: My South Booker T. and W. E. B.<br> The Idiot</p> <p><b>Lerone Bennett, Jr.</b><br> Blues and Bitterness</p> <p><b>Lance Jeffers</b><br> The Night Rains Hot Tar On Listening to the Spirituals Grief Streams Down My Chest The Unknown</p> <p><b>Naomi Long Madgett</b><br> Native Her Story Race Question</p> <p><b>Mari Evans</b><br> Coventry Status Symbol The Emancipation of George-Hector (a colored turtle)<br> My Man Let Me Pull Your Coat Black Jam for Dr. Negro</p> <p><b>Leroi Jones</b><br> Preface to a Twenty Volume Suicide Note The Invention of Comics Look for You Yesterday, Here You Come Today The Death of Nick Charles The Bridge</p> <p>IV. Literary Criticism</p> <p><b>W. E. B. Du Bois</b><br> The Souls of Black Folk (Chapters 1 and 14)</p> <p><b>Alain Locke</b><br> The New Negro The Negro in American Culture</p> <p><b>Richard Wright</b><br> How "Bigger" Was Born</p> <p><b>Sterling A. Brown</b><br> A Century of Negro Portraiture in American Literature</p> <p><b>James Baldwin</b><br> Many Thousands Gone</p> <p><b>Three Papers from the First Conference of Negro Writers (March, 1959)</b><br> 1. Arthur P. Davis: Integration and Race Literature<br> 2. J. Saunders Redding: The Negro Writer and His Relationship to His Roots<br> 3. Langston Hughes: Writers: Black and White</p> <p><b>Blyden Jackson</b><br> The Negro's Image of the Universe as Reflected in His Fiction</p> <p><b>John Henrik Clarke</b><br> The Origin and Growth of Afro-American Literature</p> <p><b>Richard G. Stern</b><br> That Same Pain, That Same Pleasure: An Interview with Ralph Ellison</p> <p><b>Dan Georgakas</b><br> James Baldwin...in Conversation</p> <p><b>Sterling Stuckey</b><br> Frank London Brown</p> <p><b>Darwin T. Turner</b><br> The Negro Dramatist's Image of the Universe, 1920-1960</p> <p><b>George E. Kent</b><br> Ethnic Impact in American Literature</p> <p><b>Clarence Major</b><br> Black Criterion</p> <p>Bibliography</p>
142Bordering Fires: The Vintage Book of Contemporary Mexican and Chicano/a LiteratureCristina Garcia15<p><P>Cristina Garc&#237;a was born in Havana and grew up in New York City. Her first novel, <b>Dreaming in Cuban,</b> was nominated for a National Book Award and has been widely translated. Ms. Garc&#237;a has been a Guggenheim Fellow, a Hodder Fellow at Princeton University, and the recipient of a Whiting Writers' Award. She lives in Los Angeles with her daughter, Pilar.</p>Cristina Garciabordering-firescristina-garcia97814000771821400077184$13.95PaperbackKnopf Doubleday Publishing GroupOctober 2006Peoples & Cultures - American Anthologies, Hispanic & Latin American Literature Anthologies3045.25 (w) x 7.96 (h) x 0.66 (d)<p>As the descendants of Mexican immigrants have settled throughout the United States, a great literature has emerged, but its correspondances with the literature of Mexico have gone largely unobserved. In <i>Bordering Fires</i>, the first anthology to combine writing from both sides of the Mexican-U.S. border, Cristina Garc’a presents a richly diverse cross-cultural conversation. Beginning with Mexican masters such as Alfonso Reyes and Juan Rulfo, Garc’a highlights historic voices such as “the godfather of Chicano literature” Rudolfo Anaya, and Gloria Anzaldœa, who made a powerful case for language that reflects bicultural experience. From the fierce evocations of Chicano reality in Jimmy Santiago Baca’s Poem IX to the breathtaking images of identity in Coral Bracho’s poem “Fish of Fleeting Skin,” from the work of Carlos Fuentes to Sandra Cisneros, Ana Castillo to Octavio Paz, this landmark collection of fiction, essays, and poetry offers an exhilarating new vantage point on our continent–and on the best of contemporary literature.</p><p>ALFONSO REYES</p> <p>Major Aranda’s Hand</p> <p>Major Aranda suffered the loss of a hand in battle, and, unfortunately for him, it was his right hand. Other people make collections of hands of bronze, of ivory, of glass and of wood; at times they come from religious statues or images; at times they are antique door knockers. And surgeons keep worse things in jars of alcohol. Why not preserve this severed hand, testimony to a glorious deed? Are we sure that the hand is of less value than the brain or the heart?</p> <p>Let us meditate about it. Aranda did not meditate, but was impelled by a secret instinct. Theological man has been shaped in clay, like a doll, by the hand of God. Biological man evolves thanks to the service of his hand, and his hand has endowed the world with a new natural kingdom, the kingdom of the industries and the arts. If the strong walls of Thebes rose to the music of Amphion’s lyre, it was his brother Zethus, the mason, who raised the stones with his hand. Manual laborers appear therefore in archaic mythologies, enveloped in magic vapor: they are the wonder-workers. They are “The Hands Delivering the Fire” that Orozco has painted. In Diego Rivera’s mural the hand grasps the cosmic globe that contains the powers of creation and destruction; and in Chapingo the proletarian hands are ready to reclaim the patrimony of the earth.</p> <p>The other senses remain passive, but the manual sense experiments and adds and, from the spoils of the earth, constructs a human order, the son of man. It models both the jar and the planet; it moves the potter’s wheel and opens the Suez Canal.</p> <p>A delicate and powerful instrument, it possesses the most fortunate physical resources: hinges, pincers, tongs, hooks, bony little chains, nerves, ligaments, canals, cushions, valleys and hillocks. It is soft and hard, aggressive and loving.</p> <p>A marvelous flower with five petals that open and close like the sensitive plant, at the slightest provocation! Is five an essential number in the universal harmonies? Does the hand belong to the order of the dog rose, the forget-me-not, the scarlet pimpernel? Palmists perhaps are right in substance although not in their interpretations. And if the physiognomists of long ago had gone on from the face to the hand, completing their vague observations, undoubtedly they would have figured out correctly that the face mirrors and expresses but that the hand acts.</p> <p>There is no doubt about it, the hand deserves unusual respect, and it could indeed occupy the favorite position among the household gods of Major Aranda.</p> <p>The hand was carefully deposited in a quilted jewel case. The folds of white satin seemed a diminutive Alpine landscape. From time to time intimate friends were granted the privilege of looking at it for a few minutes. It was a pleasing, robust, intelligent hand, still in a rather tense position from grasping the hilt of the sword. It was perfectly preserved.</p> <p>Gradually this mysterious object, this hidden talisman, became familiar. And then it emigrated from the treasure chest to the showcase in the living room, and a place was made for it among the campaign and high military decorations.</p> <p>Its nails began to grow, revealing a slow, silent, surreptitious life. At one moment this growth seemed something brought on by inertia, at another it was evident that it was a natural vir- tue. With some repugnance at first, the manicurist of the family consented to take care of those nails each week. The hand was always polished and well cared for.</p> <p>Without the family knowing how it happened—that’s how man is, he converts the statue of the god into a small art object—the hand descended in rank; it suffered a manus diminutio; it ceased to be a relic and entered into domestic circulation. After six months it acted as a paperweight or served to hold the leaves of the manuscripts—the major was writing his memoirs now with his left hand; for the severed hand was flexible and plastic and the docile fingers maintained the position imposed upon them.</p> <p>In spite of its repulsive coldness, the children of the house ended up by losing respect for it. At the end of a year, they were already scratching themselves with it or amused themselves by folding its fingers in the form of various obscene gestures of international folklore.</p> <p>The hand thus recalled many things that it had completely forgotten. Its personality was becoming noticeable. It acquired its own consciousness and character. It began to put out feelers. Then it moved like a tarantula. Everything seemed an occasion for play. And one day, when it was evident that it had put on a glove all by itself and had adjusted a bracelet on the severed wrist, it did not attract the attention of anyone.</p> <p>It went freely from one place to another, a monstrous little lap dog, rather crablike. Later it learned to run, with a hop very similar to that of hares, and, sitting back on the fingers, it began to jump in a prodigious manner. One day it was seen spread out on a current of air: it had acquired the ability to fly.</p> <p>But in doing all these things, how did it orient itself, how did it see? Ah! Certain sages say that there is a faint light, imperceptible to the retina, perhaps perceptible to other organs, particularly if they are trained by education and exercise. Should not the hand see also? Of course it complements its vision with its sense of touch; it almost has eyes in its fingers, and the palm is able to find its bearings through the gust of air like the membranes of a bat. Nanook, the Eskimo, on his cloudy polar steppes, raises and waves the weather vanes to orient himself in an apparently uniform environment. The hand captures a thousand fleeting things and penetrates the translucent currents that escape the eye and the muscles, those currents that are not visible and that barely offer any resistance.</p> <p>The fact is that the hand, as soon as it got around by itself, became ungovernable, became temperamental. We can say that it was then that it really “got out of hand.” It came and went as it pleased. It disappeared when it felt like it; returned when it took a fancy to do so. It constructed castles of improbable balance out of bottles and wineglasses. It is said that it even became intoxicated; in any case, it stayed up all night.</p> <p>It did not obey anyone. It was prankish and mischievous. It pinched the noses of callers, it slapped collectors at the door. It remained motionless, playing dead, allowing itself to be contemplated by those who were not acquainted with it, and then suddenly it would make an obscene gesture. It took singular pleasure in chucking its former owner under the chin, and it got into the habit of scaring the flies away from him. He would regard it with tenderness, his eyes brimming with tears, as he would regard a son who had proved to be a black sheep.</p> <p>It upset everything. Sometimes it took a notion to sweep and tidy the house; other times it would mix up the shoes of the family with a true arithmetical genius for permutations, combinations and changes; it would break the window panes by throwing rocks, or it would hide the balls of the boys who were playing in the street.</p> <p>The major observed it and suffered in silence. His wife hated it, and of course was its preferred victim. The hand, while it was going on to other exercises, humiliated her by giving her lessons in needlework or cooking.</p> <p>The truth is that the family became demoralized. The one-handed man was depressed and melancholy, in great contrast to his former happiness. His wife became distrustful and easily frightened, almost paranoid. The children became negligent, abandoned their studies, and forgot their good manners. Everything was sudden frights, useless drudgery, voices, doors slamming, as if an evil spirit had entered the house. The meals were served late, sometimes in the parlor, sometimes in a bedroom because, to the consternation of the major, to the frantic protest of his wife, and to the furtive delight of the children, the hand had taken possession of the dining room for its gymnastic exercises, locking itself inside, and receiving those who tried to expel it by throwing plates at their heads. One just had to yield, to surrender with weapons and baggage, as Aranda said.</p> <p>The old servants, even the nurse who had reared the lady of the house, were put to flight. The new servants could not endure the bewitched house for a single day. Friends and relatives deserted the family. The police began to be disturbed by the constant complaints of the neighbors. The last silver grate that remained in the National Palace disappeared as if by magic. An epidemic of robberies took place, for which the mysterious hand was blamed, though it was often innocent.</p> <p>The most cruel aspect of the case was that people did not blame the hand, did not believe that there was such a hand animated by its own life, but attributed everything to the wicked devices of the poor one-handed man, whose severed member was now threatening to cost us what Santa Anna’s leg cost us. Undoubtedly Aranda was a wizard who had made a pact with Satan. People made the sign of the cross.</p> <p>In the meantime the hand, indifferent to the harm done to others, acquired an athletic musculature, became robust, steadily got into better shape, and learned how to do more and more things. Did it not try to continue the major’s memoirs for him? The night when it decided to get some fresh air in the auto- mobile, the Aranda family, incapable of restraining it, believed that the world was collapsing; but there was not a single accident, nor fines nor bribes to pay the police. The major said that at least the car, which had been getting rusty after the flight of the chauffeur, would be kept in good condition that way.</p> <p>Left to its own nature, the hand gradually came to embody the Platonic idea that gave it being, the idea of seizing, the eagerness to acquire control. When it was seen how hens perished with their necks twisted or how art objects belonging to other people arrived at the house—which Aranda went to all kinds of trouble to return to their owners, with stammerings and incomprehensible excuses—it was evident that the hand was an animal of prey and a thief.</p> <p>People now began to doubt Aranda’s sanity. They spoke of hallucinations, of “raps” or noises of spirits, and of other things of a like nature. The twenty or thirty persons who really had seen the hand did not appear trustworthy when they were of the servant class, easily swayed by superstitions; and when they were people of moderate culture, they remained silent and answered with evasive remarks for fear of compromising themselves or being subject to ridicule. A round table of the Faculty of Philosophy and Literature devoted itself to discussing a certain anthropological thesis concerning the origin of myths.</p><p><P>As the descendants of Mexican immigrants have settled throughout the United States, a great literature has emerged, but its correspondances with the literature of Mexico have gone largely unobserved. In <i>Bordering Fires</i>, the first anthology to combine writing from both sides of the Mexican-U.S. border, Cristina Garc&#8217;a presents a richly diverse cross-cultural conversation. Beginning with Mexican masters such as Alfonso Reyes and Juan Rulfo, Garc&#8217;a highlights historic voices such as &#8220;the godfather of Chicano literature&#8221; Rudolfo Anaya, and Gloria Anzald&#339;a, who made a powerful case for language that reflects bicultural experience. From the fierce evocations of Chicano reality in Jimmy Santiago Baca&#8217;s Poem IX to the breathtaking images of identity in Coral Bracho&#8217;s poem &#8220;Fish of Fleeting Skin,&#8221; from the work of Carlos Fuentes to Sandra Cisneros, Ana Castillo to Octavio Paz, this landmark collection of fiction, essays, and poetry offers an exhilarating new vantage point on our continent&#8211;and on the best of contemporary literature.</p><h3>Library Journal</h3><p>The timeliness of this work cannot be questioned, since it features essays, fiction, and poetry that reflect the formidable physical and psychological boundary between the United States and Mexico. Editor Garc a (Dreaming in Cuban) contends that the border has shaped artistic expression on both sides; these selections suggest the frustration Latinos face as they ambulate between two cultures. Gloria Anzald a's "How To Tame a Wild Tongue" describes the bilingual acrobatics executed by many Latinos, Rub n Mart nez's "Crossing Over" narrates the travails of the border, and Richard Rodriguez's "India" offers an unflinching view on the issue of miscegenation. Of equal importance, however, is the Mexican literature that preceded contemporary Latino writing. For this reason, Garc a includes selections from distinguished Mexican writers (e.g., Rulfo, Paz, Poniatowska, Monsiv is, Fuentes, and many others) whose work has both reflected and influenced the Mexican psyche. In this sense, the book serves as an important sampling of Mexico's best authors. Although similar to the recent Mexico: A Traveler's Literary Companion, which helps the traveler understand Mexico, this new work helps Mexico and the United States understand the traveler from and between these two worlds. Recommended for all libraries. Nedra Crowe Evers, Sonoma Cty. Lib., CA Copyright 2006 Reed Business Information.</p><P><i>Introduction<P></i>Prelude&#58; SAMUEL RAMOS excerpt from &#8220;The Use of Thought&#8221;<P><b>EARLY INFLUENCES</b><P>ALFONSO REYES <br>&#8220;Major Aranda&#8217;s Hand&#8221;<P>RAM&#211;N L&#211;PEZ VELARDE<br>&#8220;My Cousin Agueda&#8221;<br>&#8220;In the Wet Shadows&#8221;<P>JUAN RULFO excerpt from <i>Pedro P&#225;ramo</i><P>XAVIER VILLAURRUTIA<br>&#8220;L.A. Nocturne&#58; The Angels&#8221;<P><b>CHICANO/A VOICES I</b><P>GLORIA ANZALD&#218;A<br>&#8220;How to Tame a Wild Tongue&#8221;<P>RICHARD RODRIGUEZ<br>&#8220;India&#8221;<P>JIMMY SANTIAGO BACA<br>&#8220;Mediations on the South Valley&#58; Poem IX&#8221;<P>RUDOLFO ANAYA<br>&#8220;B. Traven Is Alive and Well in Cuernavaca&#8221;<P><b>CONTEMPORARY MEXICAN VOICES</b><P>CARLOS FUENTES excerpt from <i>The Death of Artemio Cruz<P></i>ELENA POONIATOWSKA introduction from <i>Here&#8217;s to You, Jesusa!</i><P>OCTAVIO PAZ<br>&#8220;The Day of the Dead&#8221;<br>&#8220;I Speak of the City&#8221;<P>ROSARIO CASTELLANOS excerpt from <i>The Book of Lamentations<P></i><b>CHICANO/A VOICES 2<P></b>ANA CASTILLO<br>&#8220;Daddy with Chesterfields in a Rolled Up Sleeve&#8221;<P>SANDRA CISNEROS<br>&#8220;Never Marry a Mexican&#8221;<P>DAGOBERTO GILB<br>&#8220;Maria de Covina&#8221;<P>RUB&#201;N MART&#205;NEZ excerpt from <i>Crossing Over&#58; A Mexican Family on the Migrant Trail<P></i>IGNACIO PADILLA<br>&#8220;Hagiography of the Apostate&#8221;<P>&#193;NGELES MASTRETTA<br>&#8220;Aunt Leonor&#8221;<br>&#8220;Aunt Natalia&#8221;<P>CARLOS MONSIV&#193;IS<br>&#8220;Identity Hour or, What Photos Would You Take of the Endless City?&#8221;<P>CORLA BRACHO<br>&#8220;Fish of Fleeting Skin&#8221;<P><i>Note About the Authors Permissions Acknowledgments</i><article> <h4>Library Journal</h4>The timeliness of this work cannot be questioned, since it features essays, fiction, and poetry that reflect the formidable physical and psychological boundary between the United States and Mexico. Editor Garc a (Dreaming in Cuban) contends that the border has shaped artistic expression on both sides; these selections suggest the frustration Latinos face as they ambulate between two cultures. Gloria Anzald a's "How To Tame a Wild Tongue" describes the bilingual acrobatics executed by many Latinos, Rub n Mart nez's "Crossing Over" narrates the travails of the border, and Richard Rodriguez's "India" offers an unflinching view on the issue of miscegenation. Of equal importance, however, is the Mexican literature that preceded contemporary Latino writing. For this reason, Garc a includes selections from distinguished Mexican writers (e.g., Rulfo, Paz, Poniatowska, Monsiv is, Fuentes, and many others) whose work has both reflected and influenced the Mexican psyche. In this sense, the book serves as an important sampling of Mexico's best authors. Although similar to the recent Mexico: A Traveler's Literary Companion, which helps the traveler understand Mexico, this new work helps Mexico and the United States understand the traveler from and between these two worlds. Recommended for all libraries. Nedra Crowe Evers, Sonoma Cty. Lib., CA Copyright 2006 Reed Business Information. </article> <article> <h4>School Library Journal</h4>Adult/High School<br> This outstanding anthology includes a variety of literary forms (poems, essays, short stories, excerpts from novels) and cuts across time to present both early influences and contemporary pieces. Authors include earlier masters (Alfonso Reyes, Juan Rulfo), contemporary greats (Octavio Paz, Carlos Fuentes), Chicana/o voices (Sandra Cisneros, Rudolfo Anaya, Ruben Martínez), and new Mexican authors who are becoming internationally known (Carlos Monsiváis, Coral Bracho). Not surprisingly, many of the selections deal with questions of identity and allegiance. Garcia's excellent introduction gives valuable background on the authors and their work.<br> —Sandy FreundCopyright 2006 Reed Business Information. </article>
143The Best American Short Plays 2007-2008Barbara Parisi0Barbara Parisithe-best-american-short-plays-2007-2008barbara-parisi9781557837493155783749X$18.99PaperbackApplause Theatre Book PublishersAugust 2009Performing Arts, Theater<p>Applause is proud to continue the series that for over 60 years has been the standard of excellence for one-act plays in America. Our editor Barbara Parisi has selected the following 14 plays&#58; A Roz by Any Other Name and Weird, by B. T. Ryback; Bricklayers Poet, by Joe Maruzzo; Laundry and Lies, by Adam Kraar; Light, by Jeni Mahoney; House of the Holy Moment, by Cary Pepper; The Disruptive, Discursive Delusions of Donald, by Michael Roderick; The Perfect Relationship, by Jill Elaine Hughes; The Hysterical Misogynist, by Murray Schisgal; The Perfect Medium, by Eileen Fischer; Outsourced, by Laura Shaine Cunningham; Elvis of Nazareth, by Jay Huling; Dead Trees, by Rick Pulos; Five Story Walkup, by Daniel Gallant, including his own play and others by John Guare, Neil LaBute, Quincy Long, Laura Shaine Cunningham, Clay McLeod Chapman, and Daniel Frederick Levin; and G.C., by Theodore Mann.</p>
144Postmodern American Fiction: A Norton AnthologyPaula Geyh0Paula Geyh, Andrew Levy (Editor), Fred G. Leebronpostmodern-american-fictionpaula-geyh9780393316988039331698X$18.76PaperbackNorton, W. W. & Company, Inc.September 19971 EDPostmodernism - Literary Movements, 20th Century American Literature - Post WWII - Literary Criticism, American Literature Anthologies7045.70 (w) x 9.20 (h) x 1.20 (d)It includes works by sixty-eight authors: short fiction, novels, cartoons, graphics,<br> hypertexts, creative nonfiction, and theoretical writings. This is the first anthology to do full justice to the vast range of American innovation in fiction writing since 1945.<p>From William S. Burroughs to David Foster Wallace, <b>Postmodern American Fiction</b> offers up witty, risky, exhilarating, groundbreaking fiction from five decades of postwar American life.</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Crying of Lot 49</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nova Express</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">See the Moon?</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sentence</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trout Fishing in America</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sassafrass, Cypress and Indigo</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yellow Back Radio Broke-Down</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Heart of the Heart of the Country</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Breakfast of Champions</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pale Pink Roast</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ardor/Awe/Atrocity</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The American Woman in the Chinese Hat</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bluegill</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Living with Contradictions</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from In Cold Blood</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Armies of the Night</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Zami: A New Spelling of My Name</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rainbow Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dictee</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Tell a True War Story</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Borderlands/La Frontera: The New Mestiza</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Krazy Kat</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Come Over Come Over</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stories from the Nerve Bible</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Night at the Movies</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tooth Imprints on a Corn Dog</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memories of My Father Watching T.V.</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Premature Autopsies</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shiloh</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wild at Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Maus</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Beloved</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ghost Writer</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Ceremony</TD><TD WIDTH="10%" ALIGN="RIGHT">322</TD><TR><TD WIDTH="20%">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Leather Man</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD><TR><TD WIDTH="20%">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[actual symbol not reproducible]</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%">341</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Captivity</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%">345</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Catch-22</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lyndon</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%">396</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Turn of the Screw</TD><TD WIDTH="10%" ALIGN="RIGHT">396</TD><TR><TD WIDTH="20%">409</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Great Expectations</TD><TD WIDTH="10%" ALIGN="RIGHT">409</TD><TR><TD WIDTH="20%">415</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chimera</TD><TD WIDTH="10%" ALIGN="RIGHT">416</TD><TR><TD WIDTH="20%">443</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">City of Glass</TD><TD WIDTH="10%" ALIGN="RIGHT">443</TD><TR><TD WIDTH="20%">449</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Paul Auster's City of Glass</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%">458</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tripmaster Monkey: His Fake Book</TD><TD WIDTH="10%" ALIGN="RIGHT">458</TD><TR><TD WIDTH="20%">470</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Neveryona</TD><TD WIDTH="10%" ALIGN="RIGHT">470</TD><TR><TD WIDTH="20%">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Youngest Doll</TD><TD WIDTH="10%" ALIGN="RIGHT">485</TD><TR><TD WIDTH="20%">488</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Housekeeping</TD><TD WIDTH="10%" ALIGN="RIGHT">489</TD><TR><TD WIDTH="20%">497</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cariboo Cafe</TD><TD WIDTH="10%" ALIGN="RIGHT">497</TD><TR><TD WIDTH="20%">512</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gernsback Continuum</TD><TD WIDTH="10%" ALIGN="RIGHT">512</TD><TR><TD WIDTH="20%">519</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Schrodinger's Cat</TD><TD WIDTH="10%" ALIGN="RIGHT">520</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">She Unnames Them</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%">526</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Noise</TD><TD WIDTH="10%" ALIGN="RIGHT">527</TD><TR><TD WIDTH="20%">537</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Female Man</TD><TD WIDTH="10%" ALIGN="RIGHT">537</TD><TR><TD WIDTH="20%">548</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Feral Lasers</TD><TD WIDTH="10%" ALIGN="RIGHT">548</TD><TR><TD WIDTH="20%">554</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Imago</TD><TD WIDTH="10%" ALIGN="RIGHT">555</TD><TR><TD WIDTH="20%">561</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snow Crash</TD><TD WIDTH="10%" ALIGN="RIGHT">561</TD><TR><TD WIDTH="20%">568</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Generation X</TD><TD WIDTH="10%" ALIGN="RIGHT">568</TD><TR><TD WIDTH="20%">573</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from I Have Said Nothing</TD><TD WIDTH="10%" ALIGN="RIGHT">574</TD><TR><TD WIDTH="20%">576</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from afternoon, a story</TD><TD WIDTH="10%" ALIGN="RIGHT">577</TD><TR><TD WIDTH="20%">583</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Stories: Out and Out: Attacks/Ways Out/Forays</TD><TD WIDTH="10%" ALIGN="RIGHT">583</TD><TR><TD WIDTH="20%">585</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Toward a Concept of Postmodernism</TD><TD WIDTH="10%" ALIGN="RIGHT">586</TD><TR><TD WIDTH="20%">595</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Public Access</TD><TD WIDTH="10%" ALIGN="RIGHT">595</TD><TR><TD WIDTH="20%">603</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century</TD><TD WIDTH="10%" ALIGN="RIGHT">603</TD><TR><TD WIDTH="20%">622</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Postscript to The Name of the Rose</TD><TD WIDTH="10%" ALIGN="RIGHT">622</TD><TR><TD WIDTH="20%">624</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Postmodern Blackness</TD><TD WIDTH="10%" ALIGN="RIGHT">624</TD><TR><TD WIDTH="20%">631</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Simulacra and Simulation</TD><TD WIDTH="10%" ALIGN="RIGHT">631</TD><TR><TD WIDTH="20%">637</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conclusions</TD><TD WIDTH="10%" ALIGN="RIGHT">637</TD><TR><TD WIDTH="20%">649</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Woman, Native, Other</TD><TD WIDTH="10%" ALIGN="RIGHT">649</TD><TR><TD WIDTH="20%">654</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Postmodernism and Consumer Society</TD><TD WIDTH="10%" ALIGN="RIGHT">654</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">665</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">671</TD></table>
145Bronx Accent: A Literary and Pictorial History of the BoroughLloyd Ultan0Lloyd Ultan, Barbara Ungerbronx-accentlloyd-ultan97808135386240813538629$24.95PaperbackRivergate BooksMarch 2006ReprintUnited States History - Northeastern & Middle Atlantic Region, American Literature Anthologies, U.S. Travel - Major Cities, General & Miscellaneous Literature Anthologies, Travel - General & Miscellaneous, U.S. Travel - States, Photography - Travel, Trave3307.00 (w) x 9.90 (h) x 0.90 (d)While The Bronx is presently undergoing a renaissance, a mention of this borough often conjures up "Fort-Apache-the-Bronx" images of urban blight and crime. Yet for the last three hundred years, and through all its various social and economic transformations, The Bronx has been a major literary center that many prominent writers have called home. <p> This comprehensive book captures the Zeitgeist of The Bronx through the eyes of its writers -- both past literary figures and emerging talents. Lloyd Ultan and Barbara Unger place this literature in its historical context and reproduce here one hundred vintage photographs and postcard views that bring the writings to life. The resulting book provides the reader with insights into the kaleidoscopic shifts in Bronx life over the centuries. Filtered through the imaginations of authors of different times, ethnic groups, social classes, and literary styles, the borough of The Bronx emerges not only as a shaper of destinies and lives, but as an important literary mecca.</p><p>While The Bronx is presently undergoing a renaissance, a mention of this borough often conjures up "Fort-Apache-the-Bronx" images of urban blight and crime. Yet for the last three hundred years, and through all its various social and economic transformations/ The Bronx has been a major literary center that many prominent writers have called home.This comprehensive book captures the Zeitgeist of The Bronx through the eyes of its writers-both past literary figures and emerging talents. Lloyd Ultan and Barbara Unger place this literature in its historical context and reproduce here one hundred vintage photographs and postcard views that bring the writings to life. The resulting book provides the reader with insights into the kaleidoscopic shifts in Bronx life over the centuries. Filtered through the imaginations of authors of different times, ethnic groups, social classes, and literary styles, the borough of The Bronx emerges not only as a shaper of destinies and lives, but as an important literary mecca. <p>"I am living out of town about 13 miles/ at a village called Fordham, on the railroad leading north. We are in a snug little cottage, keeping house, and would be very comfortable, but that I have been for a long time dreadfully ill. ... I am done with drink-depend upon that. . . . When you write/ address simply 'New-York-City.'There is no Post Office at Fordham."-EDGAR ALLAN POE, from a letter excerpted in Bronx Accent&#58; A Literary and Pictorial History of the Borough. <P>Some writers included in Bronx Accent&#58; <BR> Sholem Aleichem <Br> James Baldwin <Br> James Fenimore Cooper <Br> Theodore Dreiser <Br> Washington Irving <Br> Jack Kerouac <Br> Clifford Odets<Br> Cynthia Ozick <Br> Grace Paley <Br> Edgar Allan Poe <Br> Chaim Potok <Br> Kate Simon <Br> Leon Trotsky <Br> Mark Twain <Br> Tom Wolfe <Br> Herman Wouk<Br></p><h3>Booknews</h3><p>Official Bronx Borough Historian Ultan (history, Fairleigh Dickinson U.) and poet Unger (English, Rockland Community College) assemble excerpts from known and unknown writers, and black-and-white photographs, to chronicle the history of New York City's northernmost borough from the middle of the 17th century to the present. The material is presented according to the period the writer is discussing rather than by publication date. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT">vii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">ix</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Genesis: The Colonial and Revolutionary Bronx, 1639-1800</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Out of Town: The Suburban Bronx, 1800-1898</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">"Like Country": The Urbanization of The Bronx, 1898-1919</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">A Step Up: The Bronx in Boom Times, 1919-1929</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">A Step Left: The Bronx in the Great Depression, 1929-1940</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">The Bronx Home Front: The War Years, 1936-1950</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">The Perils of Prosperity: The Bronx in the Postwar Years, 1946-1961</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">The Urban Crisis: The Bronx in the Years of Change and Unrest, 1961-1980</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">Devastation: The Bronx Is Burning, 1965-1991</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Coping: The Bronx Endures, 1961-1988</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">The Phoenix: The Bronx Rises from the Ashes, 1975-2000</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD></TABLE><article> <h4>Booknews</h4>Official Bronx Borough Historian Ultan (history, Fairleigh Dickinson U.) and poet Unger (English, Rockland Community College) assemble excerpts from known and unknown writers, and black-and-white photographs, to chronicle the history of New York City's northernmost borough from the middle of the 17th century to the present. The material is presented according to the period the writer is discussing rather than by publication date. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article> <article> <h4>New York Times Book Review</h4>Gouverneur Morris fights the new American government in vain to prevent a road from cutting through his large farm. Edgar Allan Poe takes refuge in the village of Fordham, which is so isolated it has no post office. . . . Clive Campbell and Joseph Saddler are reborn as the hip-hop artists Kool Herc and Grandmaster Flash. Through such moments Lloyd Ultan and Barbara Unger tell the history of the borough in <i>Bronx Accent: A Literary and Pictorial History of the Borough</i>. . . . The result is a vibrant mix of historical and contemporary voices; at one point an excerpt from E. L. Doctorow's novel Billy Bathgate is followed by an account from Kate Simon's Bronx Primitive: Portraits in a Childhood. </article><article> <h4>New York Observer</h4>Anyone interested in urban history, in American literature or, more generally, in how people shapeùand, in turn, are shaped byùplace, will find <i>Bronx Accent</i> a fascinating book. Like some ingenious choral arrangement, the book contains scores of voices recounting, in fact and fiction, how life was lived in the Bronx from colonial times to the end of the 20th century. The authors . . . provide a well-constructed narrative that frames the story of New York City's northernmost borough. But like good straight men in a comedy act, they do an excellent job of setting things up and then stepping out of the way, leaving all the high notes to poets, novelists, letter-writers, diarists, urban scholars and journalists. Part comedy, part tragedy, part cautionary tale, the book conjures up the early years of the Bronx as a woodsy retreat from the rigors of life in the great city to the south; the Bronx heyday, which lasted from about the beginning of the last century to its mid-point; and the borough's chaotic decline and recent rise from the ashes. </article> <article> <h4>New York Post</h4>The authors take a novel approach: By placing examples of classic writing (Poe, Twain, Baldwin, Kerouac, Wolfe and Wouk, among others) and vintage photographs of da boogie down in historical context, <i>Bronx Accent</i> gives the reader unique insights into the ækaleidoscopic shifts in life in the Bronx over the centuries.'. </article> <article> <h4>Forward</h4>[Bronx Accent] celebrates its subject. The editorsùa historian who knows more about the borough than anyone living and a poet born and reared in it streetsùembrace the stubborn triumph of a Bronx now on the verge of a renaissance. . . . It is as if each writer included in the book is a friend or family, a literary Bronx meshpochah. </article> <article> <h4>Booklist</h4>Ultan and Unger chronicle the rise, fall, and rebirth of New York City's northernmost borough in fiction, nonfiction, and poetry by people who live or lived in the Bronx, or who simply chose to write about it. . . . Taken together the pieces, with additional explanatory text by the authors give a good narrative ranging from the Bronx's colonial period through the various waves of immigration and consolidation with Manhattan and the other boroughs. What's more, you get a good sense of how the many destructive forces converged to wreck the area, and how the people's stubborn spirit would not let all of their beloved neighborhoods turn to wasteland. . . . As the subtitle declares, it's also a pictorial history, and the majority of the 97 black-and-white illustrations give you a good idea of what the Bronx looked like way back in its heyday. </article> <article> <h4>Bronx Press</h4>Bronx Accent is particularly strong in explaining the twentieth century, when the population of The Bronx was at its highest and most of the writers cited resided in the borough. The book is adroitly arranged and provides hours of good and interesting reading. For $32.00, this publication of Rutgers University Press is a bargain. No where else can anyone find a survey of the Bronx past in one volume that can be so easily and enjoyably digested. </article> <article> <h4>Bronx Press-Review and the Riverdale Review</h4>The embattled Bronx and upscale Riverdale have been portrayed, analyzed and sometimes autopsied by journalists, sociologists and historians. But nobody has ever listened to its beating heart through its literatureùthe novels, stories, poetry and memoirs that capture the essence and excitement of Bronx life. Nobody has done it, that is, until now. . . . As an added bonus, the book features nearly 100 vintage photographs and postcard views, the postcards, some almost a century old. . . . Bronx Accent should have a far wider readership than just in the Bronx, since the Bronx, and writing like this, reflect so much of urban America, and its story in many ways is the story of America itself. </article> <article> <h4>Bronx County Historical Journal</h4>The book is full of insights and very readable. It does justice to the colonies and rural Bronx of the eighteenth and nineteenth centuries. However, it is especially rich in describing the twentieth-century urban scene, where there are so many different communities. . . . Ultan and Unger's work is both good history and good literature. Based on extensive research with scholarly selection of representative sources, it gives voice to the enduring spirit of The Bronx. If you would understand this place, start here. </article> <article> <h4>Jewish Journal</h4>Ultan and Unger emphasize and literary history of the Bronx, providing ample quotations to illustrate literature about the Bronx. They also have almost a hundred interesting photos. The material is organized chronologically, beginning with Jonas Bronck who, in the early 17th century, became the first European settler of the area that today bears is name. </article> <article> <h4>Roger Wines</h4>Through three hundred years, the people of the Bronx speak out about their lives, joys, tribulations, and aspirations. Lloyd Ultan and Barbara Unger's skillfully arranged anthology combines letters, diaries, memoirs, and literary sources with an insightful historical narrative. The book is particularly rich on the recent decades when the Bronx went from success to collapse and then rebirth. It is good reading and good history. </article> <article> <h4>Editor of Editors on Editing&amp;#58; What Writers Nee Gerald Gross</h4>Bronx Accent is an entertaining, surprising revelation of New York's borough of the Bronx, an unexpected center of literature where some of America's most famous authors lived, and which provided the setting and inspiration for their works. Their novels, poems, stories, and essays reveal the colorful, ever-changing history of this often underappreciated part of the city. Ultan and Unger are insightful chroniclers of the vast variety of their urban experiences. You will be delighted and astonished by the riches to be found in this literary treasure house. </article>
146Native American Songs and Poems: An AnthologyBrian Swann0Brian Swannnative-american-songs-and-poemsbrian-swann97804862945060486294501$2.99PaperbackDover PublicationsSeptember 1996Special ValuePoetry Anthologies, Native North American Peoples - General & Miscellaneous, American Poetry, American Music - General & Miscellaneous, American Literature Anthologies, Native North American Peoples - Authors & Literature, Native North Americans - Music645.25 (w) x 8.25 (h) x 0.15 (d)Wonderful collection of authentic traditional songs and contemporary Indian verse composed by Seminole, Hopi, Navajo, Pima, Arapaho, Paiute, Nootka, other Indian writers and poets. Topics include nature's beauty and rhythms, themes of tradition and continuity, the Indian in contemporary society, much more.<br><p><p>Rich selection of traditional songs and contemporary verse by Seminole, Hopi, Arapaho, Nootka, other Indian writers and poets. Nature, tradition, Indians' role in contemporary society, other topics.<p></p>
147The Best American Sports Writing 2008William Nack0<p><p><p>GLENN STOUT is the author of <I>Young Woman and the Sea,</I> <I>Red Sox Century, Yankees Century, The Dodgers, </I>and<I> The Cubs.</I> He has been the editor of <EM>The Best American Sports Writing</EM> since its inception.<p><p></p>William Nack (Editor), Glenn Stoutthe-best-american-sports-writing-2008william-nack97806187511810618751181$13.58PaperbackHoughton Mifflin HarcourtOctober 2008Sports Essays, American Literature Anthologies4485.40 (w) x 8.10 (h) x 1.10 (d)<p>In this exciting new collection, William Nack, veteran sportswriter and author of the classic Secretariat, honors the year’s finest sports journalism and thus upholds the tradition that began seventeen years ago, with David Halberstam at the helm. In these pages, you will find the most provocative, compelling, tragic, and triumphant moments in sports from 2007, captured by the knights of the keyboard who make sports come alive for us day after day, week after week, year after year.<br> Here you’ll find Paul Solotaroff’s excellent and uncompromising take on the neglect that a growing number of crippled NFL players continually face from the NFL players’ union. Jeanne Marie Laskas’s “G-L-O-R-Y!” offers a rousing inside look at the pregame rituals of the Cincinnati Bengals cheerleaders. A riveting online diary by Wright Thompson reveals a bleak and merciless landscape in China, which that country’s government would rather not have the world see during preparations for the Olympics.<br> Nack finds a place for the fascinating offbeat story as well as the sensational. Alongside Eli Saslow’s captivating article about an obscure seventeenth-century sport, similar to a giant rugby scrum, carried out in the streets of Kirkwall, Scotland, stands Franz Lidz’s “scoop of the year,” a controversial and rare look into the life of George Steinbrenner, baseball’s largest but recently most enigmatic figure.<br> This year’s collection marks another wonderful addition to “one of the most consistently satisfying titles in the Best American series” (Booklist).<br> Contributors include Scott Price, Rick Bragg, Gary Smith, J.R. Moehringer, and others.</p><p><p>In this exciting new collection, William Nack, veteran sportswriter and author of the classic Secretariat, honors the year s finest sports journalism and thus upholds the tradition that began seventeen years ago, with David Halberstam at the helm. In these pages, you will find the most provocative, compelling, tragic, and triumphant moments in sports from 2007, captured by the knights of the keyboard who make sports come alive for us day after day, week after week, year after year. Here you ll find Paul Solotaroff s excellent and uncompromising take on the neglect that a growing number of crippled NFL players continually face from the NFL players union. Jeanne Marie Laskas s G-L-O-R-Y! offers a rousing inside look at the pregame rituals of the Cincinnati Bengals cheerleaders. A riveting online diary by Wright Thompson reveals a bleak and merciless landscape in China, which that country s government would rather not have the world see during preparations for the Olympics. Nack finds a place for the fascinating offbeat story as well as the sensational. Alongside Eli Saslow s captivating article about an obscure seventeenth-century sport, similar to a giant rugby scrum, carried out in the streets of Kirkwall, Scotland, stands Franz Lidz s scoop of the year, a controversial and rare look into the life of George Steinbrenner, baseball s largest but recently most enigmatic figure. This year s collection marks another wonderful addition to one of the most consistently satisfying titles in the Best American series (Booklist). Contributors include Scott Price, Rick Bragg, Gary Smith, J.R. Moehringer, and others.</p></p>
148The Lost Algonquin Round TableNat Benchley0Nat Benchley (Editor), Kevin C. Fitzpatrickthe-lost-algonquin-round-tablenat-benchley97814401515141440151512$18.95PaperbackiUniverse, IncorporatedJuly 2009American & Canadian Literature, American Literature Anthologies, General & Miscellaneous Literature Anthologies, US & Canadian Literary Biography3000.63 (w) x 5.50 (h) x 8.50 (d)The Legendary Writers of the "Vicious Circle"<br> <br> Collected Together For the First Time <p>"The Algonquin was a refuge for the brightest authors, editors, critics, columnists, artists, financiers, composers, directors, producers and actors of the times. The dining-room corner was a hot bed of raconteurs and conversationalists."<br> <br> -Harpo Marx</p> <p>In Jazz Age New York City, no literary lights burned more brightly than those of the legendary Algonquin Round Table. Now between covers for the first time is a collection of writing by 16 members of the group, an all-star gathering that took 90 years to come together. Many of these pieces have never been published before; plucked from private family collections and "lost" pieces from obscure periodicals.</p> <p>● Humor pieces by Robert Benchley, Franklin P. Adams, Heywood Broun, Frank Sullivan and Donald Ogden Stewart.<br> <br> ● Criticism from Dorothy Parker, George S. Kaufman and Robert E. Sherwood.<br> <br> ● Short fiction by Laurence Stallings and Pulitzer Prize-winners Edna Ferber and Margaret Leech.<br> <br> ● Journalism from Alexander Woollcott, Ruth Hale and Deems Taylor.<br> <br> ● Poetry by Adams, Marc Connelly, Dorothy Parker and John V. A. Weaver.</p> <p>With a foreword by Nat Benchley.</p><p>The Legendary Writers of the "Vicious Circle"<br><br>Collected Together For the First Time<p>"The Algonquin was a refuge for the brightest authors, editors, critics, columnists, artists, financiers, composers, directors, producers and actors of the times. The dining-room corner was a hot bed of raconteurs and conversationalists."<br><br>-Harpo Marx<p>In Jazz Age New York City, no literary lights burned more brightly than those of the legendary Algonquin Round Table. Now between covers for the first time is a collection of writing by 16 members of the group, an all-star gathering that took 90 years to come together. Many of these pieces have never been published before; plucked from private family collections and "lost" pieces from obscure periodicals.<p>&#9679; Humor pieces by Robert Benchley, Franklin P. Adams, Heywood Broun, Frank Sullivan and Donald Ogden Stewart.<br><br>&#9679; Criticism from Dorothy Parker, George S. Kaufman and Robert E. Sherwood.<br><br>&#9679; Short fiction by Laurence Stallings and Pulitzer Prize-winners Edna Ferber and Margaret Leech.<br><br>&#9679; Journalism from Alexander Woollcott, Ruth Hale and Deems Taylor.<br><br>&#9679; Poetry by Adams, Marc Connelly, Dorothy Parker and John V. A. Weaver.<p>With a foreword by Nat Benchley.</p>
149Thom Pain (based on nothing)Will Eno0<p><p>Will Eno's play Thom Pain (based on nothing) won the First Fringe Award with its Edinbugh Festival premiere, and had acclaimed productions in London and New York. His plays have been produced in London at the Gate Theatre, Soho Theatre Company, BBC Radio; in New York by Rude Mechanicals, NY Power Company, Naked Angels.<p></p>Will Enothom-painwill-eno97808222207630822220768$10.18PaperbackDramatists Play Service, IncorporatedNovember 2005Scenes and Monologues, Drama Anthologies, American Drama, American Literature Anthologies, Theater - General & Miscellaneous3252.50 (w) x 75.00 (h) x 2.50 (d)<p>“Astonishing in its impact. . . . One of the treasured nights in the theatre that can leave you both breathless with exhilaration and, depending on your sensitivity to meditations on the bleak and beautiful mysteries of human experience, in a puddle of tears . . . <i>Thom Pain</i> is at bottom a surreal meditation on the empty promises life makes, the way experience never lives up to the weird and awesome fact of being. But it is also, in its odd, bewitching beauty, an affirmation of life’s worth.”—Charles Isherwood, <i>The New York Times</i></p> <p>“Eno has emerged as one of the most original young playwrights on the scene. He is one of the few writers who can convert discomfort and outright agony into such pleasure.”—David Cote, <i>TimeOut New York</i></p> <p>“Will Eno is one of the finest younger playwrights I’ve come across in a number of years. His work is inventive, disciplined and, at the same time, wild and evocative.”—Edward Albee</p> <p>When Will Eno’s one-person play <i>Thom Pain</i> opened in New York in February 2005, it became something rare—an unqualified <i>hit</i>, which soon extended through July. Before that, the play was a critical success in London and received the coveted Fringe First Award at the Edinburgh Festival. Dubbed “stand-up existentialism” by <i>The New York Times</i>, it is lyrical and deadpan, both sardonic and sincere. It is Thom Pain—in the camouflage of the common man—fumbling with his heart, squinting into the light.</p> <p><b>Will Eno</b> lives in Brooklyn, New York. His plays include <i>The Flu Season</i>, <i>Tragedy: a tragedy</i>, <i>King: a problem play</i>, and <i>Intermission</i>. His plays have been produced in London by the Gate Theatre and BBC Radio, and in the United States by Rude Mechanicals and Naked Angels. His play <i>The Flu Season</i> recently won the Oppenheimer Award, presented by <i>NY Newsday</i> for the previous year’s best debut production in New York by an American playwright.</p><p><p>"Will Eno is a Samuel Beckett for the Jon Stewart Generation."--The New York Times<p></p><h3>London Daily Telegraph</h3><p>It's hard to imagine more dazzling writing on any stage...Eno is light, rhythmic and meticulous.</p><P>Thom Pain (based on nothing) 9<P>Lady Grey (in ever-lower light) 39<P>Mr. Theatre comes home different 57<article> <h4>NY Times</h4>Astonishing in its impact...It's one of those treasured nights in the theatre—treasured nights anywhere, for that matter—that can leave you both breathless with exhilaration and, depending on your sensitivity to meditations on the bleak and beautiful mysteries of human experience, in a puddle of tears. Also in stitches, here and there. Mr. Eno is a Samuel Beckett for the John Stewart generation...To sum up the more or less indescribable: THOM PAIN is at bottom a surreal meditation on the empty promises life makes, the way experience never lives up to the weird and awesome fact of being. But it is also, in its odd, bewitching beauty, an affirmation of life's worth...a small masterpiece. </article> <article> <h4>Time Out</h4>Eno has emerged as one of the most original young playwrights on the scene. He is one of the few writers who can convert discomfort and outright agony into such pleasure. </article><article> <h4>London Daily Telegraph</h4>It's hard to imagine more dazzling writing on any stage...Eno is light, rhythmic and meticulous. </article>
150Death Blossoms: Reflections from a Prisoner of ConscienceMumia Abu-Jamal0<p><P>Mumia Abu-Jamal, an award-winning journalist, is America's best-known political prisoner. Sentenced with execution, Mumia has lived on Death Row since 1982. Ever since he wrote for the Black Panther Party's national newspaper as a youth, Mumia has reported on the racism and inequity in our society. He soon added radio to his portfolio, eventually recording a series of reports from death row for NPR's All Things Considered. However, NPR, caving in to political pressure, refused to air the programs. Mumia Abu-Jamal is still fighting for his own freedom from prison, and through his powerful voice, for the freedom of all people from inequity.</p>Mumia Abu-Jamal, Cornel West (Foreword by), Julia Wrightdeath-blossomsmumia-abu-jamal97808960869990896086992$12.00PaperbackSouth End PressJuly 2003Biographies &amp; Autobiographies, General<p><P>Mumia's Abu-Jamal's poetic observations and reflections examine the deeper dimensions of existence, resulting in a powerful testament to the human spirit.</p><h3>Library Journal</h3><p>It is impossible to escape the irony that a man so impassioned about life has spent the last 15 years on death row. A journalist (Live from Death Row, LJ 5/1/95) and self-described "professional revolutionary" accused of killing a Philadelphia police officer, Abu-Jamal has won international attention for his case. Prison walls, however, have done little to deter his activism. His latest book has a markedly spiritual undertone, as he discusses his views on religion and fellow inmates' thoughts on the subject. In this compilation of over 35 short commentaries and poems, the author questions the validity of Christianity and traces his struggles with religion. In one touching essay, he compares children to acorns, saying that they possess the power to grow into mighty oak trees. Abu-Jamal's words flow like the very sap of those trees, pulsing with energy and capturing the essence of life. Recommended for both public and academic libraries.Erin Cassin, "Library Journal"</p>
151B. O. O. B. S.: A Bunch of Outrageous Breast-Cancer Survivors Tell Their Stories of Courage, Hope and HealingAnn Kempner Fisher0<p><b>Ann Kempner Fisher</b> is an editor and former television writer. She lives in suburban Atlanta, Georgia.</p>Ann Kempner Fisherb-o-o-b-sann-kempner-fisher97815818252371581825234$13.50PaperbackTurner Publishing CompanyJanuary 2006Women's Diseases & Disorders, Cancer, Cancer Patients - Biography, Women's Biography - General & Miscellaneous, American Literature Anthologies3365.90 (w) x 8.90 (h) x 1.10 (d)They are not just statistics or case studies, nor are they “genetic mishaps.” They are everyday modern women struggling to survive breast cancer. They share the same diagnosis but are a crazy-quilt of many patterns and colors, with ages spanning twenty-five years. Some of them are wives and mothers, grandmothers, and great-grandmothers; some are single, others divorced. They have different religious backgrounds, different occupations, different lifestyles, different values, and different treatments. But despite their differences, they all are <i>B.O.O.B.S.</i> <p><i>B.O.O.B.S.</i> shares the personal experiences of ten courageous women—from shocking diagnosis to surgery and beyond—and the effect breast cancer has had on them and on the people in their lives. Brought together by the Wellness Community, a program offering cost-free psychological support to cancer patients and their loved ones, the ten women in this book strongly believe in the healing power of group therapy and peer sharing. Some of them have even become patient advocates and spokeswomen in a quest to make a difference in the lives of other women coping with breast cancer, a disease that strikes more than 200,000 women every year in the United States.</p> <p>Written with insight, humor, raw emotion, and honesty, <i>B.O.O.B.S.</i> offers hope to women facing breast cancer. It also offers families and friends insights into what their loved ones are going through.</p><p>They are not just statistics or case studies, nor are they &ldquo;genetic mishaps.&rdquo; They are everyday modern women struggling to survive breast cancer. They share the same diagnosis but are a crazy-quilt of many patterns and colors, with ages spanning twenty-five years. Some of them are wives and mothers, grandmothers, and great-grandmothers; some are single, others divorced. They have different religious backgrounds, different occupations, different lifestyles, different values, and different treatments. But despite their differences, they all are <i>B.O.O.B.S.</i> <p> <i>B.O.O.B.S.</i> shares the personal experiences of ten courageous women&mdash;from shocking diagnosis to surgery and beyond&mdash;and the effect breast cancer has had on them and on the people in their lives. Brought together by the Wellness Community, a program offering cost-free psychological support to cancer patients and their loved ones, the ten women in this book strongly believe in the healing power of group therapy and peer sharing. Some of them have even become patient advocates and spokeswomen in a quest to make a difference in the lives of other women coping with breast cancer, a disease that strikes more than 200,000 women every year in the United States. <p> Written with insight, humor, raw emotion, and honesty, <i>B.O.O.B.S.</i> offers hope to women facing breast cancer. It also offers families and friends insights into what their loved ones are going through.</p>
152Becoming Americans: Four Centuries of Immigrant WritingIlan Stavans16<p>Ilan Stavans, editor, is the Lewis-Sebring Professor in Latin American and Latino Culture at Amherst College. His books include <I>The Hispanic Condition</I> and <I>On Borrowed Words&#58; A Memoir of Language.</I> He edited <I>Isaac Bashevis Singer&#58; Collected Stories</I>, volumes #149, #150, and #151 of The Library of America.</p>Ilan Stavans (Editor), Pete Hamillbecoming-americansilan-stavans97815985305131598530518$40.00HardcoverLibrary of AmericaOctober 2009Immigrants, Immigrants - Writings & Literature, Literature Anthologies - General & Miscellaneous, American Literature Anthologies8506.06 (w) x 8.46 (h) x 1.68 (d)Immigration is the essential American story. From London or Lvov, Bombay or Beijing, Dublin or Dusseldorf, people have come to America to remake themselves, their lives, and their identities. Despite political obstacles, popular indifference, or hostility, they put down roots here, and their social, cultural, and entrepreneurial energies helped forge the open and diverse society we live in. <br> The history of American immigration has often been told by those already here. <i>Becoming Americans</i> tells this epic story from the inside, gathering for the first time over 400 years of writing-from 17th-century Jamestown to contemporary Brooklyn and Los Angeles-by first-generation immigrants about the immigrant experience. In sum, over 80 writers create a vivid, passionate, and revealing firsthand account of the challenges and aspirations that define our dynamic, multicultural democracy.<br> In nearly a hundred entries-poems, stories, novel excerpts, travel pieces, diary entries, memoirs, and letters-<i>Becoming Americans</i> presents the full range of the experience of coming to America: the reasons for departure, the journey itself, the shock and spectacle of first arrival, the passionate ambivalence toward the old country and the old life, and above all the struggle with the complexities of America. Arranged in chronological order by date of arrival, this unprecedented collection presents a collective history of the United States that is both familiar and surprisingly new, as seen through the fresh eyes and words of newcomers from more than forty different countries. <p>Features:<b>Ayuba Suleiman Diallo, Gottlieb Mittelberger, St. John de Crèvecoeur, Phillis Wheatley, Lorenzo Da Ponte, John James Audubon, Fanny Kemble, Jacob Riis, Abraham Cahan, O. E. Rølvaag, Henry Roth, Claude McKay, Charles Chaplin, Felipe Alfau, Carlos Bulosan, Isaac Bashevis Singer, Vladimir Nabokov, W. H. Auden, Frank McCourt, Edward Said, Charles Simic, Julia Alvarez, Czeslaw Milosz, Luc Sante, Eva Hoffman, Jamaica Kincaid, Chang-rae Lee, Jhumpa Lahiri, Joseph Brodsky, Junot Díaz, Gary Shteyngart, Dinaw Mengestu, Edwidge Danticat, Norman Manea, Anita Desai, Lara Vapnyar, Richard Rodriguez, and many more...</b></p><p><P>Immigration is the essential American story. From London or Lvov, Bombay or Beijing, Dublin or Dusseldorf, people have come to America to remake themselves, their lives, and their identities. Despite political obstacles, popular indifference, or hostility, they put down roots here, and their social, cultural, and entrepreneurial energies helped forge the open and diverse society we live in. <br> The history of American immigration has often been told by those already here. <i>Becoming Americans</i> tells this epic story from the inside, gathering for the first time over 400 years of writing-from 17th-century Jamestown to contemporary Brooklyn and Los Angeles-by first-generation immigrants about the immigrant experience. In sum, over 80 writers create a vivid, passionate, and revealing firsthand account of the challenges and aspirations that define our dynamic, multicultural democracy.<br> In nearly a hundred entries-poems, stories, novel excerpts, travel pieces, diary entries, memoirs, and letters-<i>Becoming Americans</i> presents the full range of the experience of coming to America&#58; the reasons for departure, the journey itself, the shock and spectacle of first arrival, the passionate ambivalence toward the old country and the old life, and above all the struggle with the complexities of America. Arranged in chronological order by date of arrival, this unprecedented collection presents a collective history of the United States that is both familiar and surprisingly new, as seen through the fresh eyes and words of newcomers from more than forty different countries.<P>Features&#58;<b>Ayuba Suleiman Diallo, Gottlieb Mittelberger, St. John de Cr&egrave;vecoeur, Phillis Wheatley, Lorenzo Da Ponte, John James Audubon, Fanny Kemble, Jacob Riis, Abraham Cahan, O. E. R&oslash;lvaag, Henry Roth, Claude McKay, Charles Chaplin, Felipe Alfau, Carlos Bulosan, Isaac Bashevis Singer, Vladimir Nabokov, W. H. Auden, Frank McCourt, Edward Said, Charles Simic, Julia Alvarez, Czeslaw Milosz, Luc Sante, Eva Hoffman, Jamaica Kincaid, Chang-rae Lee, Jhumpa Lahiri, Joseph Brodsky, Junot D&iacute;az, Gary Shteyngart, Dinaw Mengestu, Edwidge Danticat, Norman Manea, Anita Desai, Lara Vapnyar, Richard Rodriguez, and many more...</b></p><h3>Maud Newton - NPR</h3><p>In his wide-ranging, expertly curated anthology, Becoming Americans, Ilan Stavans collects four centuries of immigrants' stories, laying the works of comparative newcomers like Eva Hoffman, Felipe Alfau and Gary Shteyngart alongside the writing of early settlers, from religious dissidents fleeing persecution to slaves like Phillis Wheatley and Ayuba Suleiman Diallo, who were kidnapped and delivered to the New World unwillingly.</p><article> <h4>NPR</h4>In his wide-ranging, expertly curated anthology, Becoming Americans, Ilan Stavans collects four centuries of immigrants' stories, laying the works of comparative newcomers like Eva Hoffman, Felipe Alfau and Gary Shteyngart alongside the writing of early settlers, from religious dissidents fleeing persecution to slaves like Phillis Wheatley and Ayuba Suleiman Diallo, who were kidnapped and delivered to the New World unwillingly.<br> —Maud Newton </article>
153Dream Me Home Safely: Writers on Growing Up in AmericaSusan Richards Shreve0<p><p>SUSAN RICHARDS SHREVE has published thirteen novels, most recently A Student of Living Things. She is a professor of English at George Mason University and formerly cochair and president of the PEN/Faulkner Foundation. She has received several grants for fiction writing, including a Guggenheim fellowship and a National Endowment for the Arts award. Shreve lives in Washington, D.C.<p></p>Susan Richards Shreve (Editor), Marian Wright Edelman Presidentdream-me-home-safelysusan-richards-shreve97806183790260618379029$14.47PaperbackHoughton Mifflin HarcourtOctober 2003U.S. Authors - 20th Century - Literary Biography, 20th Century American History - Social Aspects - General & Miscellaneous, Childhood Memoirs & Biography, Self-Improvement, American Literature Anthologies2380.54 (w) x 5.50 (h) x 8.50 (d)<p>In the title essay of this extraordinary keepsake of childhood in America, John Edgar Wideman pays fierce tribute to a complex mother who "used to dream me home safely by sitting up and waiting for me to stumble in." The young writer Bich Minh Nguyen remembers arriving in Michigan from Vietnam in 1975 and a classmate who said, "Your house smells funny," and Michael Parker recalls a sister's vivid—and hilarious—act of defiance on a particular North Carolina evening in 1971. These and many more intensely intimate memories make Dream Me Home Safely a collection as diverse and powerful as all of American letters.</p><p>FOREWORD</p> <p>I am so grateful for this book celebrating the Children’s Defense Fund’s thirtieth anniversary. This gift of thirty-four extraordinary American writers sharing their stories of growing up in America paints a complex, richly detailed, and achingly real portrait of American childhood. Every reader will catch glimpses of his or her own childhood and see the childhoods of others with new eyes.<br> Tina McElroy Ansa remembers her nurturing black Georgia family and community as a world “made up of stories,” and listening at her mother’s side “as she whipped up batter for one of her light-as-air, sweet-as-mother’s- love desserts.” In a town on Chicago’s North Shore, Mary Morris learns early on how girls and women can get into “trouble,” while boys and men escape blame—and, since she is a girl, she makes an exit plan, just in case. Michael Patrick MacDonald sees his father’s face for the first time at his funeral and leaves the service with a renewed appreciation for the family he does have and the unspoken community of love and loyalty that surrounds him in his poor and desperate “white trash” South Boston neighborhood: “For once in my life I felt I should be proud of where I came from, who I was, and who I might become, and for a moment was ashamed for having ever felt otherwise.” Lois-Ann Yamanaka writes about trying not to panic when the autistic son she loves so fiercely sees balloons in the supermarket checkout line, knowing the moment is about to escalate into a .t of frustrated screaming and thrashing that will force her to drag him from the store while other customers stare in disgust: “In JohnJohn’s world, I can afford to buy him every balloon on every trip to the market. In JohnJohn’s world, he takes all of the shiny balloons home to our yard full of white ginger blossoms and lets all of them go . . . [a] moment of beauty, his silent freedom.” Anna Quindlen looks at the overscheduled lives of today’s children and mourns what’s been lost: “Pickup games. Hanging out. How boring it was. Of course, it was the making of me, as a human being and a writer. Downtime is where we become ourselves, looking into the middle distance, kicking at the curb, lying on the grass or sitting on the stoop and staring at the tedious blue of the summer sky. I don’t believe you can write poetry or compose music or become an actor without downtime, and plenty of it, a hiatus that passes for boredom but is really the quiet moving of the wheels inside that fuel creativity.” Alan Cheuse writes about his especially fortunate circumstances growing up on the water: “I don’t know how it would have been, born into a town without a coastline . . . The ebb and flow of waters, the detritus, flotsam, treasures left behind on the sand, the marine life, fresh water and salt mingling in the tides, the sound of buoys on summer nights, bells, horns, the ships anchored within sight of our playlands: the hope this gives you as a child, there is almost no explaining.” And in another world, Julia Alvarez dreams of someday being able to turn her life story into a book another little girl might want to read—“a girl like me, no longer frightened by / the whisperings of terrified adults, / the cries of uncles being rounded up, / the sirens of the death squads racing by.” As singular as every one of these stories of childhood is, common threads run through them, linking experiences across race, class, and geography. The role of many memorable adults who stand up for children is striking. I hope readers will recognize people like them in their own lives: Alexs Pate’s mother, determined that her son will not be mistreated by teachers or led to believe he x FOREWORD is destined to be a “negative statistic,” on yet another determined march to the principal’s office in his defense; Anthony Grooms’s mother putting him and his sister to bed at Christmas to the sounds of Burl Ives and Nat King Cole; Robert Bausch’s father pretending to wake his six children up on Christmas morning by blaring Benny Goodman or Glenn Miller on the hi-.; Jeanne Wakatsuki Houston’s and Bich Minh Nguyen’s grandmothers, suspicious of the neighbors, the children’s friends, the toadstools in the front yard—any of the pieces of the outside world that might somehow bring their family harm. And John Edgar Wideman’s mother, sitting at her apartment window watching for the child out way too late, prepared to wait up as long as it takes to dream him home safely.<br> Reading these stories, we may wonder what our children will remember about us. Will we be remembered for doing everything we could to dream them home safely? Even ideal childhoods are marked with some degree of fear and uncertainty. Scary movies, bullies, illness, and death are timeless. But while generations throughout history have often looked back to the times before them as simpler and mooooore innocent, in many ways childhood today may be more dangerous than ever. Pervasive cultural, domestic, and community violence, child abuse and neglect, drugs, high rates of hunger and homelessness, and tenuous family and community supports ravage the lives and dreams of countless young people. Community breakdown has coincided with a culture saturated with violence- and sex-filled images, and too many parents seek to meet children’s needs with things rather than time. Too many children are left alone to sort out the values promoted relentlessly by television, movies, and video games. Safety nets for children and families are being eroded as politicians place millionaires’ desires before children’s needs. And year by year it seems as if adults’ hold on our children’s hands and values is becoming looser and looser, so that too many children sink in the quicksand of materialism and spiritual poverty.<br> There are sad stories and painful memories in this collection, but also a great deal of hope, as seen in children’s resilience, their small kindnesses to other children, the writers’ ability to look back through the lens of time at the parents and siblings and houses and neighborhoods they were given and understand what true gifts these things were. And with all their accumulated flaws, the adults in these essays sometimes appear at their best, too, in stories of parents who hold on to their children through minor crises and major catastrophes, refusing to let go. May each reader learn to do the same for every one of our children, until collectively and individually we are able to dream them all home safely.<br> —Marian Wright Edelman</p> <p>Copyright © 2003 by the Children’s Defense Fund. Foreword copyright © 2003 by MarianWright Edelman. Reprinted by permission of Houghton Mifflin Company.</p><p><p>In the title essay of this extraordinary keepsake of childhood in America, John Edgar Wideman pays fierce tribute to a complex mother who "used to dream me home safely by sitting up and waiting for me to stumble in." The young writer Bich Minh Nguyen remembers arriving in Michigan from Vietnam in 1975 and a classmate who said, "Your house smells funny," and Michael Parker recalls a sister's vivid -- and hilarious -- act of defiance on a particular North Carolina evening in 1971. These and many more intensely intimate memories make Dream Me Home Safely a collection as diverse and powerful as all of American letters.<p></p><h3>Publishers Weekly</h3><p>In today's diverse society, it's no longer possible for an individual voice to capture a singular American view of childhood. Dissimilar experiences can each sound uniquely American, such as the stability of Patricia Elam's refreshingly functional family, in which "the only thing that distinguished us from the families on Ozzie and Harriet, Leave It to Beaver, and Father Knows Best... was our brown skin"; the quiet confusion of Michael Patrick MacDonald, who "decided that `normal' certainly meant something somewhere out there, beyond... where we lived"; or the poignant isolation of Nina Revoyr as the only Japanese child in Marshfield, Wis. This collection successfully gathers many voices, completing an impassioned picture of growing up in America. Thirty-four authors, including Chang-rae Lee, Alice Walker and John Edgar Wideman, lyrically portray their younger years. Each piece-whether describing the bluffs of Illinois, the movie houses of Paris, Tex., or Christmas in Alabama-illustrate how childhood informs adulthood. As Lisa Page writes, as we age, "the child remains, transcended, often denied, but there all the same, hiding beneath our business suits, our corporate uniforms, the camouflage we wear to communicate our grown-up selves." While most essays are magical, a few are forced and the flow of the anthology suffers from its alphabetical, rather than thematic, organization. But these are easily overlooked flaws in this beautiful compilation that proves that "childhood, of course, never ends." (Oct. 22) Copyright 2003 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ars Politica</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Center of the Universe</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Father's Dance</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sweet Summer</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rowing in Amboy</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thread</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prenthood: A Life Sentence</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Child's Garden of Verse</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Kingdom of Brooklyn</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Saturday Days</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transgressions</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Spiral Staircase</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas, Alabama, 1962</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ba-chan's Superstition</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mute in an English-Only World</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memphis Years</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spitting Image</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bluff</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Toadstools</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Birds at Night</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gravedigger's Daughter</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Psychedelic Shack</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Movie Where You Don't See the Monster Until the End</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Innocence Found</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer Coming</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreigner in Marshfield</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Boy Nobody Knew</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Growing Up in St. Louis</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Women and Me</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crick</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Swimming Pool</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Childhood</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sitting</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">JohnJohn's World</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD></TABLE><article> <h4>From the Publisher</h4>"This collection constitutes a memorable portrait of coming-of-age in America." Booklist, ALA </article> <article> <h4>Publishers Weekly</h4>In today's diverse society, it's no longer possible for an individual voice to capture a singular American view of childhood. Dissimilar experiences can each sound uniquely American, such as the stability of Patricia Elam's refreshingly functional family, in which "the only thing that distinguished us from the families on Ozzie and Harriet, Leave It to Beaver, and Father Knows Best... was our brown skin"; the quiet confusion of Michael Patrick MacDonald, who "decided that `normal' certainly meant something somewhere out there, beyond... where we lived"; or the poignant isolation of Nina Revoyr as the only Japanese child in Marshfield, Wis. This collection successfully gathers many voices, completing an impassioned picture of growing up in America. Thirty-four authors, including Chang-rae Lee, Alice Walker and John Edgar Wideman, lyrically portray their younger years. Each piece-whether describing the bluffs of Illinois, the movie houses of Paris, Tex., or Christmas in Alabama-illustrate how childhood informs adulthood. As Lisa Page writes, as we age, "the child remains, transcended, often denied, but there all the same, hiding beneath our business suits, our corporate uniforms, the camouflage we wear to communicate our grown-up selves." While most essays are magical, a few are forced and the flow of the anthology suffers from its alphabetical, rather than thematic, organization. But these are easily overlooked flaws in this beautiful compilation that proves that "childhood, of course, never ends." (Oct. 22) Copyright 2003 Reed Business Information. </article><article> <h4>KLIATT</h4>This unique collection of stories, vignettes and scraps of memories from childhood captures what it has been like to grow up in America. The authors come from a wide range of backgrounds and from different parts of America, yet there is a commonality to all of their stories as well as a sense of how distinct each of our childhood experiences are. Some of the authors are well known, such as the editor, Susan Richards Shreve, Anna Quindlen, and Alice Walker, but some of the most poignant writing comes from young authors, like Bich Minh Nguyen, especially those who came to America from a different culture and made the adjustment. Most stories reveal how important it is to be like everyone else as a child, but many are about the moment when the child discovers the importance of being unique. "Foreigner in Marshfield" is an example of how being different often teaches a child important lessons about being yourself. This collection is excellent for many reasons and it attempts to give all races and ethnic backgrounds equal time. KLIATT Codes: JSA*—Exceptional book, recommended for junior and senior high school students, advanced students, and adults. 2003, Houghton Mifflin, Mariner, 223p., Ages 12 to adult. <br> —Nola Theiss </article> <article> <h4>Library Journal</h4>The Children's Defense Fund (CDF) is dedicated to the mission of "leaving no child behind," especially those who are poor, disabled, or minority. This collection of 34 essays, assembled in celebration of the organization's 30th birthday, provides a balanced blend of essays on childhood contributed by such authors as Joyce Carol Oates, Anna Quindlen, and Alice Walker. All of the essays are highly readable and of high quality, even when the contributor is not as well known. And since each piece represents a unique experience, the essays may be read in random order. From the sweetness of Tina McElroy Ansa's "The Center of the Universe" to the poignancy of Alexis Pate's "Innocence Found," the collection teems with memorable narratives. Especially moving are the stories told in the first person, with a hint of nostalgia for childhood. Many feature children living in poverty or with less than ideal parents, but the tone never sinks to cynicism. A foreword by CDF founder and president Edelman rounds out the text. With such a low price and proceeds going to an excellent cause, this work is recommended for all collections.-Jan Brue Enright, Augustana Coll. Lib., Sioux Falls, SD Copyright 2003 Reed Business Information. </article>
154The Best American Short Stories 2005Michael Chabon17<p>Although his novels and short stories have varied in setting -- from the 1940s New York of the Pulitzer Prize-winning <I>The Amazing Adventures of Kavalier & Clay</I> to the contemporary Pittsburgh of <I>The Mysteries of Pittsburgh</I> -- all of Michael Chabon s witty and understated books feature memorable, deftly-drawn characters trying to find their place in the world.</p>Michael Chabon, Katrina Kenisonthe-best-american-short-stories-2005michael-chabon97806184270550618427058$17.98PaperbackHoughton Mifflin HarcourtOctober 2005American Fiction, Short Story Collections (Single Author), Short Story Anthologies, American Literature Anthologies4325.50 (w) x 8.25 (h) x 1.06 (d)<p>The Best American Series First, Best, and Best-Selling</p> <p>The Best American series has been the premier annual showcase for the country's finest short fiction and nonfiction since 1915. Each volume's series editor selects notable works from hundreds of periodicals. A special guest editor, a leading writer in the field, then chooses the very best twenty or so pieces to publish. This unique system has made the Best American series the most respected—and most popular—of its kind.</p> <p>The Best American Short Stories 2005 includes</p> <p>Dennis Lehane • Tom Perrotta • Alice Munro • Edward P. Jones • Joy Williams • Joyce Carol Oates • Thomas McGuane • Kelly Link • Charles D'Ambrosio • Cory Doctorow • George Saunders • and others</p> <p>Michael Chabon, guest editor, is the best-selling author of The Mysteries of Pittsburgh, Wonder Boys, A Model World, and, most recently, The Final Solution. His novel The Amazing Adventures of Kavalier and Clay won the Pulitzer Prize in 2000.</p><p>Introduction</p> <p>Entertainment has a bad name. Serious people, some of whom write short stories, learn to mistrust and even to revile it. The word wears spandex, pasties, a leisure suit studded with blinking lights. It gives off a whiff of Coppertone and dripping Creamsicle, the fake-butter miasma of a movie- house lobby, of karaoke and Jagermeister, Jerry Bruckheimer movies, a Street Fighter machine grunting solipsistically in the corner of an ice-rink arcade, bread and circuses, the Weekly World News. Entertainment trades in cliché and product placement. It sells action figures and denture adhesive. It engages regions of the brain far from the centers of discernment, critical thinking, ontological speculation. It skirts the black heart of life and drowns life’s lambency in a halogen glare. Intelligent people must keep a certain distance from its productions. They must handle the things that entertain them with gloves of irony and postmodern tongs. Entertainment, in short, means junk, and too much junk is bad for you—bad for your heart, your arteries, your mind, your soul.<br> But maybe these intelligent and serious people, my faithful straw men, are wrong. Maybe the reason for the junkiness of so much of what pretends to entertain us is that we have accepted—indeed, we have helped to articulate—such a narrow, debased concept of entertainment. The brain is an organ of entertainment, sensitive at any depth and over a wide spectrum. But we have learned to mistrust and despise our human aptitude for being entertained, and in that sense we get the entertainment we deserve.<br> I’d like to believe that, because I read for entertainment, and I write to entertain. Period. Oh, I could decoct a brew of other, more impressive motivations and explanations. I could uncork some stuff about reader response theory, or the Lacanian parole. I could go on—God knows I’ve done it elsewhere—about the storytelling impulse and the need to make sense of experience through story. A spritz of Jung might scent the air. I could adduce Kafka’s formula, as the brilliant Lorrie Moore did in this space last year, of a book as an axe for the frozen sea within. I could go down to the café at the local mega-bookstore and take some wise words of Abelard or Koestler, about the power of literature, off a mug. But in the end—here’s my point—it would still all boil down to entertainment, and its suave henchman, pleasure. Because when the axe bites the ice, you feel an answering throb of delight all the way from your hands to your shoulders, and the blade tolls like a bell for miles.<br> Therefore I would like to propose expanding our definition of entertainment to encompass everything pleasurable that arises from the encounter of an attentive mind with a page of literature. In so doing I will only be codifying what has, all my life, been my operating definition.<br> Here is a sample, chosen at random from my career as a reader, of encounters that would be covered under my new definition of entertainment: the engagement of the interior ear by the rhythm and pitch of an original prose style; the dawning awareness that giant mutant rat people dwell in the walls of a ruined abbey in England; two hours spent bushwhacking through a densely packed argument about the structures of power as embodied in nineteenth-century prison architecture; the consummation of a great love aboard a lost Amazonian riverboat or in Elizabethan slang; the intricate fractal patterning of motif and metaphor in Nabokov and Neil Gaiman; stories of pirates, zeppelins, sinister children; a thousand-word-long sentence comparing homosexuals to the Jews in a page of Proust; a duel to the death with broadswords on the seacoast of ancient Zingara; the outrageousness of whale slaughter or mule slaughter in Melville or Cormac McCarthy; the outrageousness of Dr. Charles Bovary’s clubfoot- correcting device; the outrageousness of outrage in a page of Philip Roth; words written in smoke across the London sky on a day in June 1923; a momentary gain in my own sense of shared despair, shared nullity, shared rapture, shared loneliness, shared brokenhearted glee; the recounting of a portentous birth, a disastrous wedding, or a midnight deathwatch on the Neva.<br> The original sense of the word entertainment is a lovely one of mutual support through intertwining, like a pair of trees grown together, each sustaining and bearing up the other. It suggests a kind of midair transfer of strength, contact across a void, like the tangling of cable and steel between two lonely bridgeheads. I can’t think of a better approximation of the relation between reader and writer. Derived senses of fruitful exchange, of reciprocal sustenance, of welcome offered, oof grasp and interrelationship, of a slender span of bilateral attention along which things are given and received, still animate ttttthe word in its verb form: we entertain visitors, guests, ideas, prospects, theories, doubts, and grudges.<br> At some point, inevitably, as generations of hosts entertained generations of guests with banquets and feasts and displays of artifice, the idea of pleasure seeped into the pores of the word. And along with pleasure (just as inevitably, I suppose) came disapproval, a sense of hollowness and hangover, the saturnine doubtfulness that attaches to delight and artifice and show—to pleasure, that ambiguous gift. It’s partly the doubtfulness of pleasure that taints the name of entertainment. Pleasure is unreliable and transient. Pleasure is Lucy with the football. It is the roguish boyfriend who upends your heart with promises, touches you for twenty bucks, and then blows town. Pleasure is easily synthesized, mass-produced, individually wrapped. Its benefits do not endure, and so we come to mistrust them, or our taste for them.<br> The other taint is that of passivity. At some point in its history, the idea of entertainment lost its sense of mutuality, of exchange. One either entertains or is entertained, is the actor or the fan. As with all one-way relationships, grave imbalances accrue. The entertainer balloons with a dangerous need for approval, validation, love, and box office; while the one entertained sinks into a passive spectactorship, vacantly munching great big salty handfuls right from the foil bag. We can’t take pleasure in a work of art, not in good conscience, without accepting the implicit intention of the artist to please us. But somewhere along the course of the past century or so, as the great machinery of pleasure came online, turning out products that, however pleasurable, suffer increasingly from the ills of mass manufacture—spurious innovation, inferior materials, alienated labor, and an excess of market research—that intention came to seem suspect, unworthy, and somehow cold and hungry at its core, like the eyes of a brilliant comedian. Lunch counters, muffler shops, dinner theaters, they aim to please; but writers? No self-respecting literary genius, even an occasional maker of avowed entertainments like Graham Greene, would ever describe himself as primarily an “entertainer.” An entertainer is a man in a sequined dinner jacket, singing “She’s a Lady” to a hall filled with women rubber-banding their underpants up onto the stage.<br> Yet entertainment—as I define it, pleasure and all—remains the only sure means we have of bridging, or at least of feeling as if we have bridged, the gulf of consciousness that separates each of us from everybody else. The best response to those who would cheapen and exploit it is not to disparage or repudiate but to reclaim entertainment as a job fit for artists and for audiences, a two-way exchange of attention, experience, and the universal hunger for connection. The short story maps the most efficient path for spanning the chasm between two human skulls. Cartographers employ different types of maps—political, topographic, dot—to emphasize different kinds of information. These different types are complementary; taken together they increase our understanding. In other introductions to other collections of short stories, I have argued for the commonsense proposition that, in constructing our fictional maps, we ought not to restrict ourselves to one type or category. Science fiction, fantasy, crime fiction—all these genres and others have rich traditions in the American short story, reaching straight back to Poe and Hawthorne, our first great practitioners of the form. One of the pioneers of the modern “psychological” short story as we now generally understand it, Henry James, wrote so many out-and-out ghost stories that they fill an entire book. But the same process of commercialization and mass appeal that discredited entertainment, or the idea of literature as entertainment, also devastated our notion of the kinds of short stories that belong in college syllabi, prestigious magazines, or yearly anthologies of the best American short stories (another victory, in my view, for the enemies of pleasure, in their corporate or ivory towers). In spite of this general neglect by the literary mainstream, however, those other traditional genres remain viable and lively and powerful models of the short story, whether in the hands of a daring soul like Kelly Link or those of a crime novelist, like Dennis Lehane, who takes a brilliant chance on the form that brought us some of the best work that Hammett and Chandler ever did.<br> I guess that in the end all this talk of pleasure and entertainment is by way of acknowledging the obvious: I have no idea if these are the twenty best short stories published in the United States during 2004, or not. And neither do you. Or rather, you may feel very strongly that they are not, or that some of the stories here deserve the honor and some don’t. But as you make your assessment—as you judge the product of my judgment—you will be relying, whether consciously, unconsciously, or in full-blown denial, on the same fundamental criterion as that on which I relied: the degree to which each of these stories catches hold of you, banishes everything but the interplay of your imagination and the author’s, your ear and the author’s, your solitude and the author’s. That’s entertainment. Short stories entertain; they aim to please. These are the twenty stories that pleased me best.</p> <p>Copyright © 2005 by Houghton Mifflin. Introduction copyright © 2005 by Michael Chabon. Reprinted by permission of Houghton Mifflin Company.</p><p><p>The Best American Series First, Best, and Best-Selling<p>The Best American series has been the premier annual showcase for the country's finest short fiction and nonfiction since 1915. Each volume's series editor selects notable works from hundreds of periodicals. A special guest editor, a leading writer in the field, then chooses the very best twenty or so pieces to publish. This unique system has made the Best American series the most respected -- and most popular -- of its kind. <p>The Best American Short Stories 2005 includes<p>Dennis Lehane &#149; Tom Perrotta &#149; Alice Munro &#149; Edward P. Jones &#149; Joy Williams &#149; Joyce Carol Oates &#149; Thomas McGuane &#149; Kelly Link &#149; Charles D'Ambrosio &#149; Cory Doctorow &#149; George Saunders &#149; and others<p>Michael Chabon, guest editor, is the best-selling author of The Mysteries of Pittsburgh, Wonder Boys, A Model World, and, most recently, The Final Solution. His novel The Amazing Adventures of Kavalier and Clay won the Pulitzer Prize in 2000. <p></p><h3>Publishers Weekly</h3><p>Chabon reaches out toward genre fiction after all, he writes, a story's delights "all boil down to entertainment, and its suave henchman, pleasure" but he doesn't go so far as to alienate fans of more traditional stories in the lively latest volume of this venerable series. He begins with a Little League baseball story by Tom Perotta ("The Smile on Happy Chang's Face"), arguably a character study but a rousing sports piece too, and Dennis Lehane's "Until Gwen" follows "Your father picks you up from prison in a stolen Dodge Neon, with an 8-ball of coke in the glove compartment and a hooker named Mandy in the back seat" to stir things up a little. Kelly Link contributes an elegant haunted house tale, and Cory Doctorow serves up a "piss-take" on Orson Scott Card's "Ender's Game" with his story of online gaming, "Anda's Game." Stories by Edward P. Jones, Tim Pratt, Charles D'Ambrosio and Tom Bissell skirt genre, too, though Chabon doesn't forget such Best American stalwarts as Alice Munro, Joy Williams, Joyce Carol Oates and newer writers in the more traditional vein. In the big pile of Best Ams, this one holds its own, even if yawn six of the stories come from the august New Yorker. (Oct.) Copyright 2005 Reed Business Information.</p><p>Contents<p>Foreword ix Introduction by Michael Chabon xiii<p>Tom Perrotta. The Smile on Happy Chang&#8217;s Face 1 from Post Road<p>Dennis Lehane. Until Gwen 19 from The Atlantic Monthly<p>Lynne Sharon Schwartz. A Taste of Dust 35 from Ninth Letter<p>Thomas McGuane. Old Friends 43 from The New Yorker<p>J . Robert Lennon. Eight Pieces for the Left Hand 58 from Granta<p>Kelly Link. Stone Animals 67 from Conjunctions<p>Nathaniel Bellows. First Four Measures 109 from The Paris Review<p>Charles D&#8217;Ambrosio. The Scheme of Things 125 from The New Yorker<p>Alice Munro. Silence 149 from The New Yorker<p>Tom Bissell. Death Defier 174 from Virginia Quarterly Review<p>Joy Williams. The Girls 212 from Idaho Review<p>Cory Doctorow. Anda&#8217;s Game 223 from Salon.com<p>Alix Ohlin. Simple Exercises for the Beginning Student 251 from Swink<p>Edward P. Jones. Old Boys, Old Girls 265 from The New Yorker<p>David Means. The Secret Goldfish 288 from The New Yorker<p>Joyce Carol Oates. The Cousins 298 from Harper&#8217;s Magazine<p>David Bezmozgis. Natasha 318 from Harper&#8217;s Magazine<p>Tim Pratt. Hart and Boot 339 from Polyphony<p>Rishi Reddi. Justice Shiva Ram Murthy 356 from Harvard Review<p>George Saunders. Bohemians 374 from The New Yorker<p>Contributors&#8217; Notes 383 100 Other Distinguished Stories of 2004 394 Editorial Addresses of American and Canadian Magazines Publishing Short Stories 398<p><article> <h4>Publishers Weekly</h4>Chabon reaches out toward genre fiction after all, he writes, a story's delights "all boil down to entertainment, and its suave henchman, pleasure" but he doesn't go so far as to alienate fans of more traditional stories in the lively latest volume of this venerable series. He begins with a Little League baseball story by Tom Perotta ("The Smile on Happy Chang's Face"), arguably a character study but a rousing sports piece too, and Dennis Lehane's "Until Gwen" follows "Your father picks you up from prison in a stolen Dodge Neon, with an 8-ball of coke in the glove compartment and a hooker named Mandy in the back seat" to stir things up a little. Kelly Link contributes an elegant haunted house tale, and Cory Doctorow serves up a "piss-take" on Orson Scott Card's "Ender's Game" with his story of online gaming, "Anda's Game." Stories by Edward P. Jones, Tim Pratt, Charles D'Ambrosio and Tom Bissell skirt genre, too, though Chabon doesn't forget such Best American stalwarts as Alice Munro, Joy Williams, Joyce Carol Oates and newer writers in the more traditional vein. In the big pile of Best Ams, this one holds its own, even if yawn six of the stories come from the august New Yorker. (Oct.) Copyright 2005 Reed Business Information. </article> <article> <h4>Kirkus Reviews</h4>The always-excellent Houghton Mifflin "Best," with an entertaining twist. Chabon offers a refreshing defense of "entertainment" in the introduction, arguing that determining the "best" stories is impossible. He instead presents those that simply pleased him most. The collection draws heavily from the requisite publications (the New Yorker, etc.) and the MFA feedline. Up-and-comers are rare. Working through the plentiful fractured-middle-class-family tales, we meet creepy animals (Kelly Link's lovely, haunted "Stone Animals" and David Mean's philosophy-infused "Secret Goldfish") and even creepier people (Joy Williams's razor-sharp strangeness in "The Girls" and Nathaniel Bellows's tender portrait of loneliness and near-pedophilia, "First Four Measures"), as well as more straightforward, beautifully realized characters, from Tom Perotta, Lynne Sharon Schwartz and the short form's impresario, Alice Munro. An equal number of stories feature exiles and the down-and-out and. Of these, Edward P. Jones's gritty, heartfelt prison tale "Old Boys, Old Girls" and Charles D'Ambrosio's spooky, endearing drifters in "The Scheme of Things" are notable, as are the immigrant tales from Rishi Reddi and David Bezmozgis. Linguistic innovation is evident throughout, from Reddi's striking rendition of Indian English to the musical speech of George Saunders's wonderful "Bohemians." Genre-bending also appears throughout, at its best in the Calvino-esque series of parables in J. Robert Lennon's "Eight Pieces for the Left Hand," and the good humor of Tim Pratt's Wild West fantasy "Hart and Boot." Indeed, humor-from black-gallows to gentle chuckles-leavens the entire collection. Even when repetitive (two storiesabout neurotical, sensitive piano-playing young boys?), the offerings are consistently interesting and often wonderfully weird. </article>
155The Stuffed Owl: An Anthology of Bad VerseD.B. Wyndham Lewis0D.B. Wyndham Lewis (Editor), Charles Lee (Editor), D. B. Lewis (Editor), Charles Lee (Editor), Billy Collinsthe-stuffed-owld-b-wyndham-lewis97815901703801590170385$18.19PaperbackNew York Review of BooksMarch 2003Poetry Anthologies, American Poetry, English Poetry, English & Irish Literature Anthologies, American Literature Anthologies2645.00 (w) x 8.00 (h) x 0.70 (d)The editors of this legendary and hilarious anthology write: "It would seem at a hasty glance that to make an anthology of Bad Verse is on the whole a simple matter . . . On the contrary . . . Bad Verse has its canons, like Good Verse. There is bad Bad Verse and good Bad Verse. It has been the constant preoccupation of the compilers to include in this book chiefiy good Bad Verse." Here indeed one finds the best of the worst of the greatest poets of the English language, masterpieces of the maladroit by Dryden, Wordsworth, and Keats, among many others, together with an index ("Maiden, feathered, uncontrolled appetites of, 59;. . . Manure, adjudged a fit subject for the Muse, 91") that is itself an inspired work of folly.<p><P>The editors of this legendary and hilarious anthology write&#58; &quot;It would seem at a hasty glance that to make an anthology of Bad Verse is on the whole a simple matter . . . On the contrary . . . Bad Verse has its canons, like Good Verse. There is bad Bad Verse and good Bad Verse. It has been the constant preoccupation of the compilers to include in this book chiefiy good Bad Verse.&quot; Here indeed one finds the best of the worst of the greatest poets of the English language, masterpieces of the maladroit by Dryden, Wordsworth, and Keats, among many others, together with an index (&quot;Maiden, feathered, uncontrolled appetites of, 59;. . . Manure, adjudged a fit subject for the Muse, 91&quot;) that is itself an inspired work of folly.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT">vii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Proem</TD><TD WIDTH="10%" ALIGN="RIGHT">xxi</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hors-d'CEuvre--I</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hors-d'CEuvre--II</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Archangel's Toilet</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yoicks! Gone Away!</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Body: A Fancy</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Doubt</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "Nature's Dessert"</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Posset for Nature's Breakfast</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Return of Charles II</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The English Fleet Goes Out</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Faculty at Work</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Account Rendered</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wonder</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Short Curse</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On His Mistress Drowned</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heavy Going</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blue Pencil</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ode upon the New Year</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Chase of the Metaphor</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the Psalms</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the Book of Job</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Crystal Palaces</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Possibilities</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rosamond's Song</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">King Henry's Song</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Gunston is Shown round Heaven</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Polyglot in Paradise</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Mead, Mr. Bates, and Mr. Gouge</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mrs. Warner Arrives Above</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Landing of William III</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the New Year's Ode, 1731</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the Birthday Ode, 1732</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Another, 1743</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Salute to Property</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ode to Miss Margaret Pulteney</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To the Right Hon. Robert Walpole, Esq.</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature Queries</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rustic Interior</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Advice to the Stout</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gastric Muse</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Washing</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Feather Beds</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Submarine Jaunt</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seascape</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Runcible Thought</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sting Her Up!"</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the "Ode to the King"</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "Ocean, an Ode"</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To a Solemn Musick</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Final Paean</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ye Nations, Tremble! Parliament has Met</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">With a Yo, Ho, Ho</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La Pudeur Francaise</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pastoral</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Insensible Hottentot</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The House Beautiful</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leeds for Pleasure</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Home Industries First</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Goats and Botanists</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Chase of Jessy</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Le Spleen</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bryan and Pereene</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crescendo</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Shame of France</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Advice to Slave-Owners</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Call to the Muse</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Of George, and Property</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Il Latte</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hops and Props</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Nail in the Grass</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Entry of the Villagers</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cause and Effect</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Sombre Moment</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Females, Sacred and Profane</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eliza at the Battle</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fine Figure of a Nymph</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Ae Fond Kiss, and Then</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Maiden Truffle</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Birth of KNO[subscript 2]</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Baker is Well</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miss Hoyland is Coy</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Smith is Dead</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Business Man's Lair</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Baileys</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Bright Morning</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Invitation to the Waltz</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Verses on the Death of Sir James Hunter Blair</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy Written after reading the "Sorrows of Werter"</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rush to the Lakes</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some Terrify Lions</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Poet is Piqued</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tiff</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Off Duty</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Well-Aimed Tear</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moods</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notice to Tourists</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Temple of Chastity</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Vest of Myrtle</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Virtue Protests</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ratiocinative</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Affectionate Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">George III Enters Paradise</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lovers' Exchange</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Domestic Chat</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"What with This and That--"</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aphrodite Adiposa</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Evening Stroll</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Evening Sin</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Britannia Rejecta</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tear</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Prisoner Scolds</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Caesar Sings</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Odd Case of Mr. Gill</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">(Oxford Street?)</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Aged, Aged Man</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Asked and Answered</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Old Huntsman</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Poet Reveals All</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baffled</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Course Prescribed</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Mother's Quest</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Insensibility</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stuffed Owl</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Decadence; or, The Umbrella</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Worm's Life Not Everything</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Experiment that Failed</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Some Ladies</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Female Friend</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The First-Rate Wife</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Unfortunate Gentleman</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "The Rose-Covered Grave"</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Catastrophe</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Poet Questions the Ant</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">And So Home</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Contretemps</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Proximities</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Once-Over</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Get-Together Song</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Efficiency</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Oh, No! We Never Mention Her</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Something to Love</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm Saddest When I Sing</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Soldier's Tear</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'd be a Butterfly</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Insect Affection</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marine Vignette</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Request</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fore and Aft</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Earl and the Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Challenge</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Only a Thought</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prone</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bridal Ballad</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eulalie</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miss Adair</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miss Lee</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Call</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "The Vigil of Aiden"</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snoblesse Oblige</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excelsior</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lord Stanhope's Steamer</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Cork Packet, 1837</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Great Western Days</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Death of Huskisson</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roses All the Way</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Railway Boom, 1845</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lesson for the Proud</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vision of the World, regenerated by the Gospel and the Power of Steam</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trombone Solo</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Live and Let Live</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Becalmed in the Tropics</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Thought</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "The Old Arm-Chair"</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Entry of the Marines</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Thought</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Incident in Italy</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Passing of Arthur</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paean</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Portrait of a Victorian Author</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Marriage Market</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Poor Relation; or, Pious Hope Frustrated</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Art of Giving (1850)</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Beelah Viaduct</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Haloes, Not Hats</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mentem Mortalia Tangunt</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Timely Hint</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Check to Song</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Financial Note</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Count and the Lady</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sordid Scene</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Divine Mission</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Disaster at Sea</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A State Occasion</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Good Young Squire</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Graceful Divine</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lisp in Numbers</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "Ashtaroth," a Drama</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fight in the Cave</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Warning</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Steam: The Seamy Side</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Byron: A Critical Survey</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Noble Structure</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hic Finis Rapto</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Poet is Scornful</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Call (1876)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Anti-Bacchics</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ode Sung at the Opening of the International Exhibition</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lord of Burleigh</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ocean-Spoil Alive, O!</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Riflemen Form</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Iphigenia in Extremis</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Postprandial</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Subject Index</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Authors</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD></TABLE>
156The American Tradition in Literature, Volume 2 (book alone)George Perkins0<p><P>George Perkins is Professor of English at Eastern Michigan University and an Associate Editor of<P>Narrative. He holds degrees from Tufts and Duke universities and received his Ph.D. from Cornell.<P>He has been a Fulbright Lecturer at the University of Newcastle in Australia and has held a Fellowship at the Institute for Advanced Studies in the Humanities at the University of Edinburgh. In addition to Newcastle and Edinburgh, he has taught at Washington University, Baldwin-Wallace College and Fairleigh Dickinson University. His books include THE THEORY OF THE AMERICAN NOVEL, REALISTIC AMERICAN SHORT FICTION, AMERICAN POETIC THEORY, THE HARPER HANDBOOK TO LITERATURE (with Northrup Frye and Sheridan Baker), THE PRACTICAL<P>IMAGINATION (with Frye, Baker and Barbara Perkins), BENET'S READER'S ENCYCLOPEDIA OF AMERICAN LITERATURE (with Barbara Perkins), KALEIDOSCOPE&#58; Stories of the American<P>Experience (with Barbara Perkins), WOMEN'S WORK; An Anthology of American Literature (with<P>Barbara Perkins and Robyn Warhol), and THE AMERICAN TRADITION IN LITERATURE, 9TH edition <P>(with Barbara Perkins).<P>Barbara Perkins is Adjunct Professor of English at the University of Toledo and Associate Editor of Narrative. Since its founding, she has served as Secretary-Treasurer of the Society for the Study of Narrative Literature. She received her Ph.D. from the University of Pennsylvania and has taught at Baldwin-Wallace College, The University of Pennsylvania, Fairleigh Dickinson University, Eastern Michigan University, and the University of Newcastle, Australia. She has contributed essays to several reference works including CONTEMPORARY NOVELISTS, GREAT WRITERS OF THE ENLGISH LANGUAGE, and THE WORLD BOOK ENCYCLOPEDIA. Her books include CONTEMPORARY AMERICAN LITERATURE (with George Perkins), BENET'S READER'S ENCYCLOPEDIA OF<P>AMERICAN LITERATURE (with George Perkins and Phillip Leininger), KALEIDOSCIPE&#58; Stories<P>Of the American Experience (with George Perkins), WOMEN'S WORK&#58; An Anthology of American Literature (with George Perkins and Robyn Warhol) and THE AMERICAN TRADITION IN LITERATURE, 9th edition (with George Perkins).</p>George Perkins, Barbara Perkinsthe-american-tradition-in-literature-volume-2george-perkins97800772390530077239059$104.07PaperbackMcGraw-Hill Companies, TheOctober 200812nd EditionAmerican Literature Anthologies21606.00 (w) x 9.10 (h) x 2.00 (d)<p>Widely known as the anthology that best unites tradition with innovation, The American Tradition in Literature is proud to enter its fifth decade of leadership among textbook anthologies of American literature.</p> <p>Each volume continues to offer a flexible organization, with literary merit as the guiding principle of selection. The new photos and illustrations illuminate the texts and literary/historical timelines help students put works in context.</p><p><P>Widely known as the anthology that best unites tradition with innovation, The American Tradition in Literature is proud to enter its fifth decade of leadership among textbook anthologies of American literature.<P>Each volume continues to offer a flexible organization, with literary merit as the guiding principle of selection. The new photos and illustrations illuminate the texts and literary/historical timelines help students put works in context.</p><P>List of illustrations</p>Preface<br><br>AN AGE OF EXPANSION, 1865-1910</p>From Romanticism to Realism </p>Regionalism </p>The Gilded Age </p>Timeline: An Age of Expansion </p>NEW VOICES IN POETRY</p>WALT WHITMAN (1819&#8211;1892) </p>Song of Myself </p>I Saw in Louisiana a Live-Oak Growing </p>Crossing Brooklyn Ferry </p>Out of the Cradle Endlessly Rocking </p>When I Heard the Learn'd Astronomer </p>Cavalry Crossing a Ford </p>When Lilacs Last in the Dooryard Bloom'd </p>To a Common Prostitute </p>A Noiseless Patient Spider </p>EMILY DICKINSON (1830-1886) </p>49 [I never lost as much but twice] </p>67 [Success is counted sweetest] </p>130 [These are the days when Birds come back&#8212;] </p>214 [I taste a liquor never brewed&#8212;] </p>241 [I like a look of Agony] </p>249 [Wild Nights&#8212;Wild Nights!] </p>252 [I can wade Grief&#8212;] </p>258 [There's a certain Slant of light] </p>280 [I felt a Funeral, in my Brain] </p>285 [The Robin's my Criterion for Tune&#8212;] </p>288 [I'm Nobody! Who are you?] </p>290 [Of Bronze&#8212;and Blaze&#8212;] </p>303 [The Soul selects her own Society&#8212;] </p>320 [We play at Paste&#8212;] </p>324 [Some keep the Sabbath going to Church] </p>328 [A Bird came down the Walk&#8212;] </p>341 [After great pain, a formal feeling comes&#8212;] </p>376 [Of Course&#8212;I prayed&#8212;] </p>401 [What Soft&#8212;Cherubic Creatures&#8212;] </p>435 [Much Madness is divinest Sense&#8212;] </p>441 [This is my letter to the World] </p>448 [This was a Poet&#8212;It is That] </p>449 [I died for Beauty&#8212;but was scarce] </p>465 [I heard a Fly buzz&#8212;when I died&#8212;] </p>511 [If you were coming in the Fall] </p>556 [The Brain, within its Groove] </p>579 [I had been hungry, all the Years&#8212;]</p>585 [I like to see it lap the Miles&#8212;] </p>632 [The Brain&#8212;is wider than the Sky&#8212;] </p>636 [The Way I read a Letter's&#8212;this&#8212;] </p>640 [I cannot live with You&#8212;] </p>650 [Pain&#8212;has a Element of Blank&#8212;] </p>657 [I dwell in Possibility&#8212;] </p>712 [Because I could not stop for Death&#8212;] </p>732 [She rose to His Requirement&#8212;dropt] </p>754 [My Life had stood&#8212;a Loaded Gun&#8212;] </p>816 [A Death blow is a Life blow to Some] </p>823 [Not what We did, shall be the test] </p>986 [A narrow Fellow in the Grass] </p>1052 [I never saw a Moor&#8212;] </p>1078 [The Bustle in a House] </p>1082 [Revolution is the Pod] </p>1100 [The last Night that She lived] </p>1129 [Tell all the Truth but tell it slant&#8212;] </p>1207 [He preached upon "Breadth" till it argued him narrow&#8212;] </p>1263 [There is no Frigate like a Book] </p>1304 [Not with a Club, the Heart is broken] </p>1463 [A Route of Evanescence] </p>1540 [As imperceptibly as Grief] </p>1587 [He ate and drank the precious Words&#8212;] </p>1624 [Apparently with no surprise] </p>1732 [My life closed twice before its close&#8212;] </p>1760 [Elysium is as far as to] <br><br></p>CROSSCURRENTS: Freedom in the Gilded Age </p>WALT WHITMAN (1819&#8211;1892) </p>From Democratic Vistas </p>HENRY ADAMS (1838&#8211;1918) </p>From The Education of Henry Adams</p>Chapter XVII: President Grant (1869) </p>GEORGE WASHINGTON CABLE (1844&#8211;1915) </p>From The Freedman&#8217;s Case in Equity </p>[The Perpetual Alien] </p>BOOKER T. WASHINGTON (1856&#8211;1915) </p>From Up from Slavery </p>The Struggle for an Education <br><br>REALISM AND NATURALISM, 1880&#8211;1920</p>Realism</p>Spiritual Unrest </p>Naturalism </p>Timeline: The Turn of the Century </p>LOUISA MAY ALCOTT (1832-1888) </p>From Little Women </p>Playing Pilgrims </p>A Merry Christmas </p>The Laurence Boy </p>MARK TWAIN (1835-1910) </p>The Notorious Jumping Frog of Calaveras County </p>From Roughing It </p>[When the Buffalo Climbed a Tree] </p>From Life on the Mississippi </p>The Boys' Ambition </p>[A Mississippi Cub-Pilot] </p>Adventures of Huckleberry Finn </p>How to Tell a Story </p>The Man That Corrupted Hadleyburg </p>WILLIAM DEAN HOWELLS (1837-1920) </p>From Criticism and Fiction </p>Chapter II [The True Standard of the Arts] </p>Chapter XIII [How Can an Art Decay?] </p>Chapter XXI [American and Old World Novelists] </p>Chapter XXIV [The Prudishness of the Anglo-Saxon Novel] </p>Editha </p>HENRY JAMES (1843-1916) </p>Daisy Miller </p>The Real Thing </p>The Beast in the Jungle </p>The Art of Fiction </p>BRET HARTE (1836-1902) </p>The Outcasts of Poker Flat </p>RED CLOUD (c. 1822-1909) </p> [All I Want Is Peace and Justice] </p>SARAH WINNEMUCCA HOPKINS (1844-1891) </p>From Life among the Piutes </p>Chapter 1: First Meeting of Piutes and Whites </p>AMBROSE BIERCE (1842-1914?) </p>*Chickamauga</p>GEORGE WASHINGTON CABLE (1844-1925) </p>Belles Demoiselles Plantation </p>JOEL CHANDLER HARRIS (1848-1908) </p>The Wonderful Tar-Baby Story </p>Mr. Rabbit Finds His Match at Last </p>HENRY ADAMS (1838-1918) </p>The Dynamo and the Virgin </p>SARAH ORNE JEWETT (1849-1909) </p>A White Heron </p>KATE CHOPIN (1851-1904) </p>The Story of an Hour </p>The Awakening </p>MARY E. WILKINS FREEMAN (1852-1930) </p>The Revolt of "Mother" </p>CHARLES W. CHESNUTT (1858-1932) </p>The Passing of Grandison </p>ABRAHAM CAHAN </p>*A Ghetto Wedding <br><br></p>CROSSCURRENTS: Prosperity and Social Justice at the Turn of the Century </p>ANDREW CARNEGIE (1835&#8211;1919) </p>From Wealth </p>STEPHEN CRANE (1871&#8211;1900) </p>The Trees in the Garden Rained Flowers </p>WILLIAM VAUGHN MOODY (1869&#8211;1910) </p>Gloucester Moors </p>On Soldier Fallen in the Philippines </p>ZITKALA-SA (1876&#8211;1938) </p>Retrospection </p>W. E. B. DU BOIS (1868&#8211;1963) </p>From The Souls of Black Folk </p>Of Mr. Booker T. Washington and Others <br><br></p>HAMLIN GARLAND (1860-1940) </p>Under the Lion's Paw </p>CHARLOTTE PERKINS GILMAN (1860-1935) </p>The Yellow Wallpaper </p>FRANK NORRIS (1870-1902) </p>A Plea for Romantic Fiction </p>STEPHEN CRANE (1871-1900) </p>A God in Wrath </p>Once I Saw Mountains Angry </p>A Man Saw a Ball of Gold in the Sky </p>God Lay Dead in Heaven </p>Do Not Weep, Maiden, for War Is Kind </p>The Wayfarer </p>A Man Said to the Universe </p>Maggie: A Girl of the Streets </p>The Open Boat </p>PAUL LAURENCE DUNBAR (1872-1906) </p>We Wear the Mask </p>A Death Song </p>Life's Tragedy </p>At the Tavern </p>Sympathy </p>EDITH WHARTON (1862-1937) </p>The Muse's Tragedy </p>Roman Fever </p>THEODORE DREISER (1871-1945) </p>The Second Choice </p>EDITH MAUD EATON (SUI SIN FAR) (1865&#8211;1914) </p>In the Land of the Free </p>JACK LONDON (1876-1916) </p>To Build a Fire <br><br>LITERARY RENAISSANCE, 1910-1930</p>Twentieth-Century Renaissance </p>Poetry between the Wars </p>Timeline: Literary Renaissance </p>NEW DIRECTIONS: THE FIRST WAVE</p>EDWIN ARLINGTON ROBINSON (1869-1935)</p>Luke Havergal </p>The House on the Hill </p>Richard Cory </p>Miniver Cheevy </p>Eros Turannos </p>Mr. Flood's Party </p>The Mill </p>Firelight </p>New England </p>WILLA CATHER (1873-1947) </p>Neighbour Rosicky </p>ELLEN GLASGOW (1873-1945) </p>Jordan's End </p>GERTRUDE STEIN (1873-1945)</p>From Tender Buttons</p>From The Making of Americans</p>JOHN MILTON OSKISON (1874&#8211;1947) </p>The Problem with Old Harjo </p>EDGAR LEE MASTERS (1868-1950) </p>Petit, the Poet </p>Elsa Wertman </p>Hamilton Greene </p>Carl Hamblin </p>Lucinda Matlock </p>Davis Matlock </p>ROBERT FROST (1874-1946) </p>The Tuft of Flowers </p>Mending Wall </p>The Death of the Hired Man </p>Home Burial </p>After Apple-Picking </p>The Wood-Pile </p>The Road Not Taken </p>The Oven Bird </p>Birches </p>The Hill Wife </p>The Ax-Helve </p>Fire and Ice </p>Stopping by Woods on a Snowy Evening </p>Desert Places </p>Design </p>Come In </p>Directive </p>CARL SANDBURG (1878-1967) </p>*Chicago</p>Fog </p>Nocturne in a Deserted Brickyard </p>Gone </p>A Fence </p>Grass </p>Southern Pacific </p>Washerwoman</p>SHERWOOD ANDERSON (1876-1941) </p>The Book of the Grotesque </p>Adventure </p>SUSAN GLASPELL (1876?-1948) </p>Trifles </p>EZRA POUND (1885-1972) </p>The River-Merchant's Wife: A Letter </p>From A Pact </p>In a Station of the Metro </p>Hugh Selwyn Mauberley </p>From The Cantos </p>I: [And then went down to the ship] </p>XIII: [Kung walked] </p>From LXXXI: [What thou lovest well remains] </p>CXVI: [Came Neptunus] </p>T. S. ELIOT (1888-1965) </p>The Love Song of J. Alfred Prufrock </p>Gerontion </p>The Waste Land </p>The Hollow Men </p>AMY LOWELL (1874-1925) </p>Patterns </p>A Decade </p>Meeting-House Hill </p>ELINOR WYLIE (1885-1928) </p>Wild Peaches </p>Sanctuary </p>Prophecy </p>Let No Charitable Hope </p>O Virtuous Light </p>H. D. (HILDA DOOLITTLE) (1886-1961) </p>Heat </p>Heliodora </p>Lethe </p>Sigil </p>POETS OF IDEA AND ORDER</p>WALLACE STEVENS (1879-1955) </p>Peter Quince at the Clavier </p>Disillusionment of Ten O'Clock </p>Sunday Morning </p>Depression before Spring </p>Ploughing on Sunday </p>Anecdote of the Jar </p>The Snow Man </p>Bantams in Pine-Woods </p>A High-Toned Old Christian Woman </p>The Emperor of Ice-Cream </p>To the One of Fictive Music </p>The Idea of Order at Key West </p>A Postcard from the Volcano </p>Of Modern Poetry </p>No Possum, No Sop, No Taters </p>The Plain Sense of Things </p>Of Mere Being </p>WILLIAM CARLOS WILLIAMS (1883-1963) </p>The Young Housewife </p>Tract </p>To Mark Anthony in Heaven </p>Portrait of a Lady </p>Queen-Anne's-Lace </p>The Great Figure </p>Spring and All </p>The Red Wheelbarrow </p>This Is Just to Say </p>A Sort of a Song </p>The Dance </p>The Ivy Crown </p>MARIANNE MOORE (1887-1972) </p>Poetry </p>In the Days of Prismatic Color </p>An Egyptian Pulled Glass Bottle in the Shape of a Fish </p>No Swan So Fine </p>The Pangolin </p>The Mind Is an Enchanting Thing </p>In Distrust of Merits </p>A Jelly-Fish </p>JOHN CROWE RANSOM (1888-1974) </p>Winter Remembered </p>Bells for John Whiteside's Daughter </p>Blue Girls </p>Antique Harvesters </p>HART CRANE (1899-1932) </p>At Melville's Tomb </p>From The Bridge </p>To Brooklyn Bridge </p>Van Winkle</p>The River </p>The Tunnel<br>A LITERATURE OF SOCIAL AND CULTURAL CHALLENGE, 1920-1945</p>Drama between the Wars </p>Primitivism </p>The Roaring Twenties and the Lost Generation </p>The Harlem Renaissance </p>Depression and Totalitarian Menace </p>Timeline: A Literature of Social and Cultural Challenge </p>EUGENE O'NEILL (1888-1953) </p>The Hairy Ape </p>ROBINSON JEFFERS (1887-1962) </p>To the Stone-Cutters </p>Roan Stallion </p>Shine, Perishing Republic </p>Hurt Hawks </p>The Purse-Seine </p>CLAUDE MCKAY (1889-1948) </p>The Harlem Dancer </p>Harlem Shadows </p>America </p>Outcast </p>EDNA ST. VINCENT MILLAY (1892-1950) </p>First Fig </p> [I Shall Go Back Again to the Bleak Shore] </p> [What Lips My Lips Have Kissed, and Where, and Why] </p> [She Had a Horror He Would Die at Night] </p>Justice Denied in Massachusetts </p> [This Beast That Rends Me in the Sight of All] </p> [Since of No Creature Living the Last Breath] </p> [Love Is Not All: It Is Not Meat Nor Drink] </p> [Even in the Moment of Our Earliest Kiss] </p> [Those Hours When Happy Hours Were My Estate] </p> [I Will Put Chaos into Fourteen Lines] </p>E. E. CUMMINGS (1894-1962) </p>Thy Fingers Make Early Flowers Of </p>When God Lets My Body Be </p>In Just-</p>Buffalo Bill's </p>My Sweet Old Etcetera </p>I Sing of Olaf Glad and Big </p>If There Are Any Heavens </p>Somewhere I Have Never Traveled, Gladly Beyond </p>Anyone Lived in a Pretty How Town </p>My Father Moved through Dooms of Love </p>Up into the Silence the Green </p>Plato Told </p>When Serpents Bargain for the Right to Squirm </p>I Thank You God <br><br></p>CROSSCURRENTS: The Jazz Age and the Harlem Renaissance </p>JAMES WELDON JOHNSON (1871&#8211;1938) </p> [Negro Dialect] </p>PAUL ROBESON (1898- 1976) </p>Reflections on O'Neill's Plays </p>LANGSTON HUGHES (1902&#8211;1967) </p>When the Negro Was in Vogue </p>ST. JAMES INFIRMARY BLUES <br><br></p>JEAN TOOMER (1894-1967) </p>Karintha </p>Reapers </p>November Cotton Flower </p>COUNTEE CULLEN (1903-1946) </p>Yet Do I Marvel </p>Heritage </p>For My Grandmother </p>For a Lady I Know </p>LANGSTON HUGHES (1902-1967) </p>The Negro Speaks of Rivers </p>The Weary Blues </p>Song for a Dark Girl </p>Trumpet Player </p>Dream Boogie </p>Motto </p>Green Memory </p>Harlem </p>F. SCOTT FITZGERALD (1896-1940) </p>Babylon Revisited </p>JOHN DOS PASSOS (1896-1970) </p>From The 42nd Parallel </p>Big Bill </p>From 1919 </p>The House of Morgan </p>The Body of an American </p>From The Big Money </p>Newsreel LXVI </p>The Camera Eye (50) </p>Vag </p>WILLIAM FAULKNER (1897-1962) </p>That Evening Sun </p>Barn Burning </p>ERNEST HEMINGWAY (1899-1961)</p>Big Two-Hearted River: Part I </p>Big Two-Hearted River: Part II </p>THOMAS WOLFE (1900-1938)</p>An Angel on the Porch </p>KATHERINE ANNE PORTER (1890-1980) </p>The Jilting of Granny Weatherall </p>ZORA NEALE HURSTON (1891-1960) </p>From Their Eyes Were Watching God </p>[The Yellow Mule] </p>JOHN STEINBECK (1902-1968) </p>The Chrysanthemums </p>RICHARD WRIGHT (1908-1960) </p>From Black Boy </p>[A Five Dollar Fight] </p>WOODY GUTHRIE (1912-1967) </p>This Land Is Your Land </p>Pastures of Plenty </p>The Sinking of the Reuben James </p>Hard Travelin&#8217; </p>Plane Wreck at Los Gatos <br>THE SECOND WORLD WAR AND ITS AFTERMATH, 1945-1973</p>Postwar Drama </p>Postwar Poetry </p>Postwar Fiction </p>Multiculturalism </p>The Postmodern Impulse </p>Timeline: The Second World War and Its Aftermath </p>DRAMA</p>TENNESSEE WILLIAMS (1911-1983) </p>The Glass Menagerie </p>ARTHUR MILLER (1915- ) </p>Death of a Salesman </p>EDWARD ALBEE (1928&#8211; ) </p>The American Dream <br><br></p>CROSSCURRENTS: The Age of Anxiety&#8212;The Beat Generation and Social Responsibilities</p>JACK KEROUAC</p>*From On the Road</p>JOHN CLELLON HOLMES (1926&#8211;1988) </p>From The Philosophy of the Beat Generation </p>DWIGTH D. EISENHOWER</p> [The Military Industrial Complex]</p>RACHEL CARSON</p>From Silent Spring</p>MARTIN LUTHER KING, JR (1929&#8211;1968) </p>I Have a Dream</p>POETRY</p>ROBERT PENN WARREN (1905-1989) </p>History among the Rocks </p>Founding Fathers, Nineteenth-Century Style, Southeast U.S.A. </p>Blow, West Wind </p>THEODORE ROETHKE (1908-1963) </p>Open House </p>Cuttings (later) </p>My Papa's Waltz </p>Elegy for Jane </p>The Waking </p>I Knew a Woman </p>The Far Field </p>Wish for a Young Wife </p>In a Dark Time </p>ELIZABETH BISHOP (1911-1979) </p>The Fish </p>At the Fishhouses </p>Questions of Travel </p>The Armadillo </p>Sestina </p>In the Waiting Room </p>One Art </p>CZESLAW MILOSZ (1911-2004) </p>Campo dei Fiori </p>Fear </p>Caf&#233; </p>In Warsaw </p>Ars Poetica? </p>To Raja Rao </p>With Her</p>ROBERT HAYDEN (1913&#8211;1980) </p>Tour 5 </p>Those Winter Sundays </p>Year of the Child </p>JOHN BERRYMAN (1914-1972) </p>From THE DREAM SONGS: </p>1 [Huffy Henry hid the day] </p>4 [Filling her compact & delicious body] </p>14 [Life, friends, is boring. We must not say so] </p>29 [There sat down, once, a thing on Henry's heart] </p>76 [Henry's Confession] </p>145 [Also I love him: me he's done no wrong] </p>153 [I'm cross with god who has wrecked this generation] </p>384 [The marker slants, flowerless, day's almost done] </p>385 [My daughter's heavier. Light leaves are flying] </p>WILLIAM STAFFORD (1914-1993) </p>Before the Big Storm </p>Judgments </p>One Home </p>The Farm on the Great Plains </p>GWENDOLYN BROOKS (1917-2000) </p>a song in the front yard </p>The Bean Eaters </p>We Real Cool </p>The Lovers of the Poor </p>ROBERT LOWELL (1917-1977) </p>Sailing Home from Rapallo </p>Waking in the Blue </p>*Memories of West Street and Lepke </p>Skunk Hour </p>The Neo-Classical Urn </p>For the Union Dead </p>For Theodore Roethke </p>Reading Myself </p>Epilogue </p>RICHARD WILBUR (1921- ) </p>The Beautiful Changes </p>Museum Piece </p>The Death of a Toad </p>Love Calls Us to the Things of This World </p>JAMES DICKEY (1923-1997) </p>The Lifeguard </p>Cherrylog Road </p>The Shark's Parlor </p>DENISE LEVERTOV (1923- ) </p>The Third Dimension </p>To the Snake </p>The Room </p>The Willows of Massachusetts </p>Living </p>A. R. AMMONS (1926-2001) </p>Corsons Inlet </p>Cascadilla Falls </p>Poetics </p>ROBERT BLY (1926- ) </p>Driving toward the Lac Qui Parle River </p>Driving to Town Late to Mail a Letter </p>Watering the Horse </p>The Executive's Death </p>Looking at New-Fallen Snow from a Train </p>ALLEN GINSBERG (1926-1997) </p>A Supermarket in California </p>Howl </p>America </p>FRANK O'HARA (1926-1966) </p>Why I Am Not a Painter </p>A True Account of Talking to the Sun at Fire Island </p>The Day Lady Died </p>Ave Maria </p>SYLVIA PLATH (1932-1963) </p>Morning Song </p>The Rival </p>The Arrival of the Bee Box </p>The Applicant </p>Daddy </p>Lady Lazarus </p>Death & Co </p>Child </p>Mystic </p>AMIRI BARAKA (1934- ) </p>In Memory of Radio </p>An Agony As Now </p>BOB DYLAN (1945&#8211; ) </p>Blowin&#8217; in the Wind </p>A Hard Rain&#8217;s A-Gonna Fall </p>The Times They Are A-Changin&#8217; </p>Mr. Tambourine Man </p>Like a Rolling Stone </p>PROSE</p>EUDORA WELTY (1909-2001) </p>A Memory</p>VLADIMIR NABOKOV (1899-1977) </p>From Pnin </p>Chapter Five [Pnin at the Pines] </p>ISAAC BASHEVIS SINGER (1904-1991) </p>Gimpel the Fool</p>JOHN CHEEVER (1912-1982) </p>The Swimmer </p>RALPH ELLISON (1914- ) </p>From Invisible Man </p>Chapter 1 [Battle Royal] </p>BERNARD MALAMUD (1914-1986) </p>The Mourners </p>SAUL BELLOW (1915- ) </p>A Silver Dish </p>JAMES BALDWIN (1924-1987) </p>Sonny's Blues </p>FLANNERY O'CONNOR (1925-1964) </p>Good Country People </p>JOHN BARTH (1930- ) </p>Lost in the Funhouse </p>JOHN UPDIKE (1932- ) </p>Separating </p>PHILIP ROTH (1933- ) </p>The Conversion of the Jews </p>THOMAS PYNCHON (1937&#8211; ) </p>Entropy<br><br>A CENTURY ENDS AND A NEW MILLENNIUM BEGINS, 1975-PRESENT</p>Drama </p>Poetry </p>Fiction </p>Multiculturalism </p>Globalization</p>Timeline: A Century Ends and a New Millennium Begins </p>DRAMA</p>SAM SHEPARD (1943- ) </p>True West </p>AUGUST WILSON (1945&#8211; ) </p>Fences<br><br></p>CROSSCURRENTS: What Is an American? Freedom and Responsibility</p>BOB DYLAN (1941- )</p>Masters of War </p>NORMAN MAILER (1923-2007)</p>*From Armies of the Night</p>BETTY FRIEDAN</p>The Problem That Has No Name</p>TIM O&#8217;BRIEN (1946&#8211; ) </p>The Things They Didn&#8217;t Know</p>AL GORE (1948&#8211; ) </p>*From An Inconvenient Truth<br><br></p>POETRY</p>W.S. MERWIN (1927- ) </p>The Drunk in the Furnace </p>The Last One </p>Vision </p>Trees </p>JAMES WRIGHT (1927-1980) </p>A Note Left in Jimmy Leonard's Shack </p>Autumn Begins in Martins Ferry, Ohio </p>In Terror of Hospital Bills </p>Two Postures beside a Fire </p>JAMES MERRILL (1926-1995) </p>A Timepiece </p>Charles on Fire </p>The Broken Home </p>Samos </p>JOHN ASHBERY (1927- ) </p>Some Trees </p>The Painter </p>Crazy Weather </p>A Prison All the Same </p>The Desperado </p>At North Farm </p>Down by the Station, Early in the Morning </p>ANNE SEXTON (1928-1974) </p>Her Kind </p>The Farmer's Wife </p>The Truth the Dead Know </p>With Mercy for the Greedy </p>ADRIENNE RICH (1929- ) </p>Aunt Jennifer's Tigers </p>Living in Sin </p>Necessities of Life </p>Diving into the Wreck </p>For the Dead </p>For the Record </p>GARY SNYDER (1930- ) </p>The Late Snow & Lumber Strike of the Summer of Fifty-Four </p>Riprap </p>Not Leaving the House </p>Axe Handles </p>MARY OLIVER (1935- ) </p>In Blackwater Woods </p>The Ponds </p>Picking Blueberries, Austerlitz, New York, 1957 </p>Early Morning, New Hampshire </p>Yes! No! </p>JAY WRIGHT (1935- ) </p>A Month in the Country </p>Preparing to Leave Home </p>From Boleros</p>35 Indian Pond </p>The Buried Barn's Own Nocturne </p>CHARLES SIMIC (1938- ) </p>Fear </p>Bestairy for the Fingers of My Right Hand </p>Fork </p>Euclid Avenue </p>Prodigy </p>My Weariness of Epic Proportions </p>JOSEPH BRODSKY (1940-1996) </p>From Lullaby of Cape Cod </p>IV [The change of Empires is intimately tied] </p>Belfast Tune </p>A Song </p>To My Daughter</p>SIMON J. ORTIZ (1941- ) </p>Vision Shadows </p>Poems from the Veterans Hospital </p>8:50 AM Ft. Lyons VAH </p>Travelling </p>From From Sand Creek </p>[At the Salvation Army] </p>RITA DOVE (1952- ) </p>Champagne </p>&#214; </p>Dusting </p>Roast Possum </p>LORNA DEE CERVANTES (1954- ) </p>Poem for the Young White Man Who Asked Me How I, an Intelligent, Well-Read </p>Person, Could Believe in a War Between the Races </p>For Virginia Chavez </p>Emplumadu </p>CATHY SONG (1955- ) </p>Picture Bride </p>Heaven </p>Immaculate Lives </p>LI-YOUNG LEE (1957&#8211; ) </p>I Ask My Mother to Sing </p>The Gift </p>The Hammock </p>Restless </p>PROSE</p>JOYCE CAROL OATES (1938- ) </p>Where Are You Going, Where Have You Been? </p>NASH CANDELARIA (1928- ) </p>El Patr&#243;n </p>TONI MORRISON (1931- ) </p>From Sula </p>1922 </p>ANNIE PROULX (1935- ) </p>The Half-Skinned Steer </p>DON DELILLO (1936- ) </p>The Angel Esmeralda </p>RAYMOND CARVER (1938-1988) </p>A Small, Good Thing </p>BOBBIE ANN MASON (1940- ) </p>Shiloh </p>BHARATI MUKHERJEE (1940- ) </p>The Management of Grief</p>ANNE TYLER (1941- ) </p>Average Waves in Unprotected Waters </p>JOHN EDGAR WIDEMAN (1941- )</p>*Doc&#8217;s Story</p>ISABEL ALLENDE (1942- ) </p>And of Clay Are We Created</p>ALICE WALKER (1944- ) </p>Everyday Use </p>TIM O'BRIEN (1946- ) </p>From Going After Cacciato </p>Night March </p>ANN BEATTIE (1947- ) </p>Janus </p>LESLIE MARMON SILKO (1948- ) </p>The Man to Send Rain Clouds </p>JAMAICA KINCAID (1949- ) </p>Mariah </p>AMY TAN (1952- ) </p>Half and Half </p>LOUISE ERDRICH (1954- ) </p>The Red Convertible </p>SANDRA CISNEROS (1954&#8211; ) </p>Woman Hollering Creek </p>BARBARA KINGSOLVER (1955- ) </p>Homeland </p>SHERMAN ALEXIE (1966&#8211; ) </p>What You Pawn I Will Redeem </p>JHUMPA LAHIRI (1967- ) </p>The Third and Final Continent </p>EDWIDGE DANTICAT (1969&#8211; ) </p>Seven </p>Historical-Literary Timeline</p>Bibliography </p>Acknowledgments </p>Index
157American Working-Class Literature: An AnthologyNicholas Coles0<p>University of Pittsburgh<p>Rochester Institute of Technology</p>Nicholas Coles, Janet Zandy, Janet Zandyamerican-working-class-literaturenicholas-coles97801951445670195144562$57.22PaperbackOxford University Press, USAAugust 20061st EditionLiterature Anthologies - General & Miscellaneous, American Literature Anthologies9609.20 (w) x 6.30 (h) x 1.30 (d)<p>America's workers have been singing, reciting, performing, telling stories, writing, and publishing for more than three centuries. Ranging from early colonial times to the present, American Working-Class Literature presents more than 300 literary texts that exemplify this tradition. It demonstrates how American working people live, labor, struggle, express themselves, and give meaning to their experiences both inside and outside of the workplace. The only book of its kind, this groundbreaking anthology includes work not only by the industrial proletariat but also by slaves and unskilled workers, by those who work unpaid at home, and by workers in contemporary service industries. As diverse in race, gender, culture, and region as America's working class itself, the selections represent a wide range of genres including fiction, poetry, drama, memoir, oratory, journalism, letters, oral history, and songs. Works by little-known or anonymous authors are included alongside texts from such acclaimed writers as Frederick Douglass, Upton Sinclair, Tillie Olsen, Philip Levine, Maxine Hong Kingston, and Leslie Marmon Silko. A rich selection of contemporary writing includes Martin Espada's poem "Alabanza" about the September 11, 2001, attack on the World Trade Center.<br> American Working-Class Literature is organized chronologically into seven sections that highlight key historical and cultural developments in working-class life. The book is enhanced by an editors' introduction, section introductions, and individual head notes for each selection that provide biographical and historical context. A timeline of working-class history, rich illustrations, sidebars, reading lists, and a bibliography of critical commentary are also included. This unique volume is ideal for courses in American literature, cultural and working-class studies, and labor history.</p><p><P>America's workers have been singing, reciting, performing, telling stories, writing, and publishing for more than three centuries. Ranging from early colonial times to the present, <b>American Working-Class Literature</b> presents more than 300 literary texts that exemplify this tradition. It demonstrates how American working people live, labor, struggle, express themselves, and give meaning to their experiences both inside and outside of the workplace. The only book of its kind, this groundbreaking anthology includes work not only by the industrial proletariat but also by slaves and unskilled workers, by those who work unpaid at home, and by workers in contemporary service industries. As diverse in race, gender, culture, and region as America's working class itself, the selections represent a wide range of genres including fiction, poetry, drama, memoir, oratory, journalism, letters, oral history, and songs. Works by little-known or anonymous authors are included alongside texts from such acclaimed writers as Frederick Douglass, Upton Sinclair, Tillie Olsen, Philip Levine, Maxine Hong Kingston, and Leslie Marmon Silko. A rich selection of contemporary writing includes Martin Espada's poem "Alabanza" about the September 11, 2001, attack on the World Trade Center.<br> <b>American Working-Class Literature</b> is organized chronologically into seven sections that highlight key historical and cultural developments in working-class life. The book is enhanced by an editors' introduction, section introductions, and individual head notes for each selection that provide biographical and historical context. A timeline of working-class history, rich illustrations, sidebars, reading lists, and a bibliography of critical commentary are also included. This unique volume is ideal for courses in American literature, cultural and working-class studies, and labor history.</p><P>Preface Introduction<br><b>I. Early American Labor&#58; Hard, Bound, and Free 1600s-1810s </b><br>"The Trappan'd Maiden&#58; Or, the Distressed Damsel" (mid-1600s)<br>James Revel, "The Poor, Unhappy Transported Felon" (1680s)<br>Gottlieb Mittelberger, "Gottlieb Mittelberger's Journey to Pennsylvania in the Year 1750 and Return to Germany in the Year 1754" (1754)<br>"Petition of a Grate Number of Blackes" to Thomas Gage, May 25, 1774<br>Olaudah Equiano, ["I Was in Another World&#58; The Slave Ship"] from The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African, Written by Himself (1789)<br>Phillis Wheatley, "To the Right Honourable William, Earl of Dartmouth, His Majesty's Principal Secretary of State for North America, Etc." (1773)<br>"A Sea Song"<br>Francis Hopkinson, "The Raising&#58; A New Song for Federal Mechanics" by A. B. (1788)<br>John McIlvaine, "Address to the Journeymen Cordwainers L.B. of Philadelphia" (1794)<br>Tecumseh's Speech to the Osages (Winter 1811-12)<br><b>II. New Kinds of Work, Old Practices 1820s-1850s </b><br><b>Sorrow Songs and Spirituals</b><br>"Nobody knows de trouble I've seen"<br>"Steal away to Jesus"<br>"Swing Low, Sweet Chariot"<br>"Many Thousand Gone"<br>"Bredden, don't git weary"<br>W. E. B. DuBois, "The Sorrow Songs" (1903)<br>Maria W. Stewart, "Lecture Delivered at the Franklin Hall, Boston, September 21, 1832"<br><b>The Lowell Mill Girls</b><br>Josephine L. Baker, "A Second Peep at Factory Life" (1845)<br>Mary Paul, "Letters to Her Father" (1845-1848)<br>"The Lowell Factory Girl"<br>Harriet Hanson Robinson, "Characteristics of the Early Factory Girls" (1898)<br>Helena Minton, "From the Same Cloth&#58; For the Mill Girls, Lowell, Massachusetts, circa 1840" (1985)<br>Frederick Douglass, ["In the Shipyards"] (1845 and 1855)<br>"An Address to the Colored People of the United States" from The North Star (1848)<br>Herman Melville, "The Paradise of Bachelors" and "The Tartarus of Maids" (1855)<br>John Greenleaf Whittier, "The Ship-Builders" (1850)<br>Fanny Fern (Sara Payson Willis Parton), "Soliloquy of a Housemaid" (1854)<br>"The Working-Girls of New York" (1868)<br>Frances Ellen Watkins Harper, "The Slave Mother" (1857)<br>Harriet E. Wilson, ["Keep her . . . She's real handsome and bright, and not very black, either."]<br>Walt Whitman, "A Song for Occupations" (1855)<br>"The Wound Dresser" (1865)<br><b>Nineteenth-Century Work Songs</b><br>"Peg An'Awl"<br>"Paddy Works on the Railway"<br>"The Housekeeper's Lament"<br>"The Farmer Is the Man"<br>"John Henry"<br><b>III. Beneath the Gilded Surface&#58; Working-Class Fictions and Realities, 1860-1890s </b><br>Rebecca Harding Davis, "Life in the Iron Mills" (1861)<br>I. G. Blanchard, "Eight Hours" (1866, poem; set to music, 1878)<br>Lucy Parsons, "To Tramps" (1884)<br><b>Songs of the Knights of Labor</b><br>"Knights of Labor" (1898)<br>"Storm the Fort, Ye Knights" (1885)<br>"Thirty Cents a Day" (1892)<br>"America" (1890)<br>"Father Gander's Melodies" (1887)<br>"One More Battle to Fight" (1892)<br><b>The Battle of Homestead, 1892</b><br>AAISW Preamble (from the Constitution of the Amalgamated Association of Iron and Steel Workers)<br>"Tyrant Frick"<br>"A Man Named Carnegie"<br>"Father Was Killed by the Pinkerton Men"<br>"A Fight for Home and Honor"<br>Stephen Crane, "The Men in the Storm" (1894)<br>Hamlin Garland, "Under the Lion's Paw" (1889)<br>Edwin Markham, "The Man with the Hoe" (1899)<br>"Lifelets&#58; Life Stories of Undistinguished Americans" from the Independent<br>"A Georgia Negro Peon" (1904)<br>"The Autobiography of a Labor Leader"&#58; James Williams (1902)<br>"A Negro Nurse" (1912)<br>Maxine Hong Kingston, "The Grandfather of the Sierra Nevada Mountains" from China Men (1980)<br>Angel Island Poems by Chinese Immigrants (1910-1940)<br><b>IV. Revolt, Represssion, and Cultural Formations&#58; 1900-1929 </b><br>Eugene V. Debs, "How I Became a Socialist" (1902)<br>"Statement to the Court" (1918)<br><b>Miners' and Other Labor Poems</b><br>J. A. Edgerton, "The Man Behind the Pick" (1903)<br>"Scab, Scab, Scab" (1904)<br>Shorty P., "The Eight Hour Day" (1904)<br>Joe R. Lazure, "A Colorado Miner's Fourth" (1905)<br>J. P. Thompson, "Union Poem" (1909)<br>Unknown Worker, "Labor Speaks" (1909)<br>Joe Foley, "Wadda Ya Want to Break Your Back for the Boss For" (c. 1917)<br>Berton Braley, "The Worker," (1917)<br>Eugene Barnett, "Political Prisoners" (1921)<br>"St. Peter and the Scab" (1923)<br>Upton Sinclair, ["The Hog-Squeal of the Universe"] from The Jungle (1906)<br>Jack London, "The Apostate" (1906)<br>"Pinched"&#58; A Prison Experience (1907)<br>Rose Schneiderman, "A Cap Maker's Story" (1905)<br><b>The Triangle Shirtwaist Fire, March 25, 1911</b><br>Rose Schneiderman, "Triangle Memorial Speech" (1911)<br>Morris Rosenfeld, "Requiem on the Triangle Fire" (1911)<br><b>Contemporary Poems on the Triangle Shirtwaist Factory Fire</b><br>Mary Fell, "The Triangle Fire"<br>Chris Llewellyn, "Four from Sonya," "I Am Appalled," "Survivor's Cento," "Sear"<br>Carol Tarlen, "Sisters in the Flames"<br>Safiya Henderson-Holmes, "rituals of spring (for the 78th anniversary of the shirtwaist factory fire)"<br>James Oppenheim, "Bread and Roses" (1914)<br>Arturo Giovannitti, "The Walker" (1914)<br>John Reed, "War in Paterson" (1913)<br>Fellow Workers&#58; IWW Oral Histories<br>(from Solidarity Forever, An Oral History of the IWW 1985)<br>Sophie Cohen, ["Paterson had a prison-like feeling"]<br>James Fair, ["Working the Docks"]<br>Mother Jones, "The March of the Mill Children" (1903)<br><b>The Wobblies, the "Little Red Song Book," and the Legacy of Joe Hill (1879-1915)</b><br>Elizabeth Gurley Flynn, "Joe Hill&#151;Martyred Troubadour of Labor" from The Rebel Girl&#58; My First Life (1906-1926)<br>Joe Hill, "The Rebel Girl" (song) and letter to Elizabeth Gurley Flynn From The Little Red Song Book (1913)<br>"Preamble of the Industrial Workers of the World"<br>Joe Hill, "The Tramp"<br>Ralph Chaplin, "Solidarity Forever!"<br>Joe Hill, "The Preacher and the Slave"<br>T-Bone Slim, "The Popular Wobbly"<br>Joe Hill, "Joe Hill's Last Will"<br>Ralph Chaplin, "Mourn Not the Dead"<br>Alfred Hayes, "Joe Hill" (1928)<br>Cheri Register, "A Dream of Joe Hill" (2000)<br>Sarah N. Cleghorn, "Through the Needle's Eye&#58; 1. Comrade Jesus 2. Quatrain" (1915)<br>Carl Sandburg, "Chicago" (1916)<br>"Muckers" (1916)<br>"Child of the Romans" (1916)<br>from "The People, Yes" (1936)<br>Lola Ridge, "The Ghetto" (1918)<br>Anzia Yezierska, "The Free Vacation House" (1920)<br>Edith Summers Kelley, "Billy's Birth," restored chapter of Weeds (1923)<br><b>Poetry of the Harlem Renaissance</b><br>James Weldon Johnson, "O Black and Unknown Bards" (1908)<br>Jean Toomer, "Reapers" (1923)<br>Claude McKay, "The Harlem Dancer" (1917)<br>"If We Must Die" (1919)<br>"The Lynching" (1920)<br>Countee Cullen, "For a Lady I Know" (1925)<br>"From the Dark Tower" (1927)<br>Sterling A. Brown, "Ma Rainey" (1930)<br>"Scotty Has His Say" (1932)<br>"Call Boy" (1932)<br>Alice Dunbar-Nelson, "I Sit and Sew" (1920)<br>Angelina Weld Grimk&eacute;, "Fragment" (c. 1930)<br>John Beecher, "Report to the Stockholders" (1925)<br>"Beaufort Tides" (1934)<br>Bartolomeo Vanzetti, "Last Speech to the Court" (1927)<br>Agnes Smedley, ["The Wanderlust in My Blood"] from Daughter of Earth (1929)<br>"Mining Families" 1937<br><b>V. Economic Depression and Cultural Resurgence&#58; 1930s </b><br>Langston Hughes, "The Weary Blues" (1925)<br>"Johannesburg Mines" (1928)<br>"Christ in Alabama" (1931)<br>"Park Bench" (1934)<br>"Let America Be America Again" (1936)<br>"Office Building Evening" (pub. 1960)<br>Genevieve Taggard, "Words Property of the People" (1934)<br>"Life of the Mind, 1935" (1935)<br>"At Last the Women Are Moving" (1935)<br>Mary Heaton Vorse, "The Emergency Brigade at Flint" (1937)<br>Mike Gold, "Go Left, Young Writers!" (1929)<br>"Jews and Christians" from Jews Without Money (1935)<br><b>Appalachia Voices</b><br>Aunt Molly Jackson, "Kentucky Miners' Wives Ragged Hungry Blues" (1932)<br>Sarah Ogun Gunning, "I Am a Girl of Constant Sorrow"<br>Kathy Kahn, "They Say Them Child Brides Don't Last&#58; Florence Reece" from Hillbilly Women (1972)<br>Florence Reece, "Which Side Are You On?" (1931)<br>Jim Garland, "The Murder of Harry Simms"<br>Tillman Cadle, "Commentary on Harry Simms" (1932)<br>John Dos Passos, "Harlan&#58; Working Under the Gun" (1931)<br>Maggie Anderson, "Among Elms and Maples, Morgantown, West Virginia, August, 1935" (1986)<br>"Mining Camp Residents, West Virginia, July, 1935" (1986)<br>"Long Story" (1992)<br>Don West, "Clods of Southern Earth&#58; Introduction" (1946)<br>"Mountain Boy" (1931-1932?)<br>"Clodhopper" (1940)<br>"There's Anger in the Land" (1950)<br>"No Lonesome Road" (1940)<br>"I Am a Woman Worker"&#58; A Scrapbook of Autobiographies from the Summer Schools for Women Workers (1936)<br>"Soldering"<br>"One Day of Labor"<br>"Bean Picking"<br>"The Piece-Work System"<br>"The President Visits the Mill"<br>Boxcar Bertha (Ben Reitman) [" 'Are You Bill's Broad?' "] from Sister of the Road &#58; The Autobiography of Boxcar Bertha (1937)<br>Richard Wright, "I Have Seen Black Hands" (1935)<br>"Fire and Cloud" (1938)<br>Tillie Olsen, "I Want You Women Up North to Know" (1934)<br>Meridel Le Sueur, "I Was Marching" (1934)<br>"Eroded Woman" (1948)<br>Muriel Rukeyser, from The Book of the Dead (1938)<br>"The Road"<br>"Gauley Bridge"<br>"Praise of the Committee"<br>"Absalom"<br>"The Disease"<br>"George Robinson&#58; Blues"<br>"The Book of the Dead"<br>Joseph Kalar, "Night Shift" (1934)<br>"Proletarian Night" (1934)<br>"Papermill" (1931)<br>"Worker Uprooted" (1932)<br>"Now that Snow Is Falling" (1930)<br>Kenneth Patchen, "Joe Hill Listens to the Praying" (1936)<br>"The Orange Bears" (1949)<br>Jack Conroy, "Monkey Nest Camp" from the Disinherited (1933)<br>Pietro Di Donato, "Geremio" from Christ in Concrete (1939)<br>Tom Kromer, ["Three Hots and a Flop"] from Waiting for Nothing (1935)<br>Zora Neale Hurston, ["Polk County Blues"] from Mules and Men (1935)<br>John Steinbeck, "Starvation Under the Orange Trees" (1938)<br>["The spring is beautiful in California"] from The Grapes of Wrath (1939)<br>Sanora Babb ["Dust"] from Whose Names Are Unknown (2004)<br>Wilma Elizabeth McDaniel, from A Primer for Buford (1990)<br>"A Primer for Buford"<br>"Origins"<br>"Farm Children in the Grip of 1933"<br>"Via Dolorosa"<br>"You Can't Go Back"<br>"Okie Boy Boss at Puccinello's, 1936"<br>"Abdication Day"<br>"Picking Grapes, 1937"<br>"American Folk Music, 1937"<br>"Roster"<br>"Day of Return, August 4, 1986"<br>Woody Guthrie, "Pretty Boy Floyd" (1939)<br>"1913 Massacre" (1945)<br>"Two Good Men" (1946)<br>"Christ for President" (circa 1938)<br>["Listening to the Little Girls' Song Drift Out Across the Dark Wind"] from Bound for Glory (1943)<br>Clifford Odets, Waiting for Lefty (1935)<br>Thomas Bell, "Zinc Works Craneman to Wed" (1936)<br>William Attaway, ["The Moss Brothers Enter the Mill"] from Blood on the Forge (1941)<br><b>VI. Affluence, Cold War, and the Other America&#58; 1940s-1970s </b><br>Ann Petry, "Like a Winding Sheet" (1946)<br>Carlos Bulosan, "If You Want to Know What We Are" (1940)<br>"The Story of a Letter" (1946)<br>Harriette Arnow, ["I'm Gertie Nevels from Balew, Kentucky"] from The Dollmaker (1954)<br>Alice Childress, "Like One of the Family" (1956)<br>"Sometimes I Feel So Sorry" (1956)<br>Hisaye Yamamoto, "Seventeen Syllables" (1949)<br>Edwin Rolfe, "Are You Now or Have You Ever Been" (c. 1952)<br>"Little Ballad for Americans, 1954"<br>Thomas McGrath, "A Long Way Outside Yellowstone" (1940)<br>"Ars Poetica&#58; or Who Lives in the Ivory Tower?" (1949)<br>"A Little Song About Charity" (1949)<br>"On the Memory of a Working-Class Girl" (1940s)<br>"O'Leary's Last Wish&#58; In Case the Revolution Should Fail" (1940s)<br>Tillie Olsen, "I Stand Here Ironing" (1956)<br>Gwendolyn Brooks, "Bronzesville Woman in a Red Hat" (1960)<br>"The Ballad of Rudolph Reed" (1960)<br>"The Blackstone Rangers" (1968)<br>James Wright, "Autumn Begins in Martins Ferry, Ohio" (1963)<br>"Honey" (1982)<br>Judy Grahn, "The Common Woman" (1969)<br>Breece D'J Pancake, "The Honored Dead" (posthumous, 1983)<br>Studs Terkel, from Working (1972)<br>"Dolores Dante, waitress"<br>"Mike Lefevre, steelworker"<br>Toni Cade Bambara, "The Lesson" (1972)<br><b>VII. The New World Order and Its Consequences&#58; 1980s to 2005 </b><br>Philip Levine, "You Can Have It" (1979)<br>"Among Children" (1992)<br>"What Work Is" (1992)<br>Nellie Wong, "Unemployment" (1983)<br>"The Death of Long Steam Lady" (1986)<br>Tom&aacute;s Rivera, from . . . y no se lo trag&oacute; la tierra / And the Earth Did Not Devour Him (1987)<br>"It's That It Hurts"<br>"And the Earth Did Not Devour Him"<br>"The Portrait"<br>"When We Arrive"<br>John Gilgun, "Counting Tips" (1995)<br>"Whitman's Hands" (1991)<br>Bill Witherup, "Mother Witherup's Top Secret Cherry Pie" (1989)<br>Lucille Clifton, excerpt from Generations&#58; A Memoir (1976)<br>"At the cemetery, walnut grove plantation, south carolina, 1989" (1991)<br>Marge Piercy, "To Be of Use" (1973)<br>"Her Gifts" (2002)<br>Sue Doro, "The Cultural Worker" (1992)<br>"Hard Times in the Valley" (1992)<br>"Blue Collar Goodbyes" (1992)<br>Simon J. Ortiz, "My Father's Song" (1988)<br>"Final Solution&#58; Jobs, Leaving" (1992)<br>"We Have Been Told Many Things" (1992)<br>Gloria Anzald&uacute;a, from Borderlands/La Frontera (1987)<br>"We Call Them Greasers"<br>"To Live in the Borderlands Means You"<br>Hattie Gossett, "the cleaning woman/labor relations #4" (1988)<br>Larry Smith, "The Company of Widows" (2002)<br>Ernie Brill, "Crazy Hattie Enters the Ice Age" (1980)<br>Karen Brodine, "Woman Sitting at the Machine, Thinking" (1984)<br>Linda Hogan, "Making Do" (1986)<br>"The New Apartment, Minneapolis" (1988)<br>"Blessing" (1994)<br>Carolyn Chute, "Faces in the Hands" (2000)<br>Yusef Komunyakaa, "Work" (1988)<br>"The Whistle" (1992)<br>Michael Casey, "The Company Pool" (1999)<br>"Positivity Poster" (1999)<br>"Positivity Poster #75" (1999)<br>"Urgent Need for Blood" (1999)<br>"Positivity Poster #76" (1999)<br>Leslie Marmon Silko, "Lullaby" (1981)<br>Dorothy Allison, "Mama" (1988)<br>Leslie Feinberg, ["It was time to find a factory job"] from Stone Butch Blues (1990)<br>Susan Eisenberg, "Homage" (1984)<br>"Hanging in Solo" (1984)<br>"First Day on a New Jobsite" (1984)<br>"Wiretalk" (1984)<br>Dagoberto Gilb, "Romero's Shirt" (1994)<br>Joy Harjo, "The Woman Hanging from the Thirteenth Floor Window" (1983)<br>"Perhaps the World Ends Here" (1994)<br>Jeanne Bryner, "The Story of My Village" (1999)<br>"Mileage" (1999)<br>"Release of the Spirit" (1999)<br>"Blue Collar" (1999)<br>Kate Rushin, "The Black Back-Ups" (1993)<br>Cherr&iacute;e Moraga, "Heroes and Saints" (1983)<br>Jimmy Santiago Baca, "The New Warden" (1979)<br>"So Mexicans Are Taking Jobs from Americans" (1982)<br>"Perfecto Flores" (1986)<br>Jan Beatty, "Awake in a Strange Landscape" (1994)<br>"Louise" (2002)<br>"The Rolling Rock Man" (1994)<br>"A Waitress's Instructions on Tipping" (1994)<br>"The Waitress Angels Speak to Me in a Vision" (2002)<br>Helena Mar&iacute;a Viramontes, The Cariboo Caf&eacute;" (1988)<br>Peter Oresick, "My Father" (1977)<br>"The Story of Glass" (1977)<br>"After the Deindustrialization of America" (1990)<br>"Toward the Heaven of Full Employment" (1990)<br>"Now" (1990)<br>Jim Daniels, "Digger Thinks About Numbers" (1985)<br>"Digger Goes on Vacation" (1985)<br>"Digger Laid Off" (2002)<br>"Digger, the Birthday Boy" (2002)<br>"Digger's Territory" (1989)<br>Mart&iacute;n Espada, "Who Burns for the Perfection of Paper" (1993)<br>"The Toolmaker Unemployed" (1993)<br>"Alabanza&#58; In Praise of Local 100" (2002)<br>Lois-Ann Yamanaka, "Lovey's Homemade Singer Sewing Class Patchwork Denim Hiphuggers" (1996)<br>Melida Rodas, "El Olor de Cansansio (The Smell of Fatigue)" (2000)<br>Contents by Genre Select Bibliography A Timeline of American Working-Class History Credits Index by Author Index by Title About the Editors
158The Butterfly's Way: Voices from the Haitian Dyaspora in the United StatesEdwidge Danticat18Edwidge Danticat was nominated for the National Book Award in 1995 for her story collection, <i>Krik? Krak!</i> Her first novel, <i>Breath, Eyes, Memory</i>, was published to acclaim when she was twenty-five.Edwidge Danticatthe-butterflys-wayedwidge-danticat97815694721871569472181$11.43PaperbackSoho Press, IncorporatedJuly 2003American Literature Anthologies2805.51 (w) x 8.14 (h) x 0.71 (d)In four sections—Childhood, Migration, First Generation, and Return—the contributors to this anthology write powerfully, often hauntingly, of their lives in Haiti and the United States. Jean-Robert Cadet's description of his Haitian childhood as a restavec—a child slave—in Port-au-Prince contrasts with Dany Laferriere's account of a ten-year-old boy and his beloved grandmother in Petit-Gove. We read of Marie Helene Laforest's realization that while she was white in Haiti, in the United States she is black. Patricia Benoit tells us of a Haitian woman refugee in a detention center who has a simple need for a red dress—dignity. The reaction of a man who has married the woman he loves is the theme of Gary Pierre-Pierre's "The White Wife"; the feeling of alienation is explored in "Made Outside" by Francie Latour. The frustration of trying to help those who have remained in Haiti and of the do-gooders who do more for themselves than the Haitians is described in Babette Wainwright's "Do Something for Your Soul, Go to Haiti." The variations and permutations of the divided self of the Haitian emigrant are poignantly conveyed in this unique anthology.<p><br> </p> <p><font size="+2">Chapter One</font></p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; <b>Present Past Future</b></p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; Marc Christophe</p> <p><br> </p> <blockquote>What will I tell you, my son?<br> What will I say to you, my daughter?<br> You for whom the tropics<br> Are a marvelous paradise<br> A blooming garden of islands floating<br> In the blue box<br> Of the Caribbean sea<br> What will I tell you<br> When you ask me<br> Father, speak to us of Haiti?<br> Then my eyes sparkling with pride<br> I would love to tell you<br> Of the blue mornings of my country<br> When the mountains stretch out<br> Lazily<br> In the predawn light<br> The waterfalls flowing<br> With freshness<br> The fragrance of molasses-filled coffee<br> In the courtyards</blockquote> <blockquote>The fields of sugar cane<br> Racing<br> In cloudy waves<br> Towards the horizon<br> The heated voices of peasant men<br> Who caress the earth<br> With their fertile hands<br> The supple steps of peasant women<br> On top of the dew<br> The morning clamor<br> In the plains the small valleys<br> And the lost hamlets<br> Which cloak the true heart<br> Of Haiti.<br> I would also tell you<br> Of the tin huts<br> Slumbering beneath the moon<br> In the milky warmth<br> Of spirit-filled<br> Summer nights<br> And the countryside cemeteries<br> Where the ancestors rest<br> In graves ornate<br> With purple seashells<br> And the sweet and heady perfumes<br> Of basilique lemongrass<br> I would love to tell you<br> Of the colonial elegance of the villas<br> Hidden in the bougainvilleas<br> And the beds of azaleas<br> And the vastpaved trails</blockquote> <blockquote>Behind dense walls<br> The verandahs with princely mosaics<br> Embellished<br> With large vases of clay<br> Covered<br> With sheets of ferns<br> Pink cretonnes<br> Verandahs where one catches<br> A breath of fresh air<br> During nights<br> Of staggering heat<br> By listening to<br> The sounds of the city<br> Rising up to the foothills<br> I would love to recite for you<br> The great history<br> Of the peoples of my country<br> Their daily struggles<br> For food and drink<br> Tireless people<br> Hardworking people<br> Whose lives are a struggle<br> With no end<br> Against misery<br> Fatigue<br> Dust<br> In the open markets<br> Under the sun's blazing breath<br> I would want to make you see<br> The clean unbroken streets<br> Straight as arrows</blockquote> <blockquote>Bordered by the green<br> Of royal palms and date palms in bloom<br> I would love to make you admire<br> The shadowed dwellings<br> The oasis of green<br> Of my Eden<br> I would carry you<br> On my shivering wings<br> To the top of Croix D'Haiti<br> And from there<br> Your gaze would travel over<br> These mountains<br> These plains<br> These valleys<br> These towns<br> These schools<br> These orphanages<br> These studios<br> These churches<br> These factories<br> These <i>hounforts</i><br> These prayer houses<br> These universities<br> These art houses<br> Conceived by our genius<br> Where hope never dies.</blockquote><p>In five sections - Childhood, Migration, Half / First Generation, Return, and Future - the contributors to this anthology write powerfully, often hauntingly, of their lives in Haiti and the United States. Jean-Robert Cadet's description of his Haitian childhood as a restavek - a child slave - in Port-au-Prince contrasts with Dany Laferiere's account of a ten-year-old boy and his beloved grandmother in Petit-Goave. We read of Marie Helene Laforest's realization that while she was white in Haiti, in the United States she is black. Patricia Benoit tells us of a Haitian woman regugee in a detention center who has a simple need, a red dress - dignity. The reaction of a man when he marries the woman he loves is the theme of Gary Pierre-Pierre's "The White Wife"; the feeling of alienation is explored in "Made Outside" by Francie Latour. The frustration of trying to help those who remained and of the do-gooders who do more for themselves than the Haitians is described in Babette Wainwright's "Do Somthing for Your Soul, Go to Haiti." The variations and permutations of the divided self of the Haitian emigrant are poignantly conveyed in this unique anthology.</p><h3>Publishers Weekly</h3><p>The experience of Haitian migr s in what novelist Danticat (Krik? Krak!; etc.) calls the "tenth" geographical "department" of Haiti--"the floating homeland, the ideological one, which joined all Haitians living in the dyaspora"--is the theme of this collection of 33 spare and evocative essays and poems. Most of these writers fled political instability as children and describe the dual reality of alienation from yetbelonging to two worlds, forging an identity separate from that of their parents in the new country, while at the same time continuing to wait for stability in the old country. Nik l Payen tells of her experience as a U.S. Justice Department-sponsored interpreter who uses her knowledge of Krey l ("the language whose purpose in life up until now had been to pain and confuse me") as "an asset" to translate for refugees waiting in horrific conditions at Guantanamo Naval Base following the overthrow of President Jean-Bertrand Aristide. When she witnesses the return of some of these Haitians--denied entrance to the U.S.--she likens their journey to the African Middle Passage. In another, Marie-H l ne Laforest, whose lighter skin color and family's wealth made her "white" in Haiti, realizes that she is simply black in America and later forges a third identity in Italy. Francie Latour, a journalist, convinces her American newspaper to send her to Haiti with a noble aim, but ends up "hitting a cultural wall" and being viewed as a "traitor" by her native people. This rich collection of writings will appeal to the growing number of Haitian-Americans and others interested in the question of the migr 's sense of identity. (Feb.) Copyright 2000 Cahners Business Information.</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>The experience of Haitian migr s in what novelist Danticat (Krik? Krak!; etc.) calls the "tenth" geographical "department" of Haiti--"the floating homeland, the ideological one, which joined all Haitians living in the dyaspora"--is the theme of this collection of 33 spare and evocative essays and poems. Most of these writers fled political instability as children and describe the dual reality of alienation from yetbelonging to two worlds, forging an identity separate from that of their parents in the new country, while at the same time continuing to wait for stability in the old country. Nik l Payen tells of her experience as a U.S. Justice Department-sponsored interpreter who uses her knowledge of Krey l ("the language whose purpose in life up until now had been to pain and confuse me") as "an asset" to translate for refugees waiting in horrific conditions at Guantanamo Naval Base following the overthrow of President Jean-Bertrand Aristide. When she witnesses the return of some of these Haitians--denied entrance to the U.S.--she likens their journey to the African Middle Passage. In another, Marie-H l ne Laforest, whose lighter skin color and family's wealth made her "white" in Haiti, realizes that she is simply black in America and later forges a third identity in Italy. Francie Latour, a journalist, convinces her American newspaper to send her to Haiti with a noble aim, but ends up "hitting a cultural wall" and being viewed as a "traitor" by her native people. This rich collection of writings will appeal to the growing number of Haitian-Americans and others interested in the question of the migr 's sense of identity. (Feb.) Copyright 2000 Cahners Business Information. </article> <article> <h4>Library Journal</h4>Danticat, author of the award-winning Breath, Eyes, Memory, has brought together numerous poems, essays, stories, and letters by individuals whose Haitian experiences helped shape them. The definition of the "diaspora" given recently by the Haitian Embassy's Gerard Alphonse Ferere is "any dispersal of people to foreign soils." But in Danticat's introduction, we also learn that the "dyaspora" is the "floating homeland, the ideological one, join[ing] all Haitians living in the dyaspora." Poet Marc Christophe leads the selections with a poem on the sensory Haiti he remembers, "the heated voice of peasant men/ who caress the earth/ with their fertile hands/ the supple steps of peasant women/ on top of the dew." In the chapter on migration, we learn about Gary Pierre-Pierre's interracial marriage and the reactions to it. Martine Bury tells a similar story in her essay, "You and Me Against the World." The selections are varied, colorful, and interesting. Recommended for all libraries.--Barbara O'Hara, Free Lib. of Philadelphia Copyright 2000 Cahners Business Information. </article>
159Bedford Anthology of American Literature: Volume Two: 1865 to PresentSusan Belasco0<p><p><b>SUSAN BELASCO</b> (Ph.D., Texas A&M University), professor of English and women's studies at the University of Nebraska, Lincoln, has taught courses in writing and American literature at several institutions since 1974. The editor of Margaret Fuller's <i>Summer on the Lakes</i> and Fanny Fern's <i>Ruth Hall,</i> she is also the coeditor of three collections of essays&#58; <i>Approaches to Teaching Stowe's "Uncle Tom's Cabin,"Periodical Literature in Nineteenth-Century America, </i>and<i> Leaves of Grass&#58; The Sesquicentennial Essays.</i> The editor of "<i>Walt Whitman's Periodical Poetry"</i> for the Walt Whitman Archive (whitmanarchive.org), she is the current president of the Research Society for American Periodicals. <p><b>LINCK JOHNSON </b>(Ph.D., Princeton University), the Charles A. Dana Professor of English at Colgate University, has taught courses in writing and American literature and culture since 1974. He is the author of <i>Thoreau's Complex Weave&#58; The Writing of "A Week on the Concord and Merrimack Rivers," with the Text of the First Draft, the Historical Introduction to A Week in the Princeton University Press edition of the Writings of Henry D. Thoreau,</i> and numerous articles and contributions to books. The recipient of a National Endowment for the Humanities Fellowship at the American Antiquarian Society, he is a member of the Editorial Board of the <i>Collected Works of Ralph Waldo Emerson and ESQ&#58; A Journal of the American Renaissance.</i><p></p>Susan Belasco, Linck Johnsonbedford-anthology-of-american-literaturesusan-belasco97803124120810312412088$59.78PaperbackBedford/St. Martin'sFebruary 20081st EditionAmerican Literature Anthologies16326.90 (w) x 9.10 (h) x 1.80 (d)<br> Prepared by recognized scholars and devoted teachers, <i>The Bedford Anthology of American Literature</i> brings the canon of American literature down to a manageable size. Half the length of other leading anthologies, and offered at a much lower price, the anthology reflects years of firsthand experience in the classroom and extensive research on what instructors are actually teaching in the survey course today. Prepared expressly for students and informed by the new understandings of and approaches to American literature that have emerged during the last 30 years, the anthology is lavishly illustrated and features several pedagogical innovations that help students engage with the literature.<p><p>Prepared by recognized scholars and devoted teachers, <i>The Bedford Anthology of American Literature </i>brings the canon of American literature down to a manageable size. Half the length of other leading anthologies, and offered at a much lower price, the anthology reflects years of firsthand experience in the classroom and extensive research on what instructors are actually teaching in the survey course today. Prepared expressly for students and informed by the new understandings of and approaches to American literature that have emerged during the last 30 years, the anthology is lavishly illustrated and features several pedagogical innovations that help students engage with the literature.<p></p><article> <h4>From the Publisher</h4><br> "I can see myself teaching almost everything included here. Not only is the anthology representative, but it also serves to focus on some of the chief issues in early American studies today." <br> — Rosemary Fithian Guruswamy, <i>Radford University</i>&nbsp;"My overall reaction to this anthology is that it is one of the most thoughtfully organized and written anthologies of American literature that I have seen in recent years. Rich in visual materials, which are especially effective for an undergraduate audience, it is equally fulfilling in the content and choice of selections." — Sharon M. Harris, <i>University of Connecticut</i>&nbsp;"I admire this anthology a great deal. But what recommends it, finally, is not simply its economies but the acuity of its choices, the unobtrusive depth of its learning, and its pedagogical and historical imaginativeness." — Richard Millington, <i>Smith College</i>&nbsp;"Susan Belasco and Linck Johnson have done a fine job conceptualizing a kind of American literature anthology not currently available. Their focused attention to reading, writing and print culture will remind students (and all of us) of the significance of literature as a way of knowing. As I read I also considered whether the introductory American survey I teach would need significant revision if I were to use an anthology like this one. I found I could teach my course with their book." — Pattie Cowell, <i>Colorado State University</i>&nbsp;"In sum, this text offers the best view of the cultural mosaic that is ‘American Literature’ that I have ever seen. I love the clear organization, and the various helpful apparati, especially the historical contextualizations of a work’s particular ‘place and time.’" — Thomas Gannon, <i>University of Nebraska</i>&nbsp;"I found this to be an excellent anthology, well-conceived and very well selected and edited, with some features that make it distinctive in the very crowded field of American literature anthologies. Its selectivity (resisting the imperative to include everything, as many modern American literature anthologies do) is a real virtue. I recommend it highly." — David M. Robinson, <i>Oregon State University</i> </article>
160Titanica: The Disaster of the Century in Poetry, Song and ProseSteven Biel0<p><b>Steven Biel</b> is the director of the History and Literature Program at Harvard University.</p>Steven Biel (Editor), Steven Bieltitanicasteven-biel97803933187390393318737$11.00PaperbackNorton, W. W. & Company, Inc.September 19981 EDLiterature Anthologies - General & Miscellaneous, American Literature Anthologies1285.50 (w) x 8.30 (h) x 0.60 (d)<p>Now Steven Biel, author of the acclaimed <b>Down with the Old Canoe</b>, has gathered some of the most telling of our culture's responses to this unparalleled tragedy, creating an invaluable sourcebook for anyone who wants to discover first-hand what people made of it, both then and now. Biel is today's best-known authority on the place of the <b>Titanic</b> in American culture, and this book's unique appeal—inviting both the generally curious reader to browse its pages, and rewarding <b>Titanic</b> buffs with many authentic gems—makes it a standout in the <b>Titanic</b> literature.</p><p>In the ninety years since the <b>Titanic</b> sank, countless sermons and editorials, poems, songs and ads, socialists and chauvinists, Christians, reformers, anarchists, and pitchmen have drawn on the power of the century's worst disaster to move their audience.</p>
161The Unswept Path: Contemporary American HaikuJohn Brandi0<p><P>John Brandi is a poet and author of In What Disappears and Heartbeat Geography. Dennis Maloney is a poet, translator,and landscape architect. His books of translation include The House In the Sand and Isla Negra by pablo Neruda, The Naked Women by Juan Ramon Jimenez, and There is No Road&#58; Proverbs of Antonio Machado.</p>John Brandi (Editor), Dennis Maloneythe-unswept-pathjohn-brandi97818939963801893996387$15.00PaperbackWhite Pine PressSeptember 2005Volume 8Poetry, Anthologies (multiple authors)<p><P>A wonderful introduction to haiku for the writer and reader alike.</p>
162The Vietnam War in American Stories, Songs, and PoemsH. Bruce Franklin0H. Bruce Franklinthe-vietnam-war-in-american-stories-songs-and-poemsh-bruce-franklin97803121155240312115520$18.75PaperbackBedford/St. Martin'sAugust 19951st EditionAmerican Literature Anthologies3435.40 (w) x 8.30 (h) x 0.80 (d)<br> The first college anthology of American literature about the Vietnam War brings together 16 stories, 5 songs, and 63 poems in an affordable text for literature and history courses.<p><p>The first college anthology of American literature about the Vietnam War brings together 16 stories, 5 songs, and 63 poems in an affordable text for literature and history courses.<p></p>
163The Best American Essays 2008Adam Gopnik19<p><P>ROBERT ATWAN has been the series editor of <i>The Best American Essays</i> since its inception in 1986. He has edited numerous literary anthologies and written essays and reviews for periodicals nationwide.</p>Adam Gopnik (Editor), Robert Atwanthe-best-american-essays-2008adam-gopnik97806189832230618983228$11.92PaperbackHoughton Mifflin HarcourtOctober 20081st EditionAmerican Essays, American Literature Anthologies3205.40 (w) x 8.10 (h) x 0.80 (d)Edited by The New Yorker's much-loved Adam Gopnik, this year's Best American Essays continues the laudable tradition of collecting the finest essays, "judiciously selected from countless publications" (Chicago Tribune), ensuring that the 2008 edition is another "kick-ass anthology" (Booklist).<br> <br> Contributors include Albert Goldbarth, Anthony Lane, Louis Menand, Ander Monson, and others.<p><P>Here you will find the finest essays &#147;judiciously selected from countless publications&#8221; (Chicago Tribune), ranging from The New Yorker and Harper&#8217;s to Swink and Pinch. In his introduction to this year&#8217;s edition, Adam Gopnik finds that great essays have &#147;text and inner text, personal story and larger point, the thing you&#8217;re supposed to be paying attention to and some other thing you&#8217;re really interested in.&#8221; David Sedaris&#8217;s quirky, hilarious account of a childhood spent yearning for a home where history was properly respected is also a poignant rumination on surviving the passage of time. In &#147;The Ecstasy of Influence,&#8221; Jonathan Lethem ponders the intriguing phenomenon of cryptomnesia&#58; a person believes herself to be creating something new but is really recalling similar, previously encountered work. Ariel Levy writes in &#147;The Lesbian Bride&#8217;s Handbook&#8221; of her efforts to plan a party that accurately reflects her lifestyle (which she notes is &#147;not black-tie!&#8221;) as she confronts head-on what it means to be married. And Lauren Slater is off to &#147;Tripp Lake,&#8221; recounting the one summer she spent at camp&#151;a summer of color wars, horseback riding, and the &#147;wild sadness&#8221; that settled in her when she was away from home.<br> In the end, Gopnik believes that the only real ambition of an essayist is to be a master of our common life. This latest installment of The Best American Essays is full of writing that reveals, in Gopnik&#8217;s words, &#147;the breath of things as they are.&#8221;</p><article> <h4>From Barnes & Noble</h4>Adam Gopnik earned his wings as an essayist with his "Paris Journal" pieces in <i>The New Yorker,</i> which were later collected in <i>Paris to the Moon</i>. He struts his stuff now as an imaginative editor in this installment of Robert Atwan's wonderfully resilient Best American Essays series. <i>The Best American Essays 2008</i> contains choices prose pieces by Anthony Lane, Louis Menand, Albert Goldbarth, Ander Monson, and many others. </article>
164The Best American Poetry 2008Charles Wright0<p><P><b>David Lehman</b> is the editor of <i>The Oxford Book of American Poetry</i> and the author of seven books of poetry, including <i>When a Woman Loves a Man.</i> He lives in New York City.<P></p>Charles Wright (Editor), David Lehmanthe-best-american-poetry-2008charles-wright97807432997560743299752$16.00PaperbackSimon & Schuster Adult Publishing GroupSeptember 2008Poetry Anthologies, American Poetry, American Literature Anthologies2248.34 (w) x 10.90 (h) x 0.58 (d)<br> The <i>Best American Poetry</i> series is a beloved mainstay of American poetry. This year's edition was edited by one of the most admired and acclaimed poets of his generation, Charles Wright. Known for his meditative and beautiful observations of landscape, change, and time, Wright brings his particular sensibility to this year's anthology, which contains an ecumenical slant that is unprecedented for the series. He has gathered an astonishing selection of work that includes new poems by Carolyn Forché, Jorie Graham, Louise Glück, Frank Bidart, Frederick Seidel, Patti Smith, and Kevin Young and showcases a dazzling array of rising stars like Joshua Beckman, Erica Dawson, and Alex Lemon.<br> With captivating and revelatory notes from the poets on their works and sage and erudite introductory essays by Wright and series editor David Lehman, <i>The Best American Poetry 2008</i> will be read, discussed, debated, and prized for years to come.<br><br> <b><big>Foreword</big></b><br> <i><big>by David Lehman</big></i><br> <p>In a wonderful essay in <i>The Dyer's Hand</i> (1962) -- an essay written far in advance of the ubiquitous writing workshop -- W. H. Auden prescribed the curriculum of his "daydream College for Bards." Matriculated students in the "daydream college" must learn at least one ancient and two modern languages. They have to memorize thousands of lines of verse. Forbidden from reading criticism, they must exercise their critical faculties by writing parodies. They need to take courses in prosody, rhetoric, and comparative philology. Most unconventionally, they are required to study three subjects from a varied group, including "archaeology, mythology, liturgics, cooking," and they are expected also to take up gardening or to adopt a four-legged pet.</p> <p>While the proposed banning of literary criticism from the college library may go too far, I think Auden is right about a lot of things. The value of knowing a poem by heart lies not in the public recitation but in the inward recollection of the lines when one is in a vacant or a pensive mood; there is simply no better way to possess a poem than to memorize it. A good parody is an act of practical criticism, as instructive and more amusing than most. Among the most efficacious exercises are those that involve writing in set forms and handling various metrical and stanzaic patterns. I agree, too, on the value of such nonliterary activities as cooking and gardening, which in their creative processes and structures bear more than a passing resemblance to the act of writing. Given the sheer number of graduate writing programs in the country today -- urban or pastoral, low or high residency, fancy or no frills, traditional or innovative -- it's a wonder, in a way, that none has given Auden's curriculum a try.</p> <p>Auden begins "The Poet &amp; the City" with the observation that a great many young people of limited talent, "when asked what they want to do in life," answer neither sensibly ("I want to be a lawyer, an innkeeper, a farmer") nor romantically ("I want to be an explorer, a racing motorist, a missionary, President of the United States"). Instead they want to become writers, "creative" writers. The phenomenon had long astonished and vexed the author. In "The Prolific and the Devourer," written in 1939, the year Auden first took up residence in America, he asserts that the secret meaning of "I want to write" is "I don't want to work." Art as a form of play, he adds, "is the least dependent on the good-will of others and looks the easiest." For the shirkers, Auden's message is that you must work very hard not only at becoming a poet but at earning a living. He goes on to recommend learning a craft or taking up a trade that does not "involve the manipulation of words," a very Audenesque piece of advice that his own industrious practice as an essayist and anthologist belies. Perhaps, to paraphrase Oscar Wilde, the only thing to do with good advice is pass it on and assume that it doesn't apply to you. Richard Howard, the guest editor of the 1995 volume in this series, recollects the time that "Wystan [Auden's first name] scolded me for translating books from the French. He thought manual labor was a much more suitable idea." On another occasion, Auden voiced his opinion that "poets should dress like businessmen," while he wore, in James Schuyler's words, "an incredible peach / -colored nylon shirt."</p> <p>Such inconsistencies are amusing but do not affect the central point, and we may thank Auden for raising the whole question of what job options there are for, in his phrase, "the average poet." Many young writers today can see their lives unfold in a seamless transition from one side of the classroom to the other without an intervening period of living in the place that professors sometimes call the "quote-unquote real world." The importance of going out into the world and encountering its complexity and range of possibility is surely one thing we might stress in our latter-day College for Bards.</p> <p>The proliferation of graduate, degree-granting writing programs in the thirty-five years since Auden's death may not have surprised one so suspicious of the vanity of young writers. Yet even a critic of the workshop structure, centering as it does on the student rather than on canonical texts, might welcome the news that MFA programs continue to flourish -- if only because writing requires reading and because we may owe to these programs the perpetuation of the art that we practice and the "influences" we honor and sometimes contend with like uncles and aunts and grandparents. The Association of Writing Programs (AWP) held its annual conference in New York City in 2008, and the sold-out event, attracting more participants and book exhibits than any in the organization's history, was nothing if not a sign of a profession in vigorous health. In undergraduate education, too, creative writing has become a vital force. The Association of Departments of English (ADE), a branch of the Modern Languages Association (MLA), periodically takes up a recurrent problem: the decline in the percentage of undergraduates majoring in English.1 In response to the predicament, a number of English departments have expanded their offerings in creative writing. This has proved a shrewd maneuver. The success of the gambit attests not just to the lure of self-expression but to the assertion of the pleasure principle in matters of art and literature. Who would not choose the pleasure of making narratives and lyrics if the alternative is to "problematize a text"?</p> <p>We who teach writing know how pure and strong the literary impulse remains among our students. We are impressed with their ambition and their commitment. But we know also that reading and writing exist in a symbiotic relationship, and many of us wonder how it came about that even some of our most talented and energetic young writers got through college with having read so little. When I wrote <i>Signs of the Times: Deconstruction and the Fall of Paul de Man</i> (1991), the joke in currency was that if you crossed a mafioso and a deconstructionist, what you got was someone who makes you "an offer that you can't understand." The beauty of the joke was that it did three things at once: it confirmed the iconic status of <i>The Godfather</i>; it made the point that jargon and abstruse terminology result in incomprehensible prose; and it attributed a mob mentality to a clique that was reputedly skillful, even ruthless, at the academic game of chutes and tenure ladders. I worried then that the hegemony of critical theory may serve to rationalize and would probably accelerate the neglect of authors and the decay of practical criticism. It gives the maker of that prediction little satisfaction to see it come true.</p> <p>Something larger than the ideological and political conflicts between and within academic departments is at stake here. In the real culture war, the war for the survival of the literary culture, the dummies seem to be winning. There are days when even an unflagging champion of the written word may fear that his or her best efforts may turn out to have the same effect as a prayer to the patron saint of lost causes. The force against literacy in the old-fashioned sense of reading books, understanding traditions, and recollecting history is, in the old-fashioned sense, awesome. In 2004 the National Endowment for the Arts issued its grim report <i>Reading at Risk</i>, and a year ago the NEA followed up with <i>To Read or Not to Read</i>. The reports make the case that "reading skills" correlate directly to individual achievement and career success, not to mention the health of the culture and the education of the citizenry. And by all standards, we are failing. The percentage of the U.S. population that reads books went down from an estimated 61 percent in 1992 to under 57 percent ten years later. That's a slow but steady rate of decline. There's little surprise and less comfort in learning that the rate of decline is faster when it comes to works of fiction and poetry. Between 1982 and 2002, the percentage of the population that had read a "creative" book in the previous twelve months went down from 56.9 to 46.7. "More alarming [than the decline in newspaper circulation and in household spending on books] are indications that Americans are losing not just the will to read but even the ability," Caleb Crain writes in <i>The New Yorker</i>. Crain summarizes the view of some sociologists that reading books for pleasure may someday become "an increasingly arcane hobby."2 If one culprit among many is television, one effect is the "dumbing down" of culture -- a trend so powerful it brought a new phrase into currency. People know astoundingly little about, say, American history, and this (they think) is no big deal. Every now and then an author risks being called a "curmudgeon" or a "crank" for airing misgivings about this state of affairs, while indulging the guilty pleasure of circulating anecdotes of epic American ignorance. Patricia Cohen's <i>New York Times</i> piece on Susan Jacoby's book <i>The Age of American Unreason</i> begins with the "adorable platinum blonde" who thought that Europe was a country. She was a contestant on the FOX game show <i>Are You Smarter Than a 5th Grader?</i> -- the whole premise of which is that Americans are stupider than ever and reveling in it. Jacoby herself says she wrote her book because (in Cohen's paraphrase) "anti-intellectualism (the attitude that 'too much learning can be a dangerous thing') and anti-rationalism ('the idea that there is no such things as evidence or fact, just opinion') have fused in a particularly insidious way." Jacoby's immediate trigger was an overheard conversation in which one well-dressed man told another that "Pearl Harbor" "was when the Vietnamese dropped bombs in a harbor, and it started the Vietnam War."3</p> <p>In the teeth of an epidemic of ignorance, we must decide what and how to teach the young people who come to us convinced that they have a poetic vocation. We should encourage them to read widely -- to read everything they can. But we should assuredly not mock anyone for what they do not know or have not yet read. Rather, respond with ardor to their list of unread books: for though rereading is a great art, nothing can beat the first time you live with <i>Crime and Punishment</i> or Keats's odes and letters or Genesis or Homer or Dante or Emily Dickinson or Byron's <i>Don Juan</i>. It's a list-maker's delight, devising the syllabus for a course on, say, what Keats called the "vale of soul-making" -- the making of a poet. We may take as our motto this line from Ben Jonson's ode to the memory of Shakespeare: "For a good poet's made, as well as born." On my syllabus I'd include some of the aforementioned works, as well as Emerson's essays, Gertrude Stein's lectures and <i>The Autobiography of Alice B. Toklas</i>, Wordsworth's <i>Prelude</i>, and Rilke's <i>Letters to a Young Poet</i>. What, gentle reader, would you choose?</p> <p>Our obligations to our students do not stop at texts and assignments, instruction on the preparation of a manuscript, information about the literary marketplace, methods of dealing with writer's block, models for how to disagree without resort to fisticuffs. By our example we can prove that a conversation or debate about poetry need not reflect the corrosive nature of the national political discourse. There is also the need for students -- for all of us, really -- to come to terms with the likelihood of rejection and the inevitability of injustice. Someday someone else in the room will win the award or the fellowship or the honor that you deserved. But envy is always an error, and to win a prize or an award is not the reason you wrote poetry in the first place. Return to that original impulse. Don't give in to resentment and bitterness, the enemies of poetry. We could probably devote an entire course in the "daydream College" to one aphorism from Auden's prologue to The Dyer's Hand: "No poet or novelist wishes he were the only one who ever lived, but most of them wish they were the only one alive, and quite a number fondly believe their wish has been granted."4</p> <p>When the <i>Best American Poetry</i> series was new, I would use this space to explain our rules and procedures. Years have gone by since I last explained that each year a different guest editor, himself or herself a distinguished poet, chooses the seventy-five poems in a volume, and that usually the seventy-five poems are by as many poets, though there have been exceptions (1996 and 2007, for example). It's unwise to take too much for granted, and it can't hurt to reiterate here that we construe "American" as broadly as possible, counting resident aliens and temporary residents (if the guest editor feels passionately about the poem) and routinely including Canadian poets. Since the 1991 volume, poems have been chosen exclusively from print or electronic magazines and periodicals, not from individual books, collections, or anthologies. Translations are ineligible. The poets are asked to comment on their poems, and the majority of them do so, transforming the genre of contributors' notes from an afterthought into a feature of the anthology that many readers find particularly valuable. The guest editor makes the selections and contributes an introductory essay; the series editor contributes a foreword, works with the guest editor in ways that vary from year to year, and assembles the manuscript. The guest editor's decisions are final and definitive.</p> <p>Undoubtedly the most important decision we have to make annually is the identity of the person who will put his or her stamp on a volume in a series that chronicles the taste of our leading practitioners. Honored among his peers, Charles Wright seemed a natural for this editorial job and brought a keen sense of responsibility to it. He worked hard to be ecumenical, balancing the desire to be inclusive with the unrelenting need to favor excellence. Born in Pickwick Dam, Tennessee, Wright discovered his poetic vocation while serving in U.S. Army Intelligence in Italy in the 1950s. After completing four years of active duty, he left the army in 1961 and soon was studying with Donald Justice at the University of Iowa. Since 1983 Wright has taught at the University of Virginia. His poetry has a spiritual, even a religious flavor -- "each line is a station of the cross," he has said -- though it calls to mind a religion based on doubt more than faith. In a poem in Scar Tissue (2006), Wright depicts himself as a song and dance man -- but one who has the west wind whistling and Dante's souls dancing in his brain. The urge to pray outlasts the conviction that God will hear the prayer. Yet the capital G in the opening phrase of this arresting passage performs a little miracle of poetic transformation:</p> <blockquote>A God-fearing agnostic, <p>I tend to look in the corners of things,</p> <p>Those out-of-the-way places,</p> <p>The half-dark and half-hidden,</p> <p>the passed-by and over-looked,</p> <p>Whenever I want to be sure I can't find something.</p> </blockquote> <p>As this excerpt from "Confessions of a Song and Dance Man" illustrates, Wright has a distinctive way of breaking his lines in the middle: the second half begins where the first left off, one line space lower on the page. The device in his hands is a potent means of punctuating space, as well suited to his poetic pursuits as A. R. Ammons's colons are to his project of "colonizing" the known universe.</p> <p>The year 2007 was favorable for guest editors past and present of <i>The Best American Poetry</i>. Charles Simic, who edited <i>The Best American Poetry 1992</i>, succeeded Donald Hall (BAP 1989) as U.S. poet laureate. (Counting Simic, seven <i>Best American Poetry</i> guest editors have held the post.) During that same week in August, the Academy of American Poets announced that Simic had won this year's prestigious Wallace Stevens Award. Robert Hass (<i>BAP 2001</i>) garnered the National Book Award and a Pulitzer for <i>Time and Materials</i>. Paul Muldoon (<i>BAP 2005</i>) became poetry editor of <i>The New Yorker</i>. John Ashbery (<i>BAP 1988</i>) was named poet laureate of MTV. And the 2007 Griffin Prize went to Charles Wright for <i>Scar Tissue</i>.</p> <p>On February 14, 2008, Scribner published <i>The Best American Erotic Poems: From 1800 to the Present</i>. On the same day, an assistant principal of a high school in Springfield, Ohio, was suspended (and was eventually obliged to resign) when school officials learned he had posted erotic poems on the net under the pseudonym Antonio Love. This all happened (the local newscast reported) "after a parent complained about the alleged poetry." (The <i>alleged</i> there is a final twist of the knife.) Who says that hot poems can't get you into trouble in 2008? Poetry remains a bad influence all these years after Plato banished the poets from his ideal republic.</p> <p> Copyright © 2008 by David Lehman</p><p><P>The <i>Best American Poetry</i> series is a beloved mainstay of American poetry. This year's edition was edited by one of the most admired and acclaimed poets of his generation, Charles Wright. Known for his meditative and beautiful observations of landscape, change, and time,Wright brings his particular sensibility to this year's anthology, which contains an ecumenical slant that is unprecedented for the series. He has gathered an astonishing selection of work that includes new poems by Carolyn Forch&#233;, Jorie Graham, Louise Gl&#252;ck, Frank Bidart, Frederick Seidel, Patti Smith, and Kevin Young and showcases a dazzling array of rising stars like Joshua Beckman, Erica Dawson, and Alex Lemon.<P>With captivating and revelatory notes from the poets on their works and sage and erudite introductory essays by Wright and series editor David Lehman, <i>The Best American Poetry 2008</i> will be read, discussed, debated, and prized for years to come.<br></p><h3>Publishers Weekly</h3><p><P>In his bullet-pointed introduction to this year's volume in this popular annual anthology series, prolific Pulitzer winner Wright makes it known that he is interested in emotional intensity, and its capacity to give poems shape and beauty, more than in any particular aesthetic camp: "cleverness is not what endures. Only pain endures. And the rhythm of pain." Poems here might be called confessional, hip, avant-garde, edgy and conservative. Powerful if hairy poems by Marvin Bell, Alex Lemon and D. Nurkse are good examples of the range of what Wright likes, as is Rae Armantrout's stark and hurting elegy for Robert Creeley: "The present is cupped// by a small effort/ of focus-// its muscular surround.// You're left out." Many of the usual suspects-Ashbery, Gl&uuml;ck, Merwin, Graham, Charles Simic-are represented by strong poems. Also here are representatives of the generation now entering mid-career, like D.A. Powell, Natasha Trethewey and Kevin Young. Some of the most exciting poems come from writers whose stars are still rising, such as an extraordinary meditation on love by Mary Szybist: "The Puritans thought that we are granted the ability to love/ Only through miracle,/ But the troubadours knew how to burn themselves through,/ How to make themselves shrines to their own longing." <I>(Sept.)</I></P>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p><article> <h4>Publishers Weekly</h4><p>In his bullet-pointed introduction to this year's volume in this popular annual anthology series, prolific Pulitzer winner Wright makes it known that he is interested in emotional intensity, and its capacity to give poems shape and beauty, more than in any particular aesthetic camp: "cleverness is not what endures. Only pain endures. And the rhythm of pain." Poems here might be called confessional, hip, avant-garde, edgy and conservative. Powerful if hairy poems by Marvin Bell, Alex Lemon and D. Nurkse are good examples of the range of what Wright likes, as is Rae Armantrout's stark and hurting elegy for Robert Creeley: "The present is cupped// by a small effort/ of focus-// its muscular surround.// You're left out." Many of the usual suspects-Ashbery, Glück, Merwin, Graham, Charles Simic-are represented by strong poems. Also here are representatives of the generation now entering mid-career, like D.A. Powell, Natasha Trethewey and Kevin Young. Some of the most exciting poems come from writers whose stars are still rising, such as an extraordinary meditation on love by Mary Szybist: "The Puritans thought that we are granted the ability to love/ Only through miracle,/ But the troubadours knew how to burn themselves through,/ How to make themselves shrines to their own longing." <i>(Sept.)</i></p> Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. </article>
165Poems from the Women's MovementHonor Moore20<p>Honor Moore is a poet and the author of The Bishop's Daughter. She lives in New York City and teaches at the New School and Columbia University.<br /></p>Honor Moorepoems-from-the-womens-movementhonor-moore97815985304211598530429$18.88HardcoverLibrary of AmericaApril 2009New EditionPoetry, American Literature Anthologies, Anthologies2004.80 (w) x 7.60 (h) x 1.00 (d)THE WOMEN'S MOVEMENT OF THE 1960s, 70s, AND 80s generated an extraordinary outpouring of poetry that captured an age of expectancy, of defiant purpose, and exuberant exploration. Here, brought together for the first time, are the poems that gave voice to a revolution, including works by Sylvia Plath, Adrienne Rich, Muriel Rukeyser, Anne Sexton, Sonia Sanchez, Lucille Clifton, May Swenson, Alice Walker, Anne Waldman, Sharon Olds, and many others.<p><P>THE WOMEN'S MOVEMENT OF THE 1960s, 70s, AND 80s generated an extraordinary outpouring of poetry that captured an age of expectancy, of defiant purpose, and exuberant exploration. Here, brought together for the first time, are the poems that gave voice to a revolution, including works by Sylvia Plath, Adrienne Rich, Muriel Rukeyser, Anne Sexton, Sonia Sanchez, Lucille Clifton, May Swenson, Alice Walker, Anne Waldman, Sharon Olds, and many others.</p>
166Listening for God: Contemporary Literature And The Life Of Faith: Volume 2Paula J. Carlson0Paula J. Carlson, Peter S. Hawkinslistening-for-godpaula-j-carlson97808066284480806628448$13.43PaperbackAugsburg Fortress, PublishersJanuary 1998New EditionFaith, Literature Anthologies - General & Miscellaneous, Religious Inspiration - General, General & Miscellaneous Christian Life, American Literature Anthologies1605.42 (w) x 8.40 (h) x 0.45 (d)Never before has a resource touched upon the issues of life and faith in such a personal way. Excellent contemporary literature helps one realize the presence of God in many places and relationships. Each volume of <i>Listening for God</i> includes excerpts from the works of eight contemporary authors, supplemented by author profiles and reflection questions. A Leader Guide, offering suggestions for organizing class time and responding to reflection questions is also available.<p>Where do you listen for God? In this new collection of stories and essays, the challenge is to pay attention everywhere. <I>Listening for God</i> is a resource intended to help readers investigate how life and faith merge in surprising ways and places. Contemporary American literature may not be the most predictable place to listen for God, but it may well turn out to be among the most rewarding.</p><table> <tr><td>Introduction</td></tr> <tr><td>1. John Updike</td></tr> <tr><td>Short Easter</td></tr> <tr><td>2. Anne Tyler</td></tr> <tr><td>People Who Don't Know the Answers</td></tr> <tr><td>3. Henry Louis Gates, Jr.</td></tr> <tr><td>Saved</td></tr> <tr><td>4. Tobias Wolff</td></tr> <tr><td>The Rich Brother</td></tr> <tr><td>5. Carol Bly</td></tr> <tr><td>After the Baptism</td></tr> <tr><td>6. Gail Godwin</td></tr> <tr><td>An Intermediate Stop</td></tr> <tr><td>7. Kathleen Norris</td></tr> <tr><td>Seeing</td></tr> <tr><td>Weather Report: August 9</td></tr> <tr><td>Getting to Hope</td></tr> <tr><td>8. Andre Dubus</td></tr> <tr><td>A Father's Story</td></tr> <tr><td></td></tr> </table>
167The Norton Anthology of African American LiteratureHenry Louis Gates Jr.0<p><b>Henry Louis Gates Jr.</b> (Ph.D. Cambridge) is Alphonse Fletcher University Professor and Director, W. E. B. Du Bois Institute for African and African American Research, at Harvard University. He is the author of <b>Figures in Black&#58; Words, Signs, and the Racial Self</b>; <b>The Signifying Monkey&#58; A Theory of Afro-American Criticism</b>; <b>Loose Canons&#58; Notes on the Culture Wars</b>; <b>Colored People&#58; A Memoir</b>; <b>The Future of Race</b> (with Cornel West); <b>Wonders of the African World</b>; <b>Thirteen Ways of Looking at a Black Man</b>; and <b>America Behind the Color Line&#58; Dialogues with African Americans</b>. He is general editor (with the late Nellie Y. McKay) of <b>The Norton Anthology of African American Literature</b>; editor-in-chief of the Oxford African American Studies Center (online); editor of <b>The African-American Century</b> (with Cornel West); <b>Encarta Africana</b> (with Kwame Anthony Appiah); and <b>The Bondwoman&rsquo;s Narrative</b> by Hannah Craft; <b>African American National Biography</b> (with Evelyn Brooks Higginbotham) and <b>The Annotated Uncle Tom&rsquo;s Cabin</b> (with Hollis Robbins). For PBS, Professor Gates has written and produced several documentaries, among them <b>African American Lives</b>, series 1 and 2, and <b>America Behind the Color Line</b>.<P><b>Nellie Y. McKay</b> (Ph.D. Harvard), General Editor. Professor of American and Afro-American Literature, University of Wisconsin, Madison. Associate editor of the <b>African American Review</b>; author of <b>Jean Toomer&mdash;the Artist&#58; A Study of His Literary Life and Work, 1894-1936</b>; editor of <b>Critical Essays on Toni Morrison</b>; co-editor of the Norton Critical Edition of Harriet Jacobs&rsquo;s <b>Incidents in the Life of a Slave Girl</b>, <b>Beloved&mdash;A Casebook</b>, and <b>Approaches to Teaching the Novels of Toni Morrison</b>.<P><b>William L. Andrews</b> (Ph.D. University of North Carolina, Chapel Hill), Editor, "The Literature of Slavery and Freedom," Co-Editor, "the Literature of the Reconstruction to the New Negro Renaissance." E. Maynard Adams Professor of English, University of North Carolina, Chapel Hill. General editor of the Wisconsin Studies in American Autobiography series and <b>The Literature of the American South&#58; A Norton Anthology</b>, and co-editor of <b>The Oxford Companion to African American Literature</b>. Other works include <b>The Literary Career of Charles W. Chesnutt</b>; <b>To Tell a Free Story&#58; The First Century of Afro-American Autobiography, 1760&ndash;1865</b>; <b>Sisters of the Spirit</b>; <b>Critical Essays on Frederick Douglass</b>; and <b>Classic Fiction of the Harlem Renaissance</b>.<P><b>Houston A. Baker, Jr.</b> (Ph.D. University of California, Los Angeles), Editor, "The Black Arts Era." George D. and Susan Fox Beischer Professor of English, Duke University. Editor of <b>American Literature</b>; Editor of the anthology <b>Black Literature in America</b> and author of three books of poetry. Other works include <b>Afro-American Poetics&#58; Revisions of Harlem and The Black Aesthetic</b>; <b>Workings of the Spirit&#58; A Poetics of Afro-American Women&rsquo;s Writing</b>; <b>Black Studies, Rap, and the Academy</b>; <b>Blues, Ideology, and Afro-American Literature&#58; A Vernacular Theory</b>; <b>Modernism and the Harlem Renaissance</b>; <b>Turning South Again&#58; Re-Thinking Modernism/Re-Reading Booker T</b>.<P><b>Frances Smith Foster</b> (Ph.D. University of California, San Diego), Co-Editor, "The Literature of the Reconstruction to the New Negro Renaissance." Charles Howard Candler Professor of English and Women&rsquo;s Studies, Emory University. Author of <b>Written by Herself&#58; Literary Production by African American Women, 1746-1892</b> and <b>Witnessing Slavery&#58; The Development of the Antebellum Slave Narrative</b>. Co-editor of the <b>Oxford Companion to African American Literature</b> and the Norton Critical Edition of Harriet Jacobs&rsquo;s <b>Incidents in the Life of a Slave Girl</b>. Editor of several works, including Minnie&rsquo;s <b>Sacrifice, Sowing and Reaping</b>, <b>Trial and Triumph&#58; Three Rediscovered Novels by Frances Ellen Watkins Harper</b>, and Elizabeth Keckley&rsquo;s <b>Behind the Scenes</b>.<P>A former fellow of the Bunting Institute and the Woodrow Wilson International Center, <b>Deborah E. McDowell</b> is a professor of English at the University of Virginia.<P><b>Robert G. O&rsquo;Meally</b> (Ph.D. Harvard), Editor, "The Vernacular Tradition." Zora Neale Hurston Professor of English, Columbia University. Author of <b>The Craft of Ralph Ellison</b> and the biography <b>Lady Day&#58; The Many Faces of Billie Holiday</b>, and editor of the essay collection <b>History and Memory in African American Culture</b>. Currently editing an essay collection titled <b>The Jazz Cadence of American Culture</b>.<P><b>Arnold Rampersad</b> (Ph.D. Harvard), Editor, "The Harlem Renaissance." Sara Hart Kimball Professor in the Humanities, Stanford University. Co-Editor of <b>Slavery and the Literary Imagination</b> (with Deborah E. McDowell); editor of the definitive <b>Collected Poems of Langston Hughes</b> and author of the two-volume biography <b>The Life of Langston Hughes</b>. Also author of <b>Jackie Robinson&#58; A Biography</b> and joint author of tennis star <b>Arthur Ashe&rsquo;s Days of Grace&#58; A Memoir</b>.<P><b>Hortense Spillers</b> (Ph.D. Brandeis), Co-Editor, "Realism, Naturalism, Modernism." Frederick J. Whiton Chair of English, Cornell University. Editor of <b>Comparative American Identities&#58; Race, Sex, and Nationality in the Modern Text</b>; co-editor (with Marjorie Pryse) of <b>Conjuring&#58; Black Women, Fiction and the Literary Tradition</b>, and an editor of <b>The Heath Anthology of American Literature</b>.<P><b>Cheryl A. Wall</b> (Ph.D. Harvard), Editor, "Literature since 1975." Professor and Chair of English, Rutgers University. Author of <b>Women of the Harlem Renaissance</b>; editor of <b>Zora Neale Hurston&#58; Novels and Stories</b>, <b>Zora Neale Hurston&#58; Folklore, Memoirs & Other Writings</b>, and <b>Changing Our Own Words&#58; Essays on Criticism, Theory, and Writing by Black Women</b>.</p>Henry Louis Gates Jr., Nellie Y. McKaythe-norton-anthology-of-african-american-literaturehenry-louis-gates-jr97803930400120393040011$59.95HardcoverNorton, W. W. & Company, Inc.November 1996Older EditionLiterary Collections, Latin American<p>Welcomed on publication as "brilliant, definitive, and a joy to teach from," <b>The Norton Anthology of African American Literature</b> was adopted at more than 1,275 colleges and universities worldwide. Now, the new Second Edition offers these highlights.</p><h3>Publishers Weekly</h3><p>Collaborating on The Norton Anthology of African American Literature, editors Henry Louis Gates Jr. and Nellie Y. McKay have compiled what may be the definitive collection of its kind. Organized chronologically, the massive work gathers writings from six periods of black history: slavery and freedom; Reconstruction; the Harlem Renaissance; Realism, Naturalism and Modernism; the Black Arts Movement and the period since the 1970s. The work begins with the vernacular tradition of spirituals, gospel and the blues; continues through work songs, jazz and rap; ranges through sermons and folktales; and embraces letters and journals, poetry, short fiction, novels, autobiography and drama. BOMC selection; companion audio CD.</p>
168The Best American Sports Writing 2008William Nack0<p><p><p>GLENN STOUT is the author of <I>Young Woman and the Sea,</I> <I>Red Sox Century, Yankees Century, The Dodgers, </I>and<I> The Cubs.</I> He has been the editor of <EM>The Best American Sports Writing</EM> since its inception.<p><p></p>William Nack (Editor), Glenn Stoutthe-best-american-sports-writing-2008william-nack97816155801941615580190PaperbackHoughton Mifflin HarcourtOctober 2008Bargain<p><p>In this exciting new collection, William Nack, veteran sportswriter and author of the classic Secretariat, honors the year s finest sports journalism and thus upholds the tradition that began seventeen years ago, with David Halberstam at the helm. In these pages, you will find the most provocative, compelling, tragic, and triumphant moments in sports from 2007, captured by the knights of the keyboard who make sports come alive for us day after day, week after week, year after year. Here you ll find Paul Solotaroff s excellent and uncompromising take on the neglect that a growing number of crippled NFL players continually face from the NFL players union. Jeanne Marie Laskas s G-L-O-R-Y! offers a rousing inside look at the pregame rituals of the Cincinnati Bengals cheerleaders. A riveting online diary by Wright Thompson reveals a bleak and merciless landscape in China, which that country s government would rather not have the world see during preparations for the Olympics. Nack finds a place for the fascinating offbeat story as well as the sensational. Alongside Eli Saslow s captivating article about an obscure seventeenth-century sport, similar to a giant rugby scrum, carried out in the streets of Kirkwall, Scotland, stands Franz Lidz s scoop of the year, a controversial and rare look into the life of George Steinbrenner, baseball s largest but recently most enigmatic figure. This year s collection marks another wonderful addition to one of the most consistently satisfying titles in the Best American series (Booklist). Contributors include Scott Price, Rick Bragg, Gary Smith, J.R. Moehringer, and others.</p></p>
169New Orleans Stories: Great Writers on the CityJohn Miller0<p>Andrei Codrescu is a commentator for National Public Radio and the author of numerous books. He lives in New Orleans.<p>John Miller lives in the San Francisco Bay Area. He has co-edited numerous anthologies for Chronicle Books.</p>John Miller (Editor), Genevieve Anderson (Editor), Andrei Codrescunew-orleans-storiesjohn-miller97808118449490811844943$1.99PaperbackChronicle Books LLCJune 2004Urban Sociology, American Literature Anthologies2246.12 (w) x 9.12 (h) x 0.62 (d)Voodoo. Vampires. Jazz. There's no city quite like New Orleans, a city that whispers stories and where writers come to eavesdrop. <i>New Orleans Stories</i> collects the very best writing on the Big Easy by a stellar gallery of writers for whom the city has played host and muse -- from Walt Whitman and William Faulkner to Anne Rice, Truman Capote, Walker Percy, Tennessee Williams, and Zora Neale Hurston. With a striking new cover, this anthology captures the vibrancy -- and variety -- of New Orleans as it casts its most seductive spell.<p>Voodoo. Vampires. Jazz. There's no city quite like New Orleans, a city that whispers stories and where writers come to eavesdrop. <i>New Orleans Stories</i> collects the very best writing on the Big Easy by a stellar gallery of writers for whom the city has played host and muse -- from Walt Whitman and William Faulkner to Anne Rice, Truman Capote, Walker Percy, Tennessee Williams, and Zora Neale Hurston. With a striking new cover, this anthology captures the vibrancy -- and variety -- of New Orleans as it casts its most seductive spell.</p><h3>Booknews</h3><p>An anthology of writings inspired by America's most exotic city. Among the authors represented are Walker Percy, William Faulkner, Tennessee Williams, Zora Neale Hurston, Truman Capote, and Louis Armstrong. Introduction by Andrei Codrescu. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><article> <h4>Booknews</h4>An anthology of writings inspired by America's most exotic city. Among the authors represented are Walker Percy, William Faulkner, Tennessee Williams, Zora Neale Hurston, Truman Capote, and Louis Armstrong. Introduction by Andrei Codrescu. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
170Sporting Lives: Metaphor and Myth in American SportsJames W. Pipkin0<p>James W. Pipkin is Associate Professor of English at the University of Houston and the editor of English and German Romanticism: Cross-Currents and Controversies.</p>James W. Pipkinsporting-livesjames-w-pipkin97808262177900826217796$28.75HardcoverUniversity of Missouri PressFebruary 2008indexRegional Sports, Sport Figures - General & Miscellaneous - Biography, Athletics - General & Miscellaneous, American Literature Anthologies1846.00 (w) x 9.00 (h) x 0.70 (d)<p>Sometimes the crack of the bat or the roar of the crowd fails to capture the meaning of sports as athletes themselves understand it. Books about sports have ignored this dimension of the subject, particularly the athletes’ own autobiographical accounts. &nbsp;In <i>Sporting Lives</i>, &nbsp;the first book to examine the two popular realms of sports and autobiography, James Pipkin looks at recurring patterns found in athletes’ accounts of their lives and sporting experiences, examining language, metaphor, rhetorical strategies, and other elements to analyze sports from the inside out.</p> <p><i>Sporting Lives</i> takes a fresh look at memoirs from baseball, football, basketball, golf, and other sports to explore how American athletes see themselves: not only how those images mesh with popular perceptions of them as heroes or celebrities but also how their accounts differ from those of sports journalists and other outsiders. Drawing on the life stories of such well-known figures as Wilt Chamberlain, Babe Ruth, and Martina Navratilova—both as-told-to and self-authored works—Pipkin follows players from the “echoing green” of eternal youth to the sometimes cultlike and isolated status of fame, interpreting recurring patterns both in the living of their lives and in the telling of them. He even considers Dennis Rodman’s four autobiographies to show how the contradictions of his self-portrayals reflect the Janus-faced quality of sports in the era of celebrity culture.</p> <p>As Pipkin shows, the life of the athlete involves more than mere athleticism; it is also a world of nostalgia and sentiment, missed opportunities and lost youth. He sheds light on athletes’ common obsession with youth and body image—including gender and racial considerations—and explores their descriptions of being “in a zone,” that transcendent state when everything seems to click. And he considers the time that all athletes dread, when their bodies begin to betray them . . . and the cheering stops.</p> <p>While the lives of athletes may often suggest the magic of Peter Pan, Pipkin’s engaging study reveals that they are in many ways more like the Lost Boys. <i>Sporting Lives</i> shows that the meaning of sports is intertwined with the telling. It is both an eminently readable book for fans and a critically sophisticated analysis that will engage scholars of literature, sports or media studies, and American popular culture.</p><p>This first book to examine the two popular realms of sports and autobiography looks at recurring patterns found in athletes' accounts of their lives and sporting experiences, examining language, metaphor, and other rhetorical strategies to analyze sports from the inside out. Drawing on the life stories of well-known athletes, Pipkin follows players from the "echoing green" of eternal youth to the sometimes cultlike and isolated status of fame, interpreting recurring patterns both in the living of their lives and in the telling of them. He sheds light on athletes' common obsession with youth and body image; explores their descriptions of being "in a zone"; and considers the time that all athletes dread, when their bodies begin to betray them . . . and the cheering stops.</p><article> <h4>From the Publisher</h4><p>“<i>Sporting Lives</i> is unfailingly well written and engaging. Drawing on an amazing range of sports autobiographies, it is a delight to read.” <b>—Fred Hobson, author of <i>Off the Rim: Basketball and Other Religions in a Carolina Childhood</i></b></p> </article>
171American Literature, Volume II (Penguin Academics Series)William E. Cain0William E. Cainamerican-literature-volume-iiwilliam-e-cain97803211162460321116240$42.93PaperbackLongmanDecember 20032nd EditionAmerican Literature Anthologies15845.40 (w) x 8.00 (h) x 1.70 (d)<p>As part of the Penguin Academic series, <i>American Literature</i> offers a wide range of selections with minimal editorial apparatus at an affordable price.</p><p><P>As part of the Penguin Academic series, American Literature offers a wide range of selections with minimal editorial apparatus at an affordable price.</p><P><b>Letter to the Reader&#58; The Invention of American Literature.</b><p><b>MODERN AMERICAN LITERATURE.</b><p><b>Samuel L. Clemens (Mark Twain) (1835-1910).</b><p>The Notorious Jumping Frog of Calaveras County.<p><b>Bret Harte (1836-1902).</b><p>The Outcasts of Poker Flat.<p><b>W. D. Howells (1837-1920).</b><p>Editha.<p><b>Sidney Lanier (1842-1881).</b><p>The Dying Words of Jackson.<p><b>Ambrose Bierce (1842-1914?).</b><p>Chickmauga.<p><b>Henry James (1843-1916).</b><p>The Pupil.<p><b>Joel Chandler Harris (1848-1908).</b><p>The Wonderful Tar-Baby Story.<p>Mr. Rabbit Grossly Deceives Mr. Fox.<p><b>Sarah Orne Jewett (1849-1909).</b><p>A White Heron.<p><b>Emma Lazarus ((1849-1887).</b><p>The New Colossus.<p><b>Kate Chopin (1850-1904).</b><p>The Storm.<p><b>Mary E Wilkins Freeman (1852-1930).</b><p>The Revolt of &ldquo;Mother.&rdquo;<p><b>Booker T. Washington (1856?-1915).</b><p>Up From Slavery.<p>Chapter XIV. The Atlanta Exposition Address.<p><b>Charles W. Chesnutt (1858-1932).</b><p>The Sheriff's Children.<p><b>Hamlin Garland (1860-1940).</b><p>Under the Lion's Paw.<p><b>Charlotte Perkins Gilman (1860-1935).</b><p>The Yellow Wall-paper.<p><b>Edith Wharton (1862-1937).</b><p>The Other Two.<p><b>W. E. B. Du Bois (1868-1963).</b><p>The Souls of Black Folk.<p>III. Of Mr. Booker T. Washington and Others.<p><b>Edgar Lee Masters (1868-1950).</b><p>Lucinda Matlock.<p><b>Edwin Arlington Robinson (1869-1935).</b><p>Richard Cory.<p>Miniver Cheevy.<p>Eros Turannos.<p><b>Stephen Crane (1871-1900).</b><p>An Episode of War.<p><b>Theodore Dreiser (1871-1945).</b><p>Old Rogaum and His Theresa.<p><b>Jack London (1876-1916).</b><p>To Build a Fire.<p><b>Paul Laurence Dunbar (1872-1906).</b><p>Sympathy.<p>We Wear the Mask.<p><b>Willa Cather (1873-1947).</b><p>Paul's Case.<p><b>Gertrude Stein (1874-1946).</b><p>The Gentle Lena.<p><b>Amy Lowell (1874-1925).</b><p>The Captured Goddess.<p>Venus Transiens.<p>Madonna of the Evening Flowers.<p>September, 1918.<p>New Heavens for Old.<p>The Taxi.<p><b>Robert Frost (1874-1963).</b><p>The Pasture.<p>Mending Wall.<p>Home Burial.<p>After Apple-Picking.<p>The Wood-Pile.<p>The Road Not Taken.<p>Birches.<p>&ldquo;Out, Out-.&rdquo;<p>Fire and Ice.<p>Nothing Gold Can Stay.<p>Stopping by Woods on a Snowy Evening.<p>Desert Places.<p>Design.<p>Neither out Far nor in Deep.<p><b>Sherwood Anderson (1876-1941).</b><p>Winesburg, Ohio.<p>Hands.<p><b>Carl Sandburg (1878-1967).</b><p>Chicago.<p><b>Wallace Stevens (1879-1955).</b><p>The Snow Man.<p>Sunday Morning.<p>Anecdote of the Jar.<p>Thirteen Ways of Looking at a Blackbird.<p>The Death of a Soldier.<p>The Idea of Order at Key West.<p>Of Modern Poetry.<p>The Plain Sense of Things.<p><b>Susan Glaspell (1882-1948).</b><p>Trifles.<p><b>William Carlos Williams (1883-1963).</b><p>The Young Housewife.<p>Portrait of a Lady.<p>Spring and All.<p>To Elsie.<p>The Red Wheelbarrow.<p>Death.<p>This Is Just to Say.<p>The Dance (&ldquo;In Brueghel's great picture, The Kermess&rdquo;).<p>Landscape with the Fall of Icarus.<p><b>Ezra Pound (1885-1972).</b><p>Portrait d'une Femme.<p>A Pact.<p>In a Station of the Metro.<p>The River-Merchant's Wife&#58; A Letter.<p>The Cantos.<p>I (&ldquo;And then went down to the ship&rdquo;).<p><b>H.D. (Hilda Doolittle) (1886-1961).</b><p>Oread.<p>Leda.<p>Helen.<p><b>Robinson Jeffers (1887-1962).</b><p>To the Stone-Cutters.<p>Shine, Perishing Republic.<p>Hurt Hawks.<p><b>Marianne Moore (1887-1972).</b><p>Poetry.<p>A Grave.<p>To a Snail.<p><b>T.S. Eliot (1888-1965).</b><p>The Waste Land.<p>The Love Song of J. Alfred Prufrock.<p>From Tradition and the Individual Talent.<p>Gerontion.<p>Four Quartets.<p>Burnt Norton.<p><b>John Crowe Ransom (1888-1974).</b><p>Bells for John Whiteside's Daughter.<p>Piazza Piece.<p>Janet Waking.<p><b>Katherine Anne Porter (1890-1980).</b><p>Flowering Judas.<p><b>Claude McKay (1889-1948).</b><p>If We Must Die.<p>America.<p><b>Zora Neale Hurston (1891-1960).</b><p>The Gilded Six-Bits.<p><b>Archibald Macleish (1892-1982).</b><p>Ars Poetica.<p><b>Edna St. Vincent Millay (1892-1950).</b><p>Recuerdo.<p>I Think I Should Have Loved You Presently.<p>[I, being born a woman].<p>Apostrophe to Man.<p>I Too beneath Your Moon, Almighty Sex.<p>Spring.<p>I Forgot for a Moment.<p><b>Dorothy Parker (1893-1967).</b><p>General Review of the Sex Situation.<p><b>e.e. cummings (1894-1962).</b><p>in Just-.<p>Buffalo Bill's.<p>the Cambridge ladies who live in furnished souls.<p>&ldquo;next to of course god america I&rdquo;<p>if there are any heavens my mother will (all by herself) have.<p>somewhere i have never travelled,gladly beyond.<p>anyone lived in a pretty how town.<p><b>James Thurber (1894-1961).</b><p>The Secret Life of Walter Mitty.<p><b>Jean Toomer (1894-1967).</b><p>From Cane&#58;<p>Georgia Dusk.<p>Fern.<p><b>F. Scott Fitzgerald (1896-1940).</b><p>Babylon Revisited.<p><b>Louise Bogan (1897-1970).</b><p>Medusa.<p>Portrait.<p>The Alchemist.<p>The Crows.<p>Women.<p><b>William Faulkner (1897-1962).</b><p>That Evening Sun.<p><b>Ernest Hemingway (1899-1961).</b><p>The Short Happy Life of Francis Macomber.<p><b>Hart Crane (1899-1932).</b><p>At Melville's Tomb.<p>Voyages.<p>I (&ldquo;Above the fresh ruffles of the surf&rdquo;).<p>III (&ldquo;Infinite consanguinity it bears-&rdquo;).<p>V (&ldquo;Meticulous, past midnight in clear rime&rdquo;).<p>The Bridge.<p>Poem&#58; To Brooklyn Bridge.<p><b>Sterlking A. Brown (1901-1989).</b><p>He Was a Man.<p>Break of Day.<p>Bitter Fruit of the Tree.<p><b>Langston Hughes (1902-1967).</b><p>The Negro Speaks of Rivers.<p>Mother to Son.<p>The Weary Blues.<p>The South.<p>Ruby Brown.<p>Let America Be America Again.<p>Poet to Patron.<p>Ballad of the Landlord.<p>Too Blue.<p>Theme for English B.<p>Poet to Bigot.<p>I, Too.<p><b>Countee Cullen (1903-1946).</b><p>Yet Do I Marvel.<p>Incident.<p><b>Richard Wright (1908-1960).</b><p>Long Black Song.<p><b>Muriel Rukeyser (1913-1980).</b><p>Effort at Speech Between Two People.<p>Suicide Blues.<p>Poem.<p><b>AMERICAN PROSE SINCE WORLD WAR II.</b><p><b>Eudora Welty (b. 1909).</b><p>A Worn Path.<p><b>John Cheever (1912-1982).</b><p>The Enormous Radio.<p><b>Bernard Malamud (1914-1986).</b><p>The Mourners.<p><b>Ralph Ellison (1914-1994).</b><p>Battle Royal.<p><b>Grace Paley (b. 1922).</b><p>A Conversation with my Father.<p><b>James Baldwin (1924-1987).</b><p>Notes of a Native Son.<p><b>Flannery O'Connor (1925-1964).</b><p>Revelation.<p><b>Toni Morrison (b. 1931).</b><p>Recitatif.<p><b>John Updike (b. 1932).</b><p>Separating.<p><b>Philip Roth (b. 1933).</b><p>Defender of the Faith.<p><b>Amiri Baraka (b. 1934).</b><p>Dutchman.<p><b>Joyce Carol Oates (b. 1938).</b><p>Where Are You Going, Where Have You Been?<p><b>Raymond Carver (1938-1988).</b><p>A Small, Good Thing.<p><b>Toni Cade Bambara (1939-1995).</b><p>The Lesson.<p><b>Terrance McNally (1939-).</b><p>Andre's Mother.<p><b>Bobbie Ann Mason (1940).</b><p>Shiloh.<p><b>Anne Tyler (b. 1941).</b><p>The Artificial Family.<p><b>Alice Walker (b. 1944).</b><p>Everyday Use.<p><b>Tobias Wolff (1945).</b><p>Say Yes.<p><b>Tim O'Brien (b. 1947).</b><p>The Things They Carried.<p><b>Leslie Marmon Silko (b. 1948).</b><p>Lullaby.<p><b>David Leavitt.</b><p>Territory.<p><b>Alice Elliott Dark.</b><p>In the Gloaming.<p><b>Amy Tan (b. 1952).</b><p>Two Kinds.<p><b>Louise Erdrich (b. 1954).</b><p>The Red Convertible.<p><b>David Auburn (1969-).</b><p>Proof.<p><b>AMERICAN POETRY SINCE WORLD WAR II.</b><p><b>Robert Penn Warren (1905-1989).</b><p>Bearded Oaks.<p>American Portrait&#58; Old Style.<p>Mortal Limit.<p>After the Dinner Party.<p><b>George Oppen (1908-1984).</b><p>The Hills.<p>Workman.<p><b>Theodore Roethke (1908-1963).</b><p>Frau Bauman, Frau Schmidt, and Frau Schwartze.<p>My Papa's Waltz.<p>The Waking.<p>Night Crow.<p>I Knew a Woman.<p>In a Dark Time.<p><b>Charles Olson (1910-1970).</b><p>The Maximus Poems.<p>Maximus, to Himself.<p>Celestial Evening, October 1967.<p><b>Elizabeth Bishop (1911-1979).</b><p>The Fish.<p>Sestina.<p>In the Waiting Room.<p>The Moose.<p>One Art.<p><b>Robert Hayden (1913-1980).</b><p>Homage to the Empress of the Blues.<p>Frederick Douglass.<p><b>Dudley Randall (b. 1914).</b><p>The Melting Pot.<p><b>William Stafford (1914-1993).</b><p>Traveling Through the Dark.<p><b>Randall Jarrell (1914-1965).</b><p>The Death of the Ball Turret Gunner.<p>The Woman at the Washington Zoo.<p><b>John Berryman (1914-1972).</b><p>Dream Songs.<p>14 (&ldquo;Life, friends, is boring. We must not say so&rdquo;).<p>29 (&ldquo;There sat down, once, a thing on Henry's heart&rdquo;).<p>40 (&ldquo;I'm scared a lonely. Never see my son&rdquo;).<p>45 (&ldquo;He stared at ruin. Ruin stared straight back&rdquo;).<p>385 (&ldquo;My daughter's heavier. Light leaves are flying&rdquo;).<p><b>Robert Lowell (1917-1977).</b><p>Mr. Edwards and the Spider.<p>Memories of West Street and Lepke.<p>Skunk Hour.<p>Night Sweat.<p>For the Union Dead.<p><b>Gwendolyn Brooks (b. 1917).</b><p>We Real Cool.<p>Martin Luther King, Jr.<p><b>Lawrence Ferlinghetti (b. 1919).</b><p>Constantly Risking Absurdity.<p><b>Robert Duncan (1919-1988).</b><p>Often I Am Permitted to Return to a Meadow.<p>Interrupted Forms.<p><b>Richard Wilbur (b. 1921).</b><p>Years-End.<p>Love Calls Us to the Things of This World.<p><b>James Dickey (1923-1997).</b><p>Drowning with Others.<p>The Lifeguard.<p>The Heaven of Animals.<p><b>Mitsuye Yamada (b.1923).</b><p>The Question of Loyalty.<p><b>Denise Levertov (b. 1923).</b><p>In Mind.<p>September 1961.<p>What Were They Like.<p>Zeroing In.<p>Salvator Mundi&#58; Via Crucis.<p><b>A.R. Ammons (b. 1926).</b><p>Corsons Inlet.<p><b>James Merrill (1926-1995).</b><p>An Urban Convalescence.<p>The Broken Home.<p><b>Robert Creeley (b. 1926).</b><p>For Love.<p>The Messengers.<p>For No Clear Reason.<p>The Birds.<p>Fathers.<p><b>Allen Ginsberg (1926-1997).</b><p>Howl.<p><b>Frank O'Hara (1926-1966).</b><p>To The Harbormaster.<p>In Memory of My Feelings.<p>The Day Lady Died.<p><b>Galway Kinnell (b. 1927).</b><p>The Porcupine.<p><b>John Ashbery (b. 1927).</b><p>Illustration.<p>The Lament Upon the Waters.<p><b>W.S. Merwin (b. 1927).</b><p>For the Anniversary of My Death.<p>For a Coming Extinction.<p>September Plowing.<p>Losing a Language.<p><b>James Wright (1927-1980).</b><p>Autumn Begins in Martins Ferry, Ohio.<p>To the Evening Star&#58; Central Minnesota.<p>A Blessing.<p><b>Philip Levine (b. 1928).</b><p>Starlight.<p>The Mercy.<p><b>Anne Sexton (1928-1974).</b><p>The Truth the Dead Know.<p>Sylvia's Death.<p><b>Adrienne Rich (b. 1929).</b><p>Storm Warnings.<p>Diving into the Wreck.<p><b>Gary Snyder (b. 1930).</b><p>Riprap.<p>August on Sourdough, A Visit from Dick Brewer.<p>Ripples on the Surface.<p><b>Sylvia Plath (1932-1963).</b><p>Morning Song.<p>Lady Lazarus.<p>Ariel.<p>Daddy.<p><b>Linda Pastan (b. 1932).</b><p>Marks.<p><b>Amiri Baraka (b. 1934).</b><p>A Poem for Black Hearts.<p><b>Mary Oliver (b. 1935).</b><p>The Black Snake.<p>Hawk.<p>The Black Walnut Tree.<p>Poem for My Father's Ghost.<p><b>Marge Piercy (b. 1936).</b><p>Barbie Doll.<p>A Work of Artifice.<p><b>Lucille Clifton (b. 1936).</b><p>In the inner city.<p><b>Michael S. Harper (b. 1938).</b><p>Dear John, Dear Coltrane.<p>Martin's Blues.<p>&ldquo;Bird Lives&rdquo;&#58; Charles Parker in St. Louis.<p><b>Paula Gunn Allen (b. 1939).</b><p>Pocahontas to her English Husband, John Rolfe.<p><b>Joseph Bruchac III (b. 1942).</b><p>Ellis Island.<p><b>Gloria Anzald&uacute;a (b. 1942).</b><p>To live in the Borderlands means you.<p><b>Sharon Olds (b. 1942).</b><p>Rites of Passage.<p>The Victims.<p><b>Tess Gallagher (b. 1943).</b><p>The Hug.<p><b>Nikki Giovanni (1943).</b><p>Nikki-Rosa.<p>Master Charge Blues.<p><b>Louise Gl&uuml;ck (b. 1943).</b><p>The Drowned Children.<p>Gretel in Darkness.<p>Illuminations.<p>Terminal Resemblance.<p><b>Yusef Komunyakaa (b. 1947).</b><p>Facing It.<p><b>Joy Harjo (b. 1951).</b><p>Call It Fear.<p>White Bear.<p>Eagle Poem.<p><b>Jimmy Santiago Baca (b. 1952).</b><p>So Mexicans Are Taking Jobs from Americans.<p>Cloudy Day.<p><b>Rita Dove (b. 1952).</b><p>Daystar.<p>Adolescence-I.<p>Adolescence-II.<p>Adolescence-III.<p>Straw Hat.<p>Missing.<p><b>Judith Ortiz Cofer (b. 1952).</b><p>My Father in the Navy.<p><b>Alberto R&iacute;os (b. 1952).</b><p>Wet Camp.<p>Advice to a First Cousin.<p><b>David Mura (b. 1952).</b><p>An Argument&#58; On 1942.<p><b>Laureen Mar (b. 1953).</b><p>My Mother, Who Came from China, Where She Never Saw Snow.<p><b>Aurora Levins Morales (b. 1954).</b><p>Child of the Americas.<p><b>Lorna Dee Cervantes (b. 1954).</b><p>Refugee Ship.<p><b>Cathy Song (b. 1955).</b><p>The White Porch.<p>Chinatown.<p>Heaven.<p><b>Li-Young Lee (b. 1957).</b><p>The Gift.<p>Mnemonic.<p>This Room and Everything in It.<p><b>Martin Espada (b. 1957).</b><p>Bully.<p><b>Sherman Alexie (b. 1966).</b><p>On the Amtrak from Boston to New York City.
172After Frost: Anthol Poetry From N EHenry Lyman0Henry Lyman (Editor), Robert Frost (With), Wallace Stevensafter-frosthenry-lyman97815584904131558490418$22.03PaperbackUniversity of Massachusetts PressSeptember 19961st EditionPoetry Anthologies, American Poetry, American Literature Anthologies1260L2406.01 (w) x 8.97 (h) x 0.79 (d)Robert Frost has long dominated the public's image of New England poetry, but who are the poets who follow him in time and how have they expressed their visions of the landscape, the individual, and the community? This volume brings together the work of thirty distinguished poets to convey the vitality and variety of the region's poetic creation during much of the twentieth century. Henry Lyman has selected the poets, arranged their work chronologically by birth date, and written a brief preface to each section. The anthology is by no means comprehensive, nor is it an attempt to establish a "canon" of New England poets. Rather it is simply a selection of notable poems chosen for their clarity, depth, and common ground. The poems converse with each other from page to page, resulting in a cohesive, eminently readable text. For the student or general reader, there is no better introduction to the range and richness of New England poetry.<p>Robert Frost has long dominated the public's image of New England poetry, but who are the poets who follow him in time and how have they expressed their visions of the landscape, the individual, and the community? This volume brings together the work of thirty distinguished poets to convey the vitality and variety of the region's poetic creation during much of the twentieth century. Henry Lyman has selected the poets, arranged their work chronologically by birth date, and written a brief preface to each section. The anthology is by no means comprehensive, nor is it an attempt to establish a "canon" of New England poets. Rather it is simply a selection of notable poems chosen for their clarity, depth, and common ground. The poems converse with each other from page to page, resulting in a cohesive, eminently readable text. For the student or general reader, there is no better introduction to the range and richness of New England poetry.</p>
173To The Shore Once More, Volume II: A Journey Down The Jersey Shore; Prose, Poetry, And Works Of ArtFrank Finale0<p><B>Frank Finale</b> has more than three hundred fifty poems and essays published in more than one hundred different books, journals, and magazines. <P> His critically acclaimed book of essays and poems, <I>To The Shore Once More (Volume I)</I>, published in 1999, was a regional bestseller.<P> He teaches at East Dover Elementary School in the Toms River Regional School District in New Jersey and has done district-wide workshops for teachers on "The Effective Use of Poetry in the Classroom." <P> He is currently the poetry editor for the new renaissance, an international magazine of ideas and opinions, emphasizing literature and the arts. <P> In 1996, he co-edited, with Rich Youmans, <I>Under A Gull's Wing</I> (Down The Shore Publishing), the critically acclaimed anthology of poems and photographs about the Jersey Shore. <P> In 1983, he helped found the literary magazine, Without Halos as well as its publishing organization, The Ocean County Poets Collective. He served as editor-in-chief from 1985 through 1995. <P> He received a Master Of Arts Degree from Fairleigh Dickinson University in 1976. <P> <B>Mr. Finale</b> regularly gives readings throughout the Jersey Shore and New Jersey. <P> Born in 1942, Mr. Finale is a Pisces who has lived by the sea most of his life and currently resides with his wife, Barbara, two cats, and almost too many books in Bayville, New Jersey.</p>Frank Finale, George C. Valente (Editor), Rich Youmansto-the-shore-once-more-volume-iifrank-finale97809632906250963290622$48.00HardcoverJersey Shore PublicationsMay 2001Literary Collections<p>"Alan and I had been out on the water now for more than two hours, and were starting to tire. We began drifting more and more, letting the current propel us. I put my hand back into the water, and for a moment imagined myself connected to the Atlantic Ocean a few miles away. I felt myself sweep past the small beaches along the creek's shore, past the white yachts in the marinas on Barnegat Bay, past the tiny Sedge Islands with their myriad wildlife, and beyond the shoals of the shifting barrier islands, into the open ocean. From the seat of this aluminum canoe, I felt as if I were connected to all the Jersey Shore&#151;to all creation, in fact. I tilted my face toward the sun and smiled."<br> &#151;from "Canoeing Down Cedar Creek" <p>"The wind howls, and the sand responds. Everything is in flux. The beach you step on today will not be the same one you step on tomorrow. But you will never know it. Nature repeats itself endlessly, ever changing, ever unchanged."<br> &#151;from "A Winter s Sketch" <p>Jersey Shore Publications is pleased to bring you To The Shore Once More, Volume II, the sequel and companion volume to the bestseller, To The Shore Once More.<P> Containing more pages and artwork than Volume I (with 180 pages of text and 144 full-color paintings by more than forty area artists), this coffee table book of prose, poetry, and works of art takes readers on a journey down the Jersey Shore&#151;from the tip of Sandy Hook to the point of Cape May. <P> Join once more acclaimed author and poet, Frank Finale, and his family on a journey through the past and present as he once again captures life along the shore while exploring universal themes that touch us all. These graceful personal essays and poems elicit an emotional response and lingering memory. They are also perfect for reading aloud throughout the year and, as with Volume I, may even become a family tradition in years to come! <P> The essays and poems are organized from north to south taking place in all four seasons in many of the towns and regions along the coast including Highlands, Asbury Park, Ocean Grove, Bradley Beach, Belmar, Spring Lake, Point Pleasant, Seaside, Island Beach, the Toms River area, Bayville, Long Beach Island, the Pine Barrens, Brigantine, Atlantic City, and Cape May. <P> Also inside, you ll find resplendent, full color paintings of some of the loveliest landmarks and locations at the Jersey Shore. Each have been painted by area artists including Paula Kolojeski, Dick LaBonte, Theresa Troise Heidel, Ludlow Thorston, Virginia Perle, Margaret Tourison Berndt, Sheila Mickle, Muriel Rogers, Dawn Hotaling, Stephen Harrington, Dede Esenlohr, Al Barker, Carol Freas, Tine Kirkland Graham, Dennis Foy, Linda Hejduk-Fortin, Pauline Mickle, Sue Oliver, Barbara Cocker, Susan Walsh McLean, and over twenty additional artists.<P> This companion volume is one of the most enchanting and beautiful books about the Jersey Shore ever published. It will bring you closer to the places you love at the Shore and is sure to bring many nights of reading and viewing pleasure&#151;you, your family, and friends will treasure it for years to come.</p>
174Winter Song: Christmas ReadingsMadeleine L'Engle21<p>Best known as the writer of YA classics like <i>A Wrinkle in Time</i>, the prolific and eclectic Madeleine L'Engle penned adult fiction, poems, plays, memoirs, and religious meditations -- all infused with her trademark eloquence, imagination, and intellectual curiosity.</p>Madeleine L'Engle, Luci Shawwinter-songmadeleine-l-engle97815738333251573833320$1.99PaperbackRegent College PublishingOctober 2004General & Miscellaneous Religion, American Literature Anthologies, General & Miscellaneous Literature Anthologies2086.00 (w) x 9.00 (h) x 0.48 (d)Have a cup of coffee and put a log on the fire, settle info a comforable chair and enjoy a winter's day with the writings of novelist Madeleine L'Engle and poet Luci Shaw. Participate in the winter season: the wonder, the solemnity, the power, and the miracles. These readings reflect on the winter world around us, drawing joy from winter days, hope from Christmas celebrations, and promise for the New Year. <p>This elegant collection is the natural outflow of the long-standing friendship between Madeleine L'Engle and Luci Shaw. Sharing similar themes and a reflective style of writing, they combine their two rich literary worlds.</p> <p>Newbery Award Winner Madeleine L'Engle is widely known for her children's books, and adult fiction and nonfiction. Her most recent book is Live Coal in the Sea. Renowned poet Luci Shaw's most recent book is The Green Earth: Poems of Creation. Both women are widely known throughout the United States and Canada for their workshops on writing and journaling, lectures, and retreats.</p><p>Have a cup of coffee and put a log on the fire, settle info a comforable chair and enjoy a winter's day with the writings of novelist Madeleine L'Engle and poet Luci Shaw. Participate in the winter season&#58; the wonder, the solemnity, the power, and the miracles. These readings reflect on the winter world around us, drawing joy from winter days, hope from Christmas celebrations, and promise for the New Year.<br><br>This elegant collection is the natural outflow of the long-standing friendship between Madeleine L'Engle and Luci Shaw. Sharing similar themes and a reflective style of writing, they combine their two rich literary worlds.<br><br>Newbery Award Winner Madeleine L'Engle is widely known for her children's books, and adult fiction and nonfiction. Her most recent book is Live Coal in the Sea. Renowned poet Luci Shaw's most recent book is The Green Earth&#58; Poems of Creation. Both women are widely known throughout the United States and Canada for their workshops on writing and journaling, lectures, and retreats.</p>
175Rag and Bone Shop of the Heart: A Poetry AnthologyRobert Bly0<p><P>Robert Bly's books of poetry include <i>The Night Abraham Called to the Stars</i> and <i>My Sentence Was a Thousand Years of Joy</i>. His awards include the National Book Award for poetry and two Guggenheims. He lives in Minneapolis, Minnesota.</p>Robert Bly, James Hillman (Editor), Michael Meaderag-and-bone-shop-of-the-heartrobert-bly97800609242010060924209$13.82PaperbackHarperCollins PublishersAugust 1993ReprintPoetry Anthologies, American Poetry, American Literature Anthologies5605.31 (w) x 8.00 (h) x 1.26 (d)<p>Robert Bly, James Hillman, and Michael Meade challenge the assumptions of our poetry-deprived society in this powerful collection of more than 400 deeply moving poems from renowned artists including Robert Frost, Emily Dickinson, Langston Hughes, Theodore Roethke, Rainer Maria Rilke, Marianne Moore, Thomas Wolfe, Czeslaw Milosz, and Henry David Thoreau.</p><p>Boys feel wild; they love their tree houses, their wild spots in the woods, they all want to go down to the river, with Huck, away from domesticating aunts. Boys love to see some wildness in their fathers, to see their fathers dancing or carrying on. Some boys are so afraid that they will become domestic that they become savage, not wild.</p> <p>The marks of wildness are love of nature, especially its silence, a voice box free to say spontaneous things, an exuberance, a love of "the edge," the willingness to admit the "three strange angels" that Lawrence speaks of. Yeats realized searching Roman and Greek texts that even Cicero, considered middle of the road, was much wilder than any of his friends; the wild man is not mad like a criminal or mad like a psychotic, but "Mad as the mist and snow.</p> <p>How many years ago</p> <p>Were you and I unlettered lads</p> <p>Mad as the mist and snow?</p> <p>This question does not mean that wildness is restricted to childishness, or is dominated by so-called primitive emotions, or amounts to atavism. The wildness of nature is highly sophisticated.</p> <p>Jung remarked, "It is difficult to say to anybody you should.... become acquainted with your animal, because people think it is a sort of lunatic asylum, they think the animal is jumping over walls and raising hell all over town. Yet the animal ... is pious, it follows the path with great regularity.... Only man is extravagant . . ." (Visions Seminar 1, P. 282).</p> <p>Thoreau says, "In literature it is only the wild that attracts us." King Lear attracts us, the dervish, the Zen laugher. The civilized eve of man has become dulled, unable to take in the natural wildness of the planet. Blake says, "Theroaring of lions, the howling of wolves, the raging of the stormy sea, and the destructive sword, are portions of eternity, too great for the eve of man."</p> <p>Each of us wants to get in touch not so much with the harsh rebel, the self-destroying outsider, as with the beauty of what the Sufis call "Joseph," the round-faced troublemaker.</p> <p>Pharaoh and the whole Egyptian world</p> <p>collapsed for such a Joseph.</p> <p>I'd gladly spend years getting word</p> <p>of him, even third or fourth hand.</p> <p>One of the great preservers of wildness is the Sufi poet Rumi, who founded the whirling dervishes. When he says wine, he doesn't mean physical wine, but the feeling of ecstasy that unites people after midnight and encourages them to "be thrown into the fire":</p> <p>Two strong impulses: One</p> <p>to drink long and deep,</p> <p>the other,</p> <p>not to sober up too soon.</p> <p>One can keep one's job and still be wild; one can remain married and still be wild; one can live in cities and remain wild. What is needed is a soul discipline that Gan, Snyder calls "practice of the wild"-Wendell Berry understands it well. Garcia Lorca practices it by the way he leaps from one image to the next, surefooted as a cat. "What is the knocking?" Lawrence says.</p> <p>What is the knocking at the door in the night?</p> <p>It is somebody wants to do us harm.</p> <p>No, no, it is the three strange angels.</p> <p>Admit them, admit them.</p> <p>The practice is a secret that not all understand, but many blues musicians and jazz soloists and lovers understand it. "Whoever's not killed for love is dead meat."</p> <br> <br> R.B.<br> <br> <p>DANSE RUSSE</p> <p>If when my wife is sleeping</p> <p>and the baby and Kathleen</p> <p>are sleeping</p> <p>and the sun is a flame-white disc</p> <p>in silken mists</p> <p>above shining trees,-</p> <p>if I in my north room</p> <p>dance naked, grotesquely</p> <p>before my mirror</p> <p>waving my shirt round my head</p> <p>and singing softly to myself:</p> <p>"I am lonely, lonely.</p> <p>I was born to be lonely,</p> <p>I am best so!"</p> <p>If I admire my arms, my face,</p> <p>my shoulders, flanks, buttocks</p> <p>against the yellow drawn shades,</p> <p>Who shall say I am not</p> <p>the happy genius of my household?</p> <p>WILLIAM CARLOS WILLIAMS</p> <p>SMELL!</p> <p>Oh strong-ridged and deeply hollowed</p> <p>nose of mine! what will you not be smelling?</p> <p>What tactless asses we are, you and I boney nose</p> <p>always indiscriminate, always unashamed,</p> <p>and now it is the souring flowers of the bedraggled</p> <p>poplars: a festering pulp on the wet earth</p> <p>beneath them. With what deep thirst</p> <p>we quicken our desires</p> <p>to that rank odor of a passing springtime!</p> <p>Can you not be decent? Can you not reserve your ardors</p> <p>for something less unlovely? What girl will care</p> <p>for us, do you think, if we continue in these ways?</p> <p>Must you taste everything? Must you know everything?</p> <p>Must you have a part in everything?</p> <p>WILLIAM CARLOS WILLIAMS</p> <p>CRAZY DOG EVENTS</p> <p>Crow Indian</p> <p>1. Act like a crazy dog. Wear sashes &amp; other fine clothes, carry a rattle, &amp; dance along the roads singing crazy dog songs after everybody else has gone to bed.</p> <p>2. Talk crosswise: say the opposite of what you mean &amp; make others say the opposite of what they mean in return.</p> <p>3. Fight like a fool by rushing up to an enemy &amp; offering to be killed. Dig a hole near an enemy, &amp; when the enemy surrounds it, leap out at them &amp; drive them back.</p> <p>4. Paint yourself white, mount a white horse, cover its eyes &amp; make it down a steep &amp; rocky bank, until both of you are crushed.</p> <p>Jerome Rothenberg</p> <p>FOUR QUATRAINS</p> <p>1Where is a foot worthy to walk a garden,</p> <p>or any eye that deserves to took at trees?</p> <p>Show me a man willing to be</p> <p>thrown in the fire.</p> <p>2In the shambles of love, they kill only the best,</p> <p>none of the weak or deformed.</p> <p>Don't run away from this dying.</p> <p>Whoever's not killed for love is dead meat.</p> <p>3Tonight with wine being poured</p> <p>and instruments singing among themselves,</p> <p>one thing is forbidden,</p> <p>one thing: Sleep.</p> <p>4Two strong impulses: One</p> <p>to drink long and deep,</p> <p>the other,</p> <p>not to sober up too soon.</p> <p>RUMI</p> <p>translated by Coleman Barks and John Moyne</p><p><P>Robert Bly, James Hillman, and Michael Meade challenge the assumptions of our poetry-deprived society in this powerful collection of more than 400 deeply moving poems from renowned artists including Robert Frost, Emily Dickinson, Langston Hughes, Theodore Roethke, Rainer Maria Rilke, Marianne Moore, Thomas Wolfe, Czeslaw Milosz, and Henry David Thoreau.</p><h3>Publishers Weekly</h3><p>It is hard not to criticize any anthology that is so bent on having a ``purpose.'' To subsume poems under a single theme is always risky, and to enroll them in a cause detracts from their artistic nature. The poets selected here--everyone from Hesiod to Yeats, Li Po to Dickinson--are first-rate, but for that very reason their work is multi-dimensional, thus hardly about, let alone ``for,'' men. The editors have organized the book into subjects such as ``Mother and Great Mother,'' war, father, ``Wildness'' and love. Their introductions to each section too often leap from the reality of men's feelings to abstractions, Jungian archetypes and myths. As advice for reading poems, their observation that ``for men depression is sometimes the entrance to the soul'' hardly seems helpful, and as psychology it comes close to the old masculine cliche that pain is good and one should suffer one's feelings stoically. But even if the anthology is all too manly, it contains many great poems which speak to us all regardless of sex. And, like the men's movement itself, the book bespeaks a genuine interest in overhauling conventional notions about what is masculine. Bly ( Iron John ) is a poet; Hillman ( Re-Visioning Psychology ) is a psychologist; Meade is a scholar of myth. $50,000 ad/promo. (Sept.)</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>It is hard not to criticize any anthology that is so bent on having a ``purpose.'' To subsume poems under a single theme is always risky, and to enroll them in a cause detracts from their artistic nature. The poets selected here--everyone from Hesiod to Yeats, Li Po to Dickinson--are first-rate, but for that very reason their work is multi-dimensional, thus hardly about, let alone ``for,'' men. The editors have organized the book into subjects such as ``Mother and Great Mother,'' war, father, ``Wildness'' and love. Their introductions to each section too often leap from the reality of men's feelings to abstractions, Jungian archetypes and myths. As advice for reading poems, their observation that ``for men depression is sometimes the entrance to the soul'' hardly seems helpful, and as psychology it comes close to the old masculine cliche that pain is good and one should suffer one's feelings stoically. But even if the anthology is all too manly, it contains many great poems which speak to us all regardless of sex. And, like the men's movement itself, the book bespeaks a genuine interest in overhauling conventional notions about what is masculine. Bly ( Iron John ) is a poet; Hillman ( Re-Visioning Psychology ) is a psychologist; Meade is a scholar of myth. $50,000 ad/promo. (Sept.) </article> <article> <h4>Library Journal</h4>This anthology, divided into 16 sections representing aspects of the rites of manhood, grows out of Bly and coeditor Michael Meade's presentations to men's support groups of storytelling and poetry. Contributing insightful introductions to each section, the editors select more than 300 Jungian-intuitive poems (more effectively heard aloud) by such writers as Lorca, Neruda, Ponge, Rilke, and Vallejo. These writers are receptive to the archetypal wisdom of the unconscious, ``that vision which is the ground of all initiations.'' Shopworn anthology pieces like ``Miniver Cheevy'' don't capture ``moments when we feel outside time, seized by a longing'' as effectively as works by unfamiliar authors (Olav H. Hauge, Gyula Illyes, Haki Madhubuti, Heinz Pasman), songs of primitive peoples, and dreamlike prose excerpts expressing the conflicting emotions that comprise a man's New Age identity.-- Frank Allen, West Virginia State Coll., Institute </article>
176Oxford Book of American PoetryDavid Lehman0<p><P><b>David Lehman</b> is Poetry Coordinator of the New School Writing Program in New York City. His most recent books of poetry are <b>The Evening Sun and When a Woman Loves a Man</b> and he has written five books of critical prose, including <b>The Last Avant-Garde&#58; The Making of the New York School of Poets</b> and <b>The</b> <b>Perfect Murder&#58; A Study in Detection.</b> He founded <b>The Best American Poetry</b> series in 1988 and continues to serve as general editor of this prestigious anthology. He also edited <b>Great American Prose Poems&#58; From Poe to the Present</b> and co-edited <b>The KGB Bar Book of Poems,</b> based on the reading series he directed with Star Black in New York's East Village.<P><b>John Brehm</b> (Associate Editor) is a poet and free-lance writer. His works include <b>The Way Water Moves</b> and <b>Sea of Faith</b>, which won a Brittingham Prize for Poetry. He lives in New York City.</p>David Lehman, John Brehmoxford-book-of-american-poetrydavid-lehman9780195162516019516251X$23.20HardcoverOxford University Press, USAMarch 20061st EditionPoetry Anthologies, American Poetry, American Literature Anthologies12009.30 (w) x 6.50 (h) x 2.80 (d)<br> Here is the eagerly awaited new edition of <em>The Oxford Book of American Poetry</em> brought completely up to date and dramatically expanded by poet David Lehman. It is a rich, capacious volume, featuring the work of more than 200 poets-almost three times as many as the 1976 edition. With a succinct and often witty head note introducing each author, it is certain to become the definitive anthology of American poetry for our time. <p>Lehman has gathered together all the works one would expect to find in a landmark collection of American poetry, from Whitman's <em>Crossing Brooklyn Ferry</em> to Stevens's <em>The Idea of Order at Key West</em>, and from Eliot's <em>The Waste Land to Ashbery's Self-Portrait in a Convex Mirror</em>. But equally important, the editor has significantly expanded the range of the anthology. The book includes not only writers born since the previous edition, but also many fine poets overlooked in earlier editions or little known in the past but highly deserving of attention. The anthology confers legitimacy on the Objectivist poets; the so-called Proletariat poets of the 1930s; famous poets who fell into neglect or were the victims of critical backlash (Edna St. Vincent Millay); poets whose true worth has only become clear with the passing of time (Weldon Kees). Among poets missing from Richard Ellmann's 1976 volume but published here are W. H. Auden, Charles Bukowski, Donald Justice, Carolyn Kizer, Kenneth Koch, Stanley Kunitz, Emma Lazarus, Mina Loy, Howard Moss, Lorine Niedecker, George Oppen, James Schuyler, Elinor Wylie, and Louis Zukosky. Many more women are represented: outstanding poets such as Josephine Jacobsen, Josephine Miles, May Swenson. Numerous African-American poets receive their due, and unexpected figures such as the musicians Bob Dylan, Patti Smith and Robert Johnson have a place in this important work.</p> <p>This stunning collection redefines the great canon of American poetry from its origins in the 17th century right up to the present. It is a must-have anthology for anyone interested in American literature and a book that is sure to be consulted, debated, and treasured for years to come.<br> </p><p><P>Here is the eagerly awaited new edition of <b>The Oxford Book of American Poetry</b> brought completely up to date and dramatically expanded by poet David Lehman. It is a rich, capacious volume, featuring the work of more than 200 poets-almost three times as many as the 1976 edition. With a succinct and often witty head note introducing each author, it is certain to become the definitive anthology of American poetry for our time.<P>Lehman has gathered together all the works one would expect to find in a landmark collection of American poetry, from Whitman's <b>Crossing Brooklyn Ferry</b> to Stevens's <b>The Idea of Order at Key West</b>, and from Eliot's <b>The Waste Land to Ashbery's Self-Portrait in a Convex Mirror</b>. But equally important, the editor has significantly expanded the range of the anthology. The book includes not only writers born since the previous edition, but also many fine poets overlooked in earlier editions or little known in the past but highly deserving of attention. The anthology confers legitimacy on the Objectivist poets; the so-called Proletariat poets of the 1930s; famous poets who fell into neglect or were the victims of critical backlash (Edna St. Vincent Millay); poets whose true worth has only become clear with the passing of time (Weldon Kees). Among poets missing from Richard Ellmann's 1976 volume but published here are W. H. Auden, Charles Bukowski, Donald Justice, Carolyn Kizer, Kenneth Koch, Stanley Kunitz, Emma Lazarus, Mina Loy, Howard Moss, Lorine Niedecker, George Oppen, James Schuyler, Elinor Wylie, and Louis Zukosky. Many more women are represented&#58; outstanding poets such as Josephine Jacobsen, Josephine Miles, May Swenson. Numerous African-American poets receive their due, and unexpected figures such as the musicians Bob Dylan, Patti Smith and Robert Johnson have a place in this important work.<P>This stunning collection redefines the great canon of American poetry from its origins in the 17th century right up to the present. It is a must-have anthology for anyone interested in American literature and a book that is sure to be consulted, debated, and treasured for years to come.<P><b>Web Site</b><P>A companion web site is now available at www.oxfordpoetry.com</p><article> <h4>From the Publisher</h4><p>"David Lehman's Oxford anthology is the single most important volume of American poetry in a generation. While we can all quibble about inclusions and exclusions (even in a 1,000-page selection), Lehman's eye--and his ear--have produced a work that will last us well into the new century."--Ashton Nichols, <em>Dickinson College</em></p> <p>"It can't get much better than this."--Rochelle Moore, <em>Associated Content</em></p> <p>"The book is not only a sound historical survey, but also gives the reader a powerful taste of poetry's impact upon the wider world."--<em>The Economist</em></p> <p>"Indeed, for the reader otherwise disinclined to pick up a volume of poetry, you may also find yourself enjoying the selections in this collection. It will be a purchase that will stay with you far longer than any meal at a fancy restaurant upon which you might spend the money. And it will be better for you as well."--<em>The Washington Times</em></p> <p>"There is no one more qualified to undertake such a project...a brilliant updating of the previous edition."--James Tate, a member of the Academy of American Arts and Letters and winner of the 1992 Pulitzer Prize in poetry</p> </article>
177The Portable Jack KerouacJack Kerouac0<p><B>Jack Kerouac</B> (1922&#151;1969) was born in Lowell, Massachusetts. His books include <I>On the Road, The Dharma Bums, The Subterraneans, Big Sur</I>, and <I>Visions of Cody</I>.<BR. <B>Ann Charters</B> worked with Jack Kerouac to compile his bibliography and after his death wrote the first Kerouac biography. She has edited two volumes of the author's letters as well as the anthologies <I>Beat Down to Your Soul</I> and <I>The Portable Sixties Reader</I>.</b></i></p>Jack Kerouac, Ann Chartersthe-portable-jack-kerouacjack-kerouac9780143105060014310506X$16.15PaperbackPenguin Group (USA)August 2007ReissueFiction, American Literature Anthologies6565.14 (w) x 7.74 (h) x 1.15 (d)<p><b>The definitive Kerouac collection-now in Penguin Classics</b></p> <p>To coincide with the 50th anniversary celebration of <i>On the Road</i>, Penguin Classics republishes this landmark collection. <i>The Portable Jack Kerouac</i> made clear the ambition and accomplishment of Kerouac's "Legend of Duluoz"-the story of his life told in his many "true story" novels. Featuring selections from Kerouac's autobiographical fiction, as well as from his poetry, criticism, Buddhist writings, and letters, <i>The Portable Jack Kerouac</i> offers a total immersion in an American master.</p> <p>This essential introduction to one of America's most important writers is the only anthology of Jack Kerouac's work ever published. Featuring selections from the many volumes of the "Legend of Duluoz, " in chronological order, the volume also includes poetry, letters, and essays on Buddhism, writing, and the Beat Generation. </p><p><P><b>The definitive Kerouac collection-now in Penguin Classics</b> <P>To coincide with the 50th anniversary celebration of <i>On the Road</i>, Penguin Classics republishes this landmark collection. <i>The Portable Jack Kerouac</i> made clear the ambition and accomplishment of Kerouac's "Legend of Duluoz"-the story of his life told in his many "true story" novels. Featuring selections from Kerouac's autobiographical fiction, as well as from his poetry, criticism, Buddhist writings, and letters, <i>The Portable Jack Kerouac</i> offers a total immersion in an American master.</p><h3>Publishers Weekly</h3><p>Much as Viking's Portable William Faulkner rekindled interest in Faulkner because his editor, Malcolm Cowley, had the brainstorm of pulling together a map of Faulkner's epic Yoknapatawpha County series of novels and stories in order to give the work a new coherence, so Kerouac gains new stature as a result of labors by his biographer, Charters (Kerouac: A Biography). Here she chronologically excerpts the perhaps 16 volumes of the Legend of Duluoz to create a map of Kerouac's oeuvre, which, according to the publisher, he had planned before his death. She supports it not only with fat slices of Kerouac's best writing but also with an investigation into his bop prosody that gives his jazz-riff style a new currency. In fact, this volume may deal a fist in the face of the English sentence, because Kerouac's revamping of the sentence is so song-filled and emotion-ridden that its properties could well do for American prose what Whitman did for verse: give it new life. An alcoholic jamming by candlelight with scotch and pot on the kitchen table, he mixes jazz with Rimbaud's derangement of the senses to create a vehicle for his own anguish as he recollects his life on the run. The Portable shows Kerouac at his best as a riff artist but also gathers to stronger effect than any single Kerouac novel. Includes selections from his poetry and experimental novels. (Mar.)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronology of Jack Kerouac's Life</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kerouac's Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Doctor Sax</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Visions of Gerard</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Home at Christmas"</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Doctor Sax</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Maggie Cassidy</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Vanity of Duluoz</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from On the Road</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Mexican Girl" (from On the Road)</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from On the Road</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Jazz of the Beat Generation"</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "The Railroad Earth" (from Lonesome Traveler)</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Subterraneans</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Tristessa</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Dharma Bums</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Good Blonde"</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Dharma Bums</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Desolation Angels</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Big Sur</TD><TD WIDTH="10%" ALIGN="RIGHT">396</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Daydreams for Ginsberg"</TD><TD WIDTH="10%" ALIGN="RIGHT">456</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Rose Pome"</TD><TD WIDTH="10%" ALIGN="RIGHT">457</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Woman"</TD><TD WIDTH="10%" ALIGN="RIGHT">458</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Rimbaud"</TD><TD WIDTH="10%" ALIGN="RIGHT">458</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hymn" ("And when you showed me Brooklyn Bridge")</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Poem" ("I demand that the human race ceases multiplying")</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Pun for Al Gelpi"</TD><TD WIDTH="10%" ALIGN="RIGHT">465</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Two Poems Dedicated to Thomas Merton"</TD><TD WIDTH="10%" ALIGN="RIGHT">466</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"How to Meditate"</TD><TD WIDTH="10%" ALIGN="RIGHT">466</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hitch Hiker"</TD><TD WIDTH="10%" ALIGN="RIGHT">467</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Pome on Doctor Sax"</TD><TD WIDTH="10%" ALIGN="RIGHT">468</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Book of Haikus: "Some Western Haikus"</TD><TD WIDTH="10%" ALIGN="RIGHT">469</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sea: The Sounds of the Pacific Ocean at Big Sur"</TD><TD WIDTH="10%" ALIGN="RIGHT">473</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Belief & Technique for Modern Prose"</TD><TD WIDTH="10%" ALIGN="RIGHT">483</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Essentials of Spontaneous Prose"</TD><TD WIDTH="10%" ALIGN="RIGHT">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The First Word: Jack Kerouac Takes a Fresh Look at Jack Kerouac"</TD><TD WIDTH="10%" ALIGN="RIGHT">486</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Are Writers Made or Born?"</TD><TD WIDTH="10%" ALIGN="RIGHT">488</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In the Ring"</TD><TD WIDTH="10%" ALIGN="RIGHT">497</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On the Road to Florida"</TD><TD WIDTH="10%" ALIGN="RIGHT">500</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Three Stooges"</TD><TD WIDTH="10%" ALIGN="RIGHT">506</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Well, Cody is always interested in himself ..."</TD><TD WIDTH="10%" ALIGN="RIGHT">512</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Joan Rawshanks in the Fog"</TD><TD WIDTH="10%" ALIGN="RIGHT">515</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Book of Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">532</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Old Angel Midnight</TD><TD WIDTH="10%" ALIGN="RIGHT">544</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Beginning of Bop"</TD><TD WIDTH="10%" ALIGN="RIGHT">555</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"About the Beat Generation"</TD><TD WIDTH="10%" ALIGN="RIGHT">559</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Lamb, No Lion"</TD><TD WIDTH="10%" ALIGN="RIGHT">562</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Beatific: The Origins of the Beat Generation"</TD><TD WIDTH="10%" ALIGN="RIGHT">565</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"After Me, the Deluge"</TD><TD WIDTH="10%" ALIGN="RIGHT">573</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Last Word: Because none of us want to think that the universe is a blank dream ..."</TD><TD WIDTH="10%" ALIGN="RIGHT">585</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Book of Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">587</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Scripture of the Golden Eternity</TD><TD WIDTH="10%" ALIGN="RIGHT">590</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Norma Blickfelt, August 25, 1942</TD><TD WIDTH="10%" ALIGN="RIGHT">603</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Neal Cassady, May 22, 1951</TD><TD WIDTH="10%" ALIGN="RIGHT">605</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To John Clellon Holmes, June 3, 1952</TD><TD WIDTH="10%" ALIGN="RIGHT">608</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Allen Ginsberg, October 1, 1957</TD><TD WIDTH="10%" ALIGN="RIGHT">611</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Allen Ginsberg, September 22, 1960</TD><TD WIDTH="10%" ALIGN="RIGHT">614</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Sterling Lord, May 5, 1961</TD><TD WIDTH="10%" ALIGN="RIGHT">616</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Ann Charters, August 5, 1966</TD><TD WIDTH="10%" ALIGN="RIGHT">617</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Identity Key</TD><TD WIDTH="10%" ALIGN="RIGHT">619</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Books by Jack Kerouac</TD><TD WIDTH="10%" ALIGN="RIGHT">621</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">List of Originally Published Sources</TD><TD WIDTH="10%" ALIGN="RIGHT">623</TD></table><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Much as Viking's Portable William Faulkner rekindled interest in Faulkner because his editor, Malcolm Cowley, had the brainstorm of pulling together a map of Faulkner's epic Yoknapatawpha County series of novels and stories in order to give the work a new coherence, so Kerouac gains new stature as a result of labors by his biographer, Charters (Kerouac: A Biography). Here she chronologically excerpts the perhaps 16 volumes of the Legend of Duluoz to create a map of Kerouac's oeuvre, which, according to the publisher, he had planned before his death. She supports it not only with fat slices of Kerouac's best writing but also with an investigation into his bop prosody that gives his jazz-riff style a new currency. In fact, this volume may deal a fist in the face of the English sentence, because Kerouac's revamping of the sentence is so song-filled and emotion-ridden that its properties could well do for American prose what Whitman did for verse: give it new life. An alcoholic jamming by candlelight with scotch and pot on the kitchen table, he mixes jazz with Rimbaud's derangement of the senses to create a vehicle for his own anguish as he recollects his life on the run. The Portable shows Kerouac at his best as a riff artist but also gathers to stronger effect than any single Kerouac novel. Includes selections from his poetry and experimental novels. (Mar.) </article>
178Boricuas: Influential Puerto Rican Writings--- An AnthologyRoberto Santiago0Roberto Santiago, Roberto Santiagoboricuasroberto-santiago97803453950230345395026$13.99PaperbackRandom House Publishing GroupSeptember 19951American Literature Anthologies, World Literature, Fiction Subjects4005.50 (w) x 8.10 (h) x 0.80 (d)MANY CULTURES <br> • ONE WORLD<br> "Boricua is what Puerto Ricans call one another as a term of endearment, respect, and cultural affirmation; it is a timeless declaration that transcends gender and color. Boricua is a powerful word that tells the origin and history of the Puerto Rican people."<br> --From the Introduction From the sun-drenched beaches of a beautiful, flamboyan-covered island to the cool, hard pavement of the fierce South Bronx, the remarkable journey of the Puerto Rican people is a rich story full of daring defiance, courageous strength, fierce passions, and dangerous politics--and it is a story that continues to be told today. Long ignored by Anglo literature studies, here are more than fifty selections of poetry, fiction, plays, essays, monologues, screenplays, and speeches from some of the most vibrant and original voices in Puerto Rican literature. <br> * Jack Agüeros <br> • Miguel Algarín <br> • Julia de Burgos <br> • Pedro Albizu Campos <br> • Lucky CienFuegos <br> • Judith Ortiz Cofer <br> • Jesus Colon <br> • Victor Hern ndez Cruz <br> • José de Diego <br> • Martin Espada <br> • Sandra Maria Esteves <br> • Ronald Fernandez <br> • José Luis Gonzalez <br> • Migene Gonzalez-Wippler <br> • Maria Graniela de Pruetzel <br> • Pablo Guzman <br> • Felipe Luciano <br> • René Marqués <br> • Luis Muñoz Marín <br> • Nicholasa Mohr <br> • Aurora Levins Morales <br> • Martita Morales <br> • Rosario Morales <br> • Willie Perdomo <br> • Pedro Pietri <br> • Miguel Piñero <br> • Reinaldo Povod <br> • Freddie Prinze <br> • Geraldo Rivera <br> • Abraham Rodriguez, Jr. <br> • Clara E. Rodriguez <br> • Esmeralda Santiago <br> • Roberto Santiago <br> • Pedro Juan Soto <br> • Piri Thomas <br> • Edwin Torres <br> • José Torres <br> • Joseph B. Vasquez <br> • Ana Lydia Vega <p>"Selection of poetry, stories, drama, and essays by 40 Puerto Rican writers, late-19th - late-20th centuries. Organized into thematic categories such as 'History and Politics' and 'Anxiety and Assimilation.' Introduction by Santiago makes clear his goal, that the book 'will provide us with answers to our innermost questions of identity.' Majority of texts originally written in English or 'Spanglish'; translations from Spanish range from good to excellent"--Handbook of Latin American Studies, v. 58. </p><p><P>MANY CULTURES <br>&bull; ONE WORLD<br>&quot;Boricua is what Puerto Ricans call one another as a term of endearment, respect, and cultural affirmation; it is a timeless declaration that transcends gender and color. Boricua is a powerful word that tells the origin and history of the Puerto Rican people.&quot;<br>&#151;From the Introduction From the sun-drenched beaches of a beautiful, flamboyan-covered island to the cool, hard pavement of the fierce South Bronx, the remarkable journey of the Puerto Rican people is a rich story full of daring defiance, courageous strength, fierce passions, and dangerous politics&#151;and it is a story that continues to be told today. Long ignored by Anglo literature studies, here are more than fifty selections of poetry, fiction, plays, essays, monologues, screenplays, and speeches from some of the most vibrant and original voices in Puerto Rican literature. <br>* Jack Ag&#252;eros <br>&bull; Miguel Algar&#237;n <br>&bull; Julia de Burgos <br>&bull; Pedro Albizu Campos <br>&bull; Lucky CienFuegos <br>&bull; Judith Ortiz Cofer <br>&bull; Jesus Colon <br>&bull; Victor Hern ndez Cruz <br>&bull; Jos&#233; de Diego <br>&bull; Martin Espada <br>&bull; Sandra Maria Esteves <br>&bull; Ronald Fernandez <br>&bull; Jos&#233; Luis Gonzalez <br>&bull; Migene Gonzalez-Wippler <br>&bull; Maria Graniela de Pruetzel <br>&bull; Pablo Guzman <br>&bull; Felipe Luciano <br>&bull; Ren&#233; Marqu&#233;s <br>&bull; Luis Mu&#241;oz Mar&#237;n <br>&bull; Nicholasa Mohr <br>&bull; Aurora Levins Morales <br>&bull; Martita Morales <br>&bull; Rosario Morales <br>&bull; Willie Perdomo <br>&bull; Pedro Pietri <br>&bull; Miguel Pi&#241;ero <br>&bull; Reinaldo Povod <br>&bull; Freddie Prinze <br>&bull; Geraldo Rivera <br>&bull; Abraham Rodriguez, Jr. <br>&bull; Clara E. Rodriguez <br>&bull; Esmeralda Santiago <br>&bull; Roberto Santiago <br>&bull; Pedro Juan Soto <br>&bull; Piri Thomas <br>&bull; Edwin Torres <br>&bull; Jos&#233; Torres <br>&bull; Joseph B. Vasquez <br>&bull; Ana Lydia Vega</p><h3>Publishers Weekly</h3><p>While it could have been more strictly organized (i.e., vaguely thematic chapters include ``History and Politics'' and ``Anxiety and Assimilation,'' currents present in almost every piece), this excellent anthology of essays, fiction, poetry, screenplays and other works by writers of Puerto Rican heritage shimmers with interesting reading. In a buoyant introduction, Santiago describes his own, youthful discovery of Puerto Rican writers-``the first book I read by a Puerto Rican author was the one the Jesuits at Xavier had denounced as pornographic and prejudiced against whites. I knew it had to be good''-and explains why their writing continues to feel ``subversive.'' Jesus Colon fluidly combines a thumbnail history of the island's oppression with an explanation of why it takes a lot of effort before a Puerto Rican will ``ask you to have a cup of black coffee with him in his own kitchen.'' In ``Palante! Young Lords,'' Pablo Guzman recounts the founding of the Young Lords Party, based on the Black Panthers. With academic clarity, Clara E. Rodriguez examines racial background in ``Puerto Ricans: Between Black and White,'' a theme Julia de Burgos treats more succinctly and emotionally in poetry. Women are well represented here, although they tend to write about being women specifically. In general, the variety is impressive: Ana Lydia Vega, Martin Espada, Geraldo Rivera, a transcript of a Freddie Prinze monologue and a serious essay by the comedian's mother. Santiago has gracefully managed to pull together a collection that presents a united front while perserving the diversity of the individual voices. (Sept.)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Here</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To the Persecuted</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sounds of Sixth Street</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Letter to a Child Like Me</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It Is Raining Today</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Know the Puerto Ricans</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Island of Lost Causes</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hallelujahs</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puerto Rican Nationalism</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Recent Disturbances in Puerto Rico</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Boy Without a Flag</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grand River of Loiza</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The "Lamento Borincano"</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Party (From Palante! Young Lords Party)</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Los Macheteros</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Double Allegiance</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Child of the Americas</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ay Ay Ay, of the Kinky Negress</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puerto Ricans: Between Black and White</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nigger-Reecan Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black and Latino</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Babylon for the Babylonians (From Down These Mean Streets)</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">African Things</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Myth of the Latin Woman: I Just Met a Girl Named Maria</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Mongo Affair</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puerto Rican Obituary</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Konk</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Story of My Body</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Julia de Burgos</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hangin' (Out) with the Homeboys</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Niggerlips</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Little Things Are Big</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Docile Puerto Rican - Literature and Psychological Reality</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The American Invasion of Macun (From When I Was Puerto Rican)</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Monday Morning</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Looking Good"</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carlito's Way</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Short Eyes</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poppa Dio!</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bayaminina</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roots (From Palante! Young Lords Party)</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Became My Own Path</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yoruba (From The Santeria Experience)</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aunt Rosana's Rocker</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aerobics for Love</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Malig; Malig & Sal; Sal. (From Dominoes and Other Stories from The Puerto Rican)</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Old Flame</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">HIV</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem for My Death</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dedicated to Maria Rodriguez Martinez - February 24, 1975</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Freddie Prinze Story</TD><TD WIDTH="10%" ALIGN="RIGHT">310</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Special Kind of Courage: Bernard Carabello</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Loiza Aldea</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Final Act</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">349</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Author Index</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permission Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD></table><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>While it could have been more strictly organized (i.e., vaguely thematic chapters include ``History and Politics'' and ``Anxiety and Assimilation,'' currents present in almost every piece), this excellent anthology of essays, fiction, poetry, screenplays and other works by writers of Puerto Rican heritage shimmers with interesting reading. In a buoyant introduction, Santiago describes his own, youthful discovery of Puerto Rican writers-``the first book I read by a Puerto Rican author was the one the Jesuits at Xavier had denounced as pornographic and prejudiced against whites. I knew it had to be good''-and explains why their writing continues to feel ``subversive.'' Jesus Colon fluidly combines a thumbnail history of the island's oppression with an explanation of why it takes a lot of effort before a Puerto Rican will ``ask you to have a cup of black coffee with him in his own kitchen.'' In ``Palante! Young Lords,'' Pablo Guzman recounts the founding of the Young Lords Party, based on the Black Panthers. With academic clarity, Clara E. Rodriguez examines racial background in ``Puerto Ricans: Between Black and White,'' a theme Julia de Burgos treats more succinctly and emotionally in poetry. Women are well represented here, although they tend to write about being women specifically. In general, the variety is impressive: Ana Lydia Vega, Martin Espada, Geraldo Rivera, a transcript of a Freddie Prinze monologue and a serious essay by the comedian's mother. Santiago has gracefully managed to pull together a collection that presents a united front while perserving the diversity of the individual voices. (Sept.) </article> <article> <h4>Library Journal</h4>Boricua is a Puerto Rican term of endearment for other Puerto Ricans, and this anthology represents the sentiment well. Edited by a writer for the Cleveland Plain Dealer, it gathers 50 selections of 19th- and 20th-century literature of all sorts: poetry, fiction, essays, screenplays, speeches, and more. Some of the works were originally written in Spanish and some in English, but they are all representative of Puerto Rican life, history, politics, and culture both in Puerto Rico and in the United States. While authors like Piri Thomas and Judith Ortiz Cofer will be familiar, others, such as Jos de Diego and Pedor Albiza Campes, will be new to most non-Puerto Rican readers. Certain selections highlight media figures, including Freddie Prinze, Jos Torres, and Geraldo Rivera. Appropriate for comprehensive Latino collections in public libraries.-Mary Margaret Benson, Linfield Coll. Lib., McMinville, Ore. </article>
179Coming of Age in the 21st CenturyMary Frosch0Mary Froschcoming-of-age-in-the-21st-centurymary-frosch97815955805591595580557$14.59PaperbackNew Press, TheOctober 2008Peoples & Cultures - American Anthologies, Ethnic & Minority Studies - United States3195.40 (w) x 8.20 (h) x 1.00 (d)A follow-up to the multicultural collection of stories about growing up in America-with new selections for a new century.<p>A follow-up to the multicultural collection of stories about growing up in America-with new selections for a new century.</p><br>Preface x Acknowledgments xv Families Are Not All Alike<br>"Fire&#58; An Origin Tale" Faith Adiele 3<br>"Casual Water" Don Lee 21<br>"Shades" William Henry Lewis 44<br>"Mrs. Turner's Lawn Jockeys" Emily Raboteau 53<br>"Knuckles" Mary F. Chen-Johnson 65<br>"The Shawl" Louise Erdrich 80 Between School and Home<br>"The Boy Without a Flag" Abraham Rodriguez Jr. 91<br>"The Alumni Interview" David Levithan 110 From Wild Meat and the Bully Burgers&#58; "Obituary" Lois-Ann Yamanaka 121<br>"Indian Education" Sherman Alexie 133<br>"How I Learned to Fly" George Tucker 142 Crisis<br>"The Eve of the Spirit Festival" Lan Samantha Chang 155<br>"Ordinary Pain" Michael Lowenthal 169<br>"Some Say the World" Susan Perabo 187<br>"Surrounded by Sleep" Akhil Sharma 203<br>"La Llorona/Weeping Woman" Alma Luz Villanueva 221<br>"Triad" Danzy Senna 231 Discovering Relationships<br>"How to Date a Browngirl, Blackgirl, Whitegirl, or Halfie" Junot Diaz 249 From Ordinary Wolves Seth Kantner 255 From Burnt Bread and Chutney&#58; Growing Up Between Cultures-A Memoir of an Indian Jewish Girl Carmit Delman 280<br>"Drinking Coffee Elsewhere" ZZ Packer 293 Permissions 317
180Empire City: New York Through the CenturiesKenneth T. Jackson0<p><P>Kenneth T. Jackson is Jacques Barzun Professor of History and the Social Sciences at Columbia University, and president of the New-York Historical Society. He edited the monumental Encyclopedia of New York City and was a prominent contributor to the PBS documentary New York and its companion volume. </P><P>David S. Dunbar is co-founder and academic dean of CITYterm at the Masters School in Dobbs Ferry, New York, an interdisciplinary, experience-based semester program that immerses high school students from around the country in the history, literature, and culture of New York City. He lives in New York City.</P></p>Kenneth T. Jackson (Editor), David S. Dunbarempire-citykenneth-t-jackson97802311090930231109091$18.20PaperbackColumbia University PressAugust 2005Places - Literary Anthologies, Regional American Anthologies10086.04 (w) x 8.98 (h) x 1.85 (d)<p>As perhaps never before in its extraordinary history, New York has captured the American imagination. This major anthology brings together not only the best literary writing about New York -- from O. Henry, Theodore Dreiser, F. Scott Fitzgerald, John Steinbeck, Paul Auster, and James Baldwin, among many others -- but also the most revealing essays by politicians, philosophers, city planners, social critics, visitors, immigrants, journalists, and historians.</p> <p>The anthology begins with an account of Henry Hudson's voyage in 1609 and ends with an essay written especially for this book by John P. Avlon, former Mayor Rudolph Guiliani's speechwriter, called "The Resilient City," on the September 11th attack on the World Trade Center as observed from City Hall. The editors have chosen some familiar favorites, such as Washington Irving's <i>A History of New York</i> and Walt Whitman's "Crossing Brooklyn Ferry," as well as lesser-known literary and historical gems, such as Frederick Law Olmsted's plan for Central Park and Cynthia Ozick's "The Synthetic Sublime" -- an updated answer to E. B. White's classic essay <i>Here Is New York</i>, which is also included. The variety and originality of the selections in Empire City offer a captivating account of New York's growth, and reveal often forgotten aspects of its political, literary, and social history.</p> <p> Columbia University Press</p><p><P>This anthology begins with an account of Henry Hudson's voyage in 1609 and ends with an essay by John P. Avlon, former Mayor Rudolph Guiliani's speechwriter, called "The Resilient City," on the September 11th attack on the World Trade Center as observed from City Hall.Included are favorites, such as Washington Irving's <i>A History of New York</i> and Walt Whitman's "Crossing Brooklyn Ferry," as well as lesser-known gems, such as Frederick Law Olmsted's plan for Central Park and Cynthia Ozick's "The Synthetic Sublime" &#151; an updated answer to E. B. White's classic essay <i>Here Is New York</i>, which is also included.</P></p><P>Acknowledgments <br>Introduction<br><b>Part 1Colonial Period (1624&#151;1783)</b><br>Account of Henry Hudson's Voyage in 1609, Emanuel Van Meteren, (1611)<br>New Amsterdam, Frontier Trading Post, from Historisch Verhael, Nicolaes van Wassenaer, (1626)<br>Letter of the Eight Men to the States-General of the United Netherlands Provinces Regarding the Fear in New Amsterdam of the Indians during the Wars of 1643&#151;45 (1643 )<br>The Representation of New Netherland, 1650, from Collections of the New-York Historical Society, Adriaen Van Der Donck, (1849)<br>Exclusion of Jews from Military Service in New Amsterdam, the Burgher Council, (1655)<br>Remonstrance of the Inhabitants of the Town of Flushing (1657 )<br>Description of the Towne of Mannadens, Anonymous, (1661)<br>Mercantilist Ideas, from England's Treasure by Forraign Trade, Thomas Mun (1664)<br>Prosperity in New York, from A Brief Description of New York, Daniel Denton (1670)<br>True Copy of Articles Whereupon... the New Netherlands Were Surrendered (January, 1674)<br>The Demand for English Liberties in New York&#58; The Charter of Liberties and Privileges (October 30, 1683)<br>Leisler's Rebellion&#58; Benjamin Blagge's Memorial from The Documentary History of the State of New-York, Benjamin Blagge (1689)<br>Contract of an Indentured Apprentice (October 2, 1718)<br>From the New York Weekly Journal (March 11, 1733)<br>From A Brief Narrative of Case and Trial of John Peter Zenger, Andrew Hamilton's Defense(1736)<br>The Great Negro Plot of 1741, from The New York Conspiracy, Daniel Horsmanden (1741)<br>The Trial of John Ury, from The New York Conspiracy, Daniel Horsmanden (1741)<br>Description of New York City in 1748, from Travelsinto America, Peter Kalm (1748)<br>Opposition to a Sectarian College, from The Independent Reflector,William Livingston (1753 )<br>State of the Province of New York, from New York Historical Society Collections, Cadwallander Colden (1765)<br>From A Tour Through Part of the North Provinces of America, Patrick M'Robert (1774)<br>From Diary of Pastor Schaukirk, Ewald G. Schaukirk (1775)<br>From Journal of Lieutenant Isaac Bangs, Issac Bangs (1776)<br>Hessian Views of New York City, Anonymous (1777, 1780)<br>The Forgotten Saga of the Prison Ships, Kenneth T. Jackson (1990)<br><b>Part 2 Rise to National Dominance (1783&#151;1860)</b><br>An Excursion to the United States of North America in the Summer of 1794, Henry Wansey (1794)<br>From Travels, Duke of La Rochefoucauld-Liancourt (1799)<br>Travels Through Canada, and the United States of North America, in the Years 1806, 1807, 1808, John Lambert<br>Remarks of the Commissioners for Laying Out Streets and Roads in the City of New York" (1811)<br>Free Schools, DeWitt Clinton (1809)<br>Accounts and Recollections of the War of 1812 from the Popular Press (1814, 1846)<br>From A History of New York, Washington Irving (Diedrich Knickerbocker) (1819)<br>From Travels Through North America, Karl Bernhard, Duke of Saxe-Weimar-Eisenach (1825)<br>Notions of the Americans, James Fennimore Cooper (1828)<br>From Travels in North America in the Years 1827 and 1828, Basil Hall (1827, 1828 )<br>From America and the Americans, James Boardman (1833 )<br>From The Domestic Manners of the American, Frances Trollope (1832)<br>Letter, March 1, 1833, John Pintard<br>Workies, from Men and Manners in America, Thomas Hamilton (1833)<br>Diary&#58; 1835, 1847, 1849, Philip Hone<br>From Cinco meses en los Estados-Unidos de la America del Norte desde el 20 de abril al 23 de setiembre de 1835 (Five Months in the United States of North America from April 20 to September 23, 1835), Ramon de la Sagra<br>The Dans Kamer&#58; A Revery in the Highlands, Andrew Jackson Downing (1835)<br>From Democracy in America, Alexis de Tocqueville (1835)<br>Letters from New York, Lydia Maria Child (September 23, 1841; October 21, 1841; May 1, 1843)<br>From American Notes for General Circulation, Charles Dickens (1842)<br>Two Worlds, from Journal, Richard Henry Dana (1843)<br>Doings in Gotham, Letters III and V, Edgar Allen Poe (1844)<br>Murray Hill Reservoir, November 25, Walt Whitman (1849)<br>From Travels in the United States... during 1849 and 1850, Lady Emmelin Stuart-Wortley<br>The Points at Midnight, George G. Foster (1850)<br>Moby Dick, Chapter 1&#58; Loomings, Herman Melville (1851)<br>From Things as They Are in America, William Chambers (1853)<br>From A Few Months in America&#58; Containing Remarks on Some of Its Industrial and Commercial Interests, James Robertson (1854)<br>From The Englishwoman in America, Isabella Bird (1854)<br>George Templeton Strong, "New York Riot," July 5 and 7, 1857; "Central Park," June 11, 1859; "Draft Riots," July 19, 1863; "Women in Law School," October 9, 1869<br>From Land und Leute in Amerika&#58; Skizzen aus dem Amerikanischen Leben (Land and People in America&#58; Sketches of American Life), Karl Theodor Griesinger (1857)<br>From Life and Liberty in America, Charles Mackay (1857)<br>Crossing Brooklyn Ferry (1856); Mannahatta (1860); Walt Whitman<br><b>Part 3 Industrial Metropolis (1860&#151;1898)</b><br>Selected Writings of African Americans in Brooklyn, (1849&#151;1928 )<br>The Republic of New-York, from Debow's Review, George Fitzhugh (1861)<br>Up Broadway to Madison Square, from Ragged Dick Horatio Alger (1868)<br>Selected Writings on Central Park, Frederick Law Olmsted (1858, 1870)<br>The Life of the Street Rats, from The Dangerous Classes of New York and Twenty Years Among Them, Charles Loring Brace (1872)<br>From The Age of Innocence, Edith Wharton (1920)<br>Sandhog, from My Life and Loves, Frank Harris (1922)<br>From Progress and Poverty, Henry George (1833, 1879)<br>Vice-Buster, from Frauds Exposed, Anthony Comstock (1880)<br>The New Colossus, Emma Lazarus (1883)<br>Bathing at Coney Island, from Coney Island Frolics, Richard K. Fox (1883)<br>The Workingman's View of His Situation, Testimony of Thomas B. McGuire (1883)<br>Experience of a Chinese Journalist, from Puck, Wong Chin Foo<br>The Two Revelations, from Evolution and Religion, Henry Ward Beecher (1885)<br>From How the Other Half Lives, Jacob Riis (1890)<br>A Glimpse of High Society, from Society as I Have Found It, Ward McAllister (1890)<br>From New York History 1860&#151;1890, Theodore Roosevelt (1891)<br>From Darkness and Daylight, Helen Campbell (1892)<br>Minetta Lane, Stephen Crane (1896)<br>Selections from George Waring's Writing, George Waring (1897, 1899)<br><b>Part 4World City (1898&#151;1948)</b><br>Brooklyn Could Have Been a Contender, from the New York Times (1997 )<br>The Tenement-House Exhibition of 1899, Lawrence Veiller (1900&#151;1901)<br>The Padrone System, Reports of the Industrial Commission on Immigration and Education (1901)<br>The Plan of a City, Jean Schopfer (1902)<br>Immigrant Attitudes, a Humorous View, from Observations by Mr. Dooley, Finley Peter Dunne (1902)<br>New York&#58; Good Government in Danger, from McClures, Lincoln Steffens (1903)<br>The Gospel of Wealth, Andrew Carnegie (1903)<br>No Constantine in Sight, from The Education of Henry Adams, Henry Adams (1904)<br>Built Like a Bonfire&#58; The General Slocum Disaster, June 15, 1904, Edward T. O'Donnell (2001)<br>The Desirability of Comprehensive Municipal Planning in Advance of Development, Calvin Tomkins (1905)<br>The Day's Work of a "New Law" Tenement Inspector, from Charities and the Commons 17, Lewis E. Palmer (1906&#151;1907)<br>Selections from The American Scene, Henry James (1907)<br>Selections from Plunkitt of Tammany Hall by William Riordon (1905)<br>Selected Writings of O. Henry, O. Henry (William Sydney Porter) (1862&#151;1910) The Spirit of the Girl Strikers, from The Outlook, Miriam Finn Scott (1910)<br>Scenes at the Morgue, from the New York Times, March 26, 1911<br>Opening Statement&#58; Abram I. Elkus, Counsel to the Commission, from New York State Factory Investigating Commission (October, 10, 1911)<br>Selection from The Autobiography of an Ex-Colored Man, James Weldon Johnson (1912)<br>Judges in the Gate, from They Who Knock At Our Gates in American Magazine, Mary Antin (1914)<br>A Meditation in Broadway, from What I Saw in America, G. K. Chesterton (1921 )<br>Compact Between the States of New York and New Jersey, The Port Authority (1921)<br>Selections from The Color of a Great City, Theodore Dreiser (1923)<br>Selection from Manhattan Transfer, John dos Passos (1925)<br>Arrangement in Black and White, Dorothy Parker (1927)<br>An American Catholic Answers Back, from the Atlantic Monthly, Alfred E. Smith (1927)<br>The Graphic Regional Plan of 1929&#58; General Retrospect and Summary<br>Enchanted City, from The Web and the Rock, Thomas Wolfe (1925&#151;1935 )<br>Harlem Runs Wild, Claude McKay (1935)<br>New York, Marianne Moore (1935)<br>The Man-Moth, Elizabeth Bishop (1935)<br>Selection from Going to the Territory, Ralph Ellison (1986)<br>The Fourteenth Ward, from Black Spring, Henry Miller (1936)<br>My Lost City, from The Crack-Up, F. Scott Fitzgerald (1936)<br>The Fairy Catastrophe, from When the Cathedrals Were White, Le Corbusier (1936)<br>Apology for Breathing, from Back Where I Came From, A. J. Liebling (1938)<br>Excerpt from The Mohawks in High Steel, from Up in the Old Hotel, Joseph Mitchell (1938)<br>The Mayor Challenges &#151; "Ten Misconceptions of New York" (1939)<br>In Dreams Begin Responsibilities, Delmore Schwartz (1938)<br>The Eighty Yard Run, Irwin Shaw (1942)<br>The Making of a New Yorker, John Steinbeck (1943)<br>Voice, Woody Guthrie (1945)<br>Beyond, from A Walker in the City, Alfred Kazin (1946)<br><b>Part 5 World Capital (1948&#151;2000 )</b><br>A Place (Any Place) to Transcend All Places, William Carlos Williams (1948)<br>Here Is New York, E. B. White (1949)<br>Selected Writings, Langston Hughes (1940, 1951 )(<br>The King of Harlem, Federico Garcia Lorca (1955)<br>Angel Levine, Bernard Malamud (1955)<br>Remarks on the Groundbreaking at Lincoln Square, Robert Moses (1959)<br>The Day Lady Died, Frank O'Hara (1959)<br>Fifth Avenue, Uptown, James Baldwin (1960)<br>New York Scenes, from Lonesome Traveler, Jack Kerouac (1960)<br>The Blackout, November 9, 1965, from POPism&#58; The Warhol '60s, Andy Warhol (1980)<br>The Balloon, Donald Barthelme (1968)<br>The Second Regional Plan&#58; Introduction and Summary (1968)<br>Goodbye to All That, from Slouching Towards Bethlehem, Joan Didion (1968)<br>The Yankees, Bruce Catton<br>Bedford-Stuyvesant&#58; Giving a Damn About Hell, from Robert Kennedy&#58; A Memoir, Jack Newfield (1969)<br>Young Lords Party&#58;13-Point Program and Platform (1969)<br>Get the Mafia and the Cops out of Gay Bars, Anonymous (1969)<br>Radical Chic from Radical Chic and Mau-Mauing the Flak Catchers, Tom Wolfe (1970)<br>The Fallen Idol&#58; The Harlem Tragedy of Earl Manigault, from The City Game, Pete Axthelm (1970)<br>Ode to New York, Reed Whittemore (1974)<br>New York, Edward Field (1977)<br>The Brooklyn Bridge, from Sketches from Life, Lewis Mumford (1981)<br>It's Six a.m. Do You Know Where You Are?, Jay McInerney (1982)<br>Boodling, Bigotry, and Cosmopolitanism&#58; The Transformation of a Civic Culture, from Dissent, Jim Sleeper (Fall 1987)<br>Auggie Wren's Christmas Story, Paul Auster (1990)<br>Autumn in New York, Murray Kempton (1990)<br>Replacing Memory, Barry Lopez (1993)<br>Shot&#58; A New York Story, Elizabeth Hardwick (1993)<br>Talk That Talk, from In the Place to Be, Guy Trebay (1994)<br>A Region at Risk from The Third Regional Plan (1996)<br>One Large Garlic and Anchovy&#58; The Search for the Perfect Slice, Michael Nadler (1997)<br>The Second Inaugural Address&#58; The Agenda for Permanent Change Rudolph Giuliani (1998)<br>Someplace in Queens, Ian Frazier (1998)<br>The Midnight Tour&#58; Working the Edgar Allen Poe Beat in the Bronx, from the New Yorker, Marcus Laffey (May 15, 2000)<br>Down and Out and Up Again&#58; Walking Freestyle through the Upper East Side and Sleeping Rough in Central Park, from Time Out Book of New York Walks, Lee Stringer (2000)<br>The Synthetic Sublime, from Quarrel and Quandary, Cynthia Ozick (2000)<br>New York&#58; Science Fiction, Junot Diaz (2000)<br>The Resilient City, John P. Avlon (2001)<br>Index</P><article> <h4>New York Sun - <span class="author">Fred Siegel</span> </h4><p>Fine... a well-wrought anthology.</p> </article> <article> <h4>The Historian - <span class="author">Barbara Blumberg</span> </h4><p>This volume is an anthology to be savored...Empire City is a treat for anyone who is interested in New York.</p> </article><article> <h4>New York History - <span class="author">John A. Grigg</span> </h4><p>A monumental documentary history of New York City... These documents illustrate much of the American experience beyond the five boroughs. This collection is of value to anyone who seeks to add eyewitness understanding to his or her perception of the development and growth of the United States.</p> </article> <article> <h4>New York Times Magazine - <span class="author">Russell Shorto</span> </h4><p>[Kenneth Jackson and David Dunbar's] excellent anthology of New York writings.</p> </article> <article> <h4>New Yorker</h4><p>The city, in all its confounding glory, is the subject of Kenneth T. Jackson and David S. Dunbar's anthology, <i>Empire City</i>.</p> </article> <article> <h4>New York Magazine</h4><p>A huge -- but readable -- collection of nearly 400 years of writing about New York.</p> </article> <article> <h4>New York Sun</h4>Fine... a well-wrought anthology. <p>— Fred Siegel</p> </article> <article> <h4>The Historian</h4>This volume is an anthology to be savored...Empire City is a treat for anyone who is interested in New York. <p>— Barbara Blumberg</p> </article> <article> <h4>New York History</h4>A monumental documentary history of New York City... These documents illustrate much of the American experience beyond the five boroughs. This collection is of value to anyone who seeks to add eyewitness understanding to his or her perception of the development and growth of the United States. <p>— John A. Grigg</p> </article> <article> <h4>New York Times Magazine</h4>[Kenneth Jackson and David Dunbar's] excellent anthology of New York writings. <p>— Russell Shorto</p> </article>
181Erotique Noire: Black EroticaMiriam Decosta-Willis0Miriam Decosta-Willis, Reginald Martin (Editor), Roseann P. Bellerotique-noiremiriam-decosta-willis97803854230900385423098$15.99PaperbackKnopf Doubleday Publishing GroupAugust 1992Short Story Anthologies, African Americans - Fiction & Literature, African Americans - General & Miscellaneous, Peoples & Cultures - American Anthologies, Erotica4566.09 (w) x 9.22 (h) x 1.05 (d)A collective work of art whose time has come. Of lasting value for all lovers of literature and the erotic, this is a glorious, groundbreaking celebration of black sensuality, including works by Alice Walker, Ntozake Shange, and many more. <p>A glorious, groundbreaking celebration of Black sensuality--short stories, poems, essays, folk tales, and letters--ranging from the lyrical to the lascivious, from the prurient to the provocative. It is, as well, a serious and intellectually grounded anthology of black literature, including such authors as Alice Walker, Ntozake Shange, Barbara Chase-Riboud, among many others. (Anchor) </p><p><P>A collective work of art whose time has come. Of lasting value for all lovers of literature and the erotic, this is a glorious, groundbreaking celebration of black sensuality, including works by Alice Walker, Ntozake Shange, and many more.</p>
182Short Story MasterpiecesRobert Penn Warren0Robert Penn Warren (Editor), Albert Erskineshort-story-masterpiecesrobert-penn-warren97804403786480440378648$7.99Mass Market PaperbackRandom House Publishing GroupMarch 1954ReissueAmerican Literature Anthologies, Anthologies, Fiction Subjects5284.19 (w) x 6.90 (h) x 1.15 (d)With works by Henry James, Stephen Crane, John Cheever, James Joyce and many others, this outstanding collection of 35 American and British short pieces of fiction from the first half of the 20th century is one of the bestselling collections of our time.<p><P>With works by Henry James, Stephen Crane, John Cheever, James Joyce and many others, this outstanding collection of 35 American and British short pieces of fiction from the first half of the 20th century is one of the bestselling collections of our time.</p>
183The Best American Short Plays 2006-2007Barbara Parisi0Barbara Parisithe-best-american-short-plays-2006-2007barbara-parisi97815578374861557837481$17.74PaperbackApplause Theatre Book PublishersMay 2010Drama Anthologies, American Drama, American Literature Anthologies3805.50 (w) x 8.40 (h) x 1.10 (d)<p>(Best American Short Plays). Applause is proud to continue the series that for over 60 years has been the standard of excellence for one-act plays in America. Our editor Barbara Parisi has selected the following 16 plays: DEBOOM: WHO GIVES THIS WOMAN? , by Mark Medoff; And Then , by Amelia Arenas; The Cleaning , by Zilvinas Jonusas; Breakfast and Bed , by Amy Fox; The News from St. Petersburg , by Rich Orloff; Double Murder , by Scott Klavan; Running in Circles Screaming , by Jeni Mahoney; Witness , by Peter Maloney; Asteroid Belt , by Lauren Feldman; Glass Knives , by Liliana Almendarez; Hearts and Minds , by Adam Kraar; In Conclusive Woman , by Julie (Pratt) Mollenkamp; Mixed MeSSages , by Mike Pasternack; Amouresque and Arabesque , by Victor Gluck; and The Birth of Theater , by Jules Tasca.</p><p><P>Applause is proud to continue the series that for over 60 years has been the standard of excellence for one-act plays in America. Our editor Barbara Parisi has selected the following 16 plays&#58; DEBOOM&#58; WHO GIVES THIS WOMAN?, by Mark Medoff; And Then, by Amelia Arenas; The Cleaning, by Zilvinas Jonusas; Breakfast and Bed, by Amy Fox; The News from St. Petersburg, by Rich Orloff; Double Murder, by Scott Klavan; Running in Circles Screaming, by Jeni Mahoney; Witness, by Peter Maloney; Asteroid Belt, by Lauren Feldman; The Trash Bag Tourist, by Samuel Brett Williams; Glass Knives, by Liliana Almendarez; Hearts and Minds, by Adam Kraar; In Conclusive Woman, by Julie (Pratt) Mollenkamp; Mixed MeSSages, by Mike Pasternack; The Date, by Joan Lipkin; and The Birth of Theater, by Jules Tasca.</p><P>Foreword Mark Medoff ix<P>Introduction Barbara Parisi xiii<P>DeBoom&#58; Who Gives This Woman Mark Medoff 1<P>And Then Amelia Arenas 55<P>The Cleaning Zilvinas Jonusas 89<P>Breakfast and Bed Amy Fox 105<P>The News from St. Petersburg Rich Orloff 123<P>Double Murder Scott Klavan 145<P>Running in Circles Screaming Jeni Mahoney 157<P>Witness Peter Maloney 171<P>Asteroid Belt Lauren Feldman 185<P>Glass Knives Liliana Almendarez 195<P>Hearts and Minds Adam Kraar 239<P>In Conclusive Woman Julie Rae (Pratt) Mollenkamp 261<P>Mixed MeSSages Mike Pasternack 293<P>Amouresque and Arabesque Victor Gluck 321<P>The Birth of Theater Jules Tasca 357
184Black on White: Black Writers on What It Means to Be WhiteDavid R. Roediger0<p><P>David R. Roediger is professor of history and chair of American studies at the University of Minnesota.&#160;&#160;He is the author of <b>The Wages of Whiteness&#58; Race and the Making of the American Working Class</b> and <b>Towards the Abolition of Whiteness</b>. Roediger lives in St. Paul, Minnesota.</p>David R. Roedigerblack-on-whitedavid-r-roediger97808052111460805211144$9.99PaperbackKnopf Doubleday Publishing GroupJanuary 19991 PBK EDAfrican Americans - General & Miscellaneous, Reference - General & Miscellaneous3685.24 (w) x 7.99 (h) x 0.80 (d)In this thought-provoking volume, David R. Roediger has brought together some of the most important black writers throughout history to explore the question: What does it really mean to be white in America? <p>From folktales and slave narratives to contemporary essays, poetry, and fiction, black writers have long been among America's keenest students of white consciousness and white behavior, but until now much of this writing has been ignored.&nbsp;&nbsp;<b>Black on White</b> reverses this trend by presenting the work of more than fifty major figures, including James Baldwin, Derrick Bell, Ralph Ellison, W.E.B. Du Bois, bell hooks, Toni Morrison, and Alice Walker to take a closer look at the many meanings of whiteness in our society.</p> <p>Rich in irony, artistry, passion, and common sense, these reflections on what Langston Hughes called "the ways of white folks" illustrate how whiteness as a racial identity derives its meaning not as a biological category but as a social construct designed to uphold racial inequality. Powerful and compelling, Black on White provides a much-needed perspective that is sure to have a major impact on the study of race and race relations in America.</p>White people have not always been "white," nor will they always be "white." It is a political alliance. Things will change.<br> AMOJA THREE RIVERS <p>Consider a slave on the auction block, awaiting sale. Imagine the slave being seen, indeed examined, by the potential bidders. Imagine what she felt. Think of her trembling and crying, breaking down, even fighting back. Such attempts to imagine looking in on the auction block and to empathize with those for sale have found a hard-won place in the mainstream of American culture. But little prepares us to see her as looking out, as studying the bidders. And yet, as recent and imaginative research has shown, slaves on the block often searched out every clue in sizing up the whites who would own them.1 Did that scar represent a history of violence? What did that leer suggest? Was that accent familiar, or did it point to the possibility of being transported great distances, away from family and to the master's home? Did those clothes mean great wealth, declining fortunes, or poor whiteness? What could be learned of the buyers from other slaves? What strategies of self-presentation would discourage the attention of the bidder most feared, or encourage the potential buyer judged to be the best of terrible options?</p> <p>When Langston Hughes published <i>The Ways of White Folks</i> some sixty years after the end of slavery, he featured the short story "Slave on the Block" near the book's outset. Set in early-twentieth-century New York City, not the antebellum South, and describing the experiences of a black servant rather than a slave, Hughes's story nonetheless claimed the angle of vision from the auction block as indispensable in describing how African Americans have learned about white ways.2 In fact, the drama of the auction block highlights many of the major themes included in this volume regarding how African Americans have thought about and studied whiteness. The deep associations of whiteness with terror and with property were sharply posed at the point of sale. The auction block gave flesh to questions of sexual exploitation and of gender. Its stark realities laid bare the urgent imperative for slaves to penetrate the psychologies of whites and their necessity to make distinctions even among white slave buyers. All of these themes and more figure prominently in African-American thought concerning whiteness, and deserve our attention here.</p> <p>But few Americans have ever considered the idea that African- Americans are extremely knowledgeable about whites and whiteness. In the mainstream of American culture, and certainly in intellectual circles, a rough and unproductive division of labor exists where the claiming of expert knowledge and commonsense wisdom on race are concerned. White writers have long been positioned as the leading and most dispassionate investigators of the lives, values, and abilities of people of color. White writing about whiteness is rarer, with discussions of what it means to be human standing in for considerations of how racial identity influences white lives. Writers of color, and most notably African-American writers, are cast as providing insight, often presumed to be highly subjective, of what it is like to be "a minority." Lost in this destructive shuffle is the fact that from folktales onward African Americans have been among the nation's keenest students of white consciousness and white behavior.</p> <p>A story about each of the two greatest modern writers on whiteness in the United States, Toni Morrison and James Baldwin, allows us to see how African-American knowledge of whites is created and suppressed. In 1993, the journalist Bill Moyers asked Morrison when she would start writing about white people. Morrison wanted no part of Moyers's invitation to move into the white center of literary culture. She pledged to "stay out here at the margin and let the center come looking for me." Morrison had, however, already written considerably about whites, both in fictional work like "Recitatif" and in the brilliant 1990 volume <i>Playing in the Dark: Whiteness and the Literary Imagination.</i>3 That challenging book was so little appreciated that Moyers could still ask when the writing on whites was to come. The fact that she had written the most important volume on whiteness published in this decade did not so much as establish Morrison's interest in the subject in the eyes of a relatively sophisticated observer of race in the United States like Moyers.</p> <p>At nineteen, James Baldwin's visits to the Apollo Theatre, an art film house on 42nd Street in New York City, left him paralyzed by a terror born of looking into the faces of the white, gay male clientele there. The gay men he saw seemed "so far from being or resembling faggots." Indeed he thought that they "looked and sounded like vigilantes who banded together on weekends to beat faggots up." After much suffering, he found that it was often true that the men alternated between gay sexuality and homophobic violence. Baldwin situated his knowledge in the position from which he observed the men. He had "seen them in the men's room, sometimes on their knees, peering up into the stalls." But his racial position also mattered. "I might not have learned this had I been a white boy," he later wrote, regarding his knowledge of the coexistence of sex and violence, "but sometimes a white man will tell a black boy anything, everything, weeping briny tears. He knows that a black boy can never betray him, for no one will believe his testimony."4 Baldwin's reminiscences complicate our tasks. They suggest that Moyers's dismissal of Morrison's work on whiteness might typify a larger pattern of the ways in which whites disbelieve and/or disregard how much African Americans know about them. Indeed, for Baldwin, the wholesale dismissal by whites of African-American expertise regarding whiteness was one critical condition under which such knowledge could be obtained.</p> <p>At times African Americans have boldly claimed their expertise on whiteness. In the World War One era, James Weldon Johnson would assert as a "fact" that "colored people of this country know and understand the white people better than the white people know and understand them." A decade later, the African-American journalist and novelist George S. Schuyler held, "While the average Nordic knows nothing of how Negroes actually live and what they think, the Negroes know the Nordic intimately." The claims advanced by Johnson and Schuyler are serious and well-grounded, despite the fact that they would seem very unfamiliar and counterintuitive to most whites. Schuyler explained the insights of Black thinkers into "white lives" by observing that "blacks haven't been working with or for white folks all these years for nothing." W.E.B. Du Bois in <i>Darkwater</i> and bell hooks in <i>Black Looks</i> similarly emphasize the servants' ability to know the families for whom they work.5 The contemporary mystery writer Barbara Neely captures this point wonderfully as her domestic worker/detective hero, Blanche White, solves murders by deploying her intimate knowledge of whites. Long experience with violence and sexual exploitation, Ida B. Wells-Barnett and Frederick Douglass argued, perfectly situated African-American Southerners to deflate the claims to chivalry, restraint, and civilization made by white males of that region. The drama and tragedy of passing as white, which is the subject of a large literature usually seen as portraying an exotic part of Black life, also turned on the close observation of white lives. Thus it should be no surprise that the legal theorist Cheryl Harris has recently used histories of passing by a family member to open discussions of the dynamics of white society.6</p> <p>What bell hooks describes as the fantastic white ability to imagine "that black people cannot see them" constitutes a white illusion at once durable, powerful, and fragile. It exists alongside a profound fear of actually being seen by people of color. As Baldwin argued, ". . . a vast amount of the energy that goes into what we call the Negro problem is produced by the white man's desire not to be judged by those who are not white." From the beatings of house slaves who knew too much to the lynchings of African Americans thought to look too long, safety has often turned not just on being unseen, but also on being perceived as unseeing. Richard Wright's mother knew whereof she spoke when she responded fiercely and negatively to his apparently simple youthful question, "Can I go peep at the white folks?" The law under slavery went to considerable pains to keep slaves from testifying against, or even about, whites. After emancipation, keeping African Americans off juries became a central focus of racist state policy.7 Discounting and suppressing the knowledge of whiteness held by people of color was not just a byproduct of white supremacy but an imperative of racial domination.</p> <p>The exposure of the illusion that Blacks did not see and know whites was too troubling to be countenanced, even if indications of its implausibility came from white authors centrally placed within the canon of Western philosophy and literature. If Hegel's celebrated early-nineteenth-century reflections on "lordship and bondage" applied to slavery and racial oppression, white mastery was futile and the denial of African-American knowledge of whites was ridiculous. Hegel saw the slave as living always with the knowledge of the master's deadly power. Slaves therefore necessarily thought deeply about the dynamics of lordship and bondage. The master could afford a lofty ignorance. As the slaves labored, stood in fear, and learned, they also "worked on" escaping their chains. This probing analysis, philosophers are anxious to tell us, represented Hegel's grappling with broad issues of consciousness and mind, not with the slave systems of his age. With this view, the implications of Hegel's work can neatly be separated from Baldwin's insistence that "white men have for black men a reality which is far from being reciprocal."8</p> <p>Literary critics often manage to skirt the troubling implications of the closest fictional approximation of Hegel's insights, Herman Melville's classic novel of slave revolt, <i>Benito Cereno.</i> Critics have found <i>Benito Cereno</i> to be fundamentally concerned with good and evil, with civilization and savagery, with the confidence of the young American nation--with, in short, everything but African-American knowledge of whites. Not coincidentally, the writer who has done the most to restore discussions of Black genius regarding whites to discussions of the very plot of <i>Benito Cereno</i> (and to establish connections of Melville with Hegel) is the African-American historian of slavery, Sterling Stuckey. "The slave perspective on the larger society," Stuckey has written in a passage suggesting one source of his insights into Melville, "is seldom about the oppressed exclusively."9</p> <p>Notes<br> 1. See Walter Johnson's brilliant "Bargaining: Daily Life, Information and Opportunity in the New Orleans Slave Pens" from his forthcoming book. See also his "Masters and Slaves in the Market of Slavery and the New Orleans Trade, 1804-1864" (Ph.D. diss., Princeton University, 1995).</p> <p>2. Langston Hughes, "Slave on the Block," in <i>The Ways of White Folks</i> (New York: Knopf, 1934), 19-31.</p> <p>3. Robert Fikes, Jr., "Escaping the Literary Ghetto: African American Authors of White Life Novels, 1946-1994," <i>Western Journal of Black Studies</i> 19 (1995), 111; Toni Morrison, <i>Playing in the Dark: Whiteness and the Literary Imagination</i> (Cambridge, Mass., and London: Harvard University Press, 1992); Morrison, "Recitatif," in <i>Confirmation: An Anthology of African American Women,</i> Amiri and Amina Baraka, eds. (New York: Morrow, 1983), 243-61. For a brilliant appreciation of this aspect of Morrison's work, see Joy James, "Politicizing the Spirit: American Africanisms and African Ancestors in the Essays of Toni Morrison," <i>Cultural Studies 9</i> (May 1995).</p> <p>4. James Baldwin, "Here Be Dragons," in <i>The Price of the Ticket: Collected Nonfiction, 1948-1985</i> (New York: St. Martin's Press, 1985), 682-83.</p> <p>5. James Weldon Johnson, <i>The Autobiography of an Ex-Colored Man</i> (New York: Knopf, 1970, originally 1927); George S. Schuyler, "Our White Folks," The American Mercury (December 1927), 387; bell hooks, <i>Black Looks: Race and Representation</i> (Boston: South End Press, 1992), 165 and 168; W.E.B. Du Bois, <i>Darkwater</i> (New York: Harcourt, Brace and Howe, 1920), 111-13. The same point is forcefully made in Charles Payne's brilliant history of the Black freedom movement, <i>I've Got the Light of Freedom</i> (Berkeley and Los Angeles: University of California Press, 1995), 311.</p> <p>6. See especially Barbara Neely, <i>Blanche on the Lam</i> (New York: St. Martin's Press, 1992), 39 and 115-16; Cheryl Harris, "Whiteness as Property," <i>Harvard Law Review</i> 106 (June 1993), 1710-13; on Wells, see Vron Ware, <i>Beyond the Pale: White Women, Racism and History</i> (New York: Verso, 1992), 167-224, and Martha Hodes, <i>Sex Across the Color Line,</i> forthcoming from Yale University Press.</p> <p>7. hooks, <i>Black Looks,</i> 168 and 169; Baldwin, "The Fire Next Time," in <i>The Price of the Ticket,</i> 333; Richard Wright, <i>Black Boy</i> (New York: Harper and Brothers, 1945), 57.</p> <p>8. G.W.F. Hegel, <i>The Phenomenology of Mind</i> (London: Allen and Unwin, 1910), I: 183ff; Paul Gilroy, <i>The Black Atlantic: Modernity and Double Consciousness</i> (Cambridge, Mass.: Harvard University Press, 1993), 49-51. Hegel's own views on the supposed backwardness of African people make the task of dismissing the historical rootedness of his insights much easier. See Hegel, The Philosophy of History (London: H. G. Bonn, 1894), 99. See also Baldwin, "The Fire Next Time," in The Price of the Ticket, 375.</p> <p>9. Sterling Stuckey, "The Tambourine in Glory: African Culture and Melville's Art," forthcoming; Stuckey, "The Death of Benito Cereno: A Reading of Herman Melville on Slavery," in <i>Going Through the Storm: The Influence of African American Art in History</i> (New York and Oxford: Oxford University Press, 1994), 158-59 and 169. See also Carolyn Karcher, <i>Shadow Over the Promised Land: Slavery, Race and Violence in Melville's America</i> (Baton Rouge: Louisiana State University Press, 1980).</p><p><P>In this thought-provoking volume, David R. Roediger has brought together some of the most important black writers throughout history to explore the question&#58; What does it really mean to be white in America?<br><br>From folktales and slave narratives to contemporary essays, poetry, and fiction, black writers have long been among America's keenest students of white consciousness and white behavior, but until now much of this writing has been ignored.&#160;&#160;<b>Black on White</b> reverses this trend by presenting the work of more than fifty major figures, including James Baldwin, Derrick Bell, Ralph Ellison, W.E.B. Du Bois, bell hooks, Toni Morrison, and Alice Walker to take a closer look at the many meanings of whiteness in our society.<br><br>Rich in irony, artistry, passion, and common sense, these reflections on what Langston Hughes called &quot;the ways of white folks&quot; illustrate how whiteness as a racial identity derives its meaning not as a biological category but as a social construct designed to uphold racial inequality. Powerful and compelling, Black on White provides a much-needed perspective that is sure to have a major impact on the study of race and race relations in America.</p><h3>Library Journal</h3><p>These two books belong to a growing body of work that examines white identity through African American writings. Historian Roediger (Towards the Abolition of Whiteness, Norton, 1994) here collects illuminating views of "whiteness" from black writers ranging from such early figures as the revolutionary David Walker to contemporaries like Toni Morrison. Some of the expected sources are here, including James Baldwin's Going To Meet the Man and Richard Wright's Black Boy, but among several delightful surprises are George S. Schuyler's essay "Our White Folks" and Alice Walker's "The Dummy in the Window: Joel Chandler Harris and the Invention of Uncle Remus." Although the anthology includes a range of perspectives, Roediger has essentially excluded "the more reflexively antiwhite tradition represented (at times) by the nation of Islam, or by Leonard Jeffries's recent writing on whites." This results in some notable omissions, including Malcom X. Still, this is a valubable collection that should go a long way in helping us to understand America's troubled racial relations. Recommended for all collections. Sartwell (philosophy, Pennsylvania State Univ.) analyzes the perception of whiteness in the slave narratives of Frederick Douglass and Harriet Jacobs, the writings of W.E.B. Du Bois, Zora Neale Hurston, and Malcolm X, and contemporary rap music. He contends that whites, in seeking to establish their identity as the norm, ultimately render themselves invisible. Furthermore, white identity is typically constructed in comparison with nonwhite identities, often portraying the latter as inferior, he notes. Through the writings of African Americans, Sartwell believes whiteness can be viewed in a more objective manner. At the same time that he seeks to elucidate the texts, he grapples with his own whiteness. In the process, he has presented an engaging though disturbing investigation of the complex politics of identity. Recommended for academic libraries.Louis J. Parascandola, Long Island Univ., Brooklyn Campus, NY</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">Pt. I</TD><TD WIDTH="70%">Confronting Whiteness and Seeing Through Race</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dialogue with a White Friend (1940)</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Representations of Whiteness in the Black Imagination (1992)</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Whites as Heathens and Christians (1830)</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Race and Change (1874)</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Shall We Do with the White People? (1860)</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Color of Heaven (1996)</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Klansman's Prayer, cartoon (Undated)</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Our White Folks (1927)</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Debating the Senator (1917)</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%">Pt. II</TD><TD WIDTH="70%">Whiteness as Property: The Workings of Race</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blacks, Whites and Work (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Whiteness as Property (1993)</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Wages (1978)</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Enslaved (1976)</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Speech (1940)</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Man (1936)</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shadow of the Plantation (1948)</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snapshots of the Cotton South (1948)</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Superiority in America (1988)</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%">Pt. III</TD><TD WIDTH="70%">The White World and Whiter America</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Playing in the Dark (1992)</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What America Would Be Like Without Blacks (1970)</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Poor White Musician (1915)</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vanilla Nightmares (1986)</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Being "White" ... and Other Lies (1984)</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The White Witch (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Souls of White Folk (1920)</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%">Pt. IV</TD><TD WIDTH="70%">Some White Folks</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jefferson Davis as a Representative of Civilization (1890)</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Aaron Henry (1995)</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Herman Melville (1988)</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Caucasian Storms Harlem (1927)</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Guerrilla Scholar on the Loose (1984)</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On White Negroes (1988)</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dummy in the Window (1981)</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Slave on the Block (1934)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">John Brown (1941)</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%">Pt. V</TD><TD WIDTH="70%">White Women, White Men</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Going to Meet the Man (1965)</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mrs. Auld (1845)</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Jealous Mistress (1861)</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wimodaughsis (1892)</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Case Stated (1895)</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On White Women Workers (1945)</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Health Card (1956)</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Men as Performers in the Lynching Ritual (1984)</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Bad Faith and Antiblack Racism (1995)</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Madonna: Plantation Mistress or Soul Sister (1992)</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%">Pt. VI</TD><TD WIDTH="70%">White Terrors</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Man's Guilt (1965)</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Slavery and Soul Murder (1995)</TD><TD WIDTH="10%" ALIGN="RIGHT">326</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Lem (1939)</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lynching (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Muster (1861)</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mob Madness (1936)</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Party Down at the Square (Undated, circa 1940)</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD></TABLE><article> <h4>Library Journal</h4>These two books belong to a growing body of work that examines white identity through African American writings. Historian Roediger (Towards the Abolition of Whiteness, Norton, 1994) here collects illuminating views of "whiteness" from black writers ranging from such early figures as the revolutionary David Walker to contemporaries like Toni Morrison. Some of the expected sources are here, including James Baldwin's Going To Meet the Man and Richard Wright's Black Boy, but among several delightful surprises are George S. Schuyler's essay "Our White Folks" and Alice Walker's "The Dummy in the Window: Joel Chandler Harris and the Invention of Uncle Remus." Although the anthology includes a range of perspectives, Roediger has essentially excluded "the more reflexively antiwhite tradition represented (at times) by the nation of Islam, or by Leonard Jeffries's recent writing on whites." This results in some notable omissions, including Malcom X. Still, this is a valubable collection that should go a long way in helping us to understand America's troubled racial relations. Recommended for all collections. Sartwell (philosophy, Pennsylvania State Univ.) analyzes the perception of whiteness in the slave narratives of Frederick Douglass and Harriet Jacobs, the writings of W.E.B. Du Bois, Zora Neale Hurston, and Malcolm X, and contemporary rap music. He contends that whites, in seeking to establish their identity as the norm, ultimately render themselves invisible. Furthermore, white identity is typically constructed in comparison with nonwhite identities, often portraying the latter as inferior, he notes. Through the writings of African Americans, Sartwell believes whiteness can be viewed in a more objective manner. At the same time that he seeks to elucidate the texts, he grapples with his own whiteness. In the process, he has presented an engaging though disturbing investigation of the complex politics of identity. Recommended for academic libraries.Louis J. Parascandola, Long Island Univ., Brooklyn Campus, NY </article> <article> <h4>Booknews</h4>A collection of writings by important black writers on what it means to be white in America. Authors include James Baldwin, Derrick Bell, Ralph Ellison, Toni Morrison, bell hooks, and Alice Walker. Works span the time period from the 19th century to the present. Annotation c. by Book News, Inc., Portland, Or. </article>
185In a Narrow Grave: Essays on TexasLarry McMurtry22<p>Larry McMurtry worked as a cowhand on his father's Texas cattle ranch until he was 22, but never aspired to be a rancher. Instead, he published his first novel, <i>Horseman, Pass By</i>, when he was just 25. More than two dozen novels later, there's still more to McMurtry than a typical western.</p>Larry McMurtryin-a-narrow-gravelarry-mcmurtry97806848686910684868695$10.92PaperbackSimon & Schuster Adult Publishing GroupJuly 20012ND TOUCHSUnited States History - Southern Region, Essays, American Literature Anthologies, United States History - General & Miscellaneous, Civilization - History2085.30 (w) x 8.00 (h) x 0.50 (d)<p>Writing with characteristic grace and wit, Larry McMurtry tackles the full spectrum of his favorite themes — from sex, literature, and cowboys to rodeos, small-town folk, and big-city slickers.</p> <p>First published in 1968, <i>In a Narrow Grave</i> is the classic statement of what it means to come from Texas. In these essays, McMurtry opens a window into the past and present of America's largest state. In his own words:</p> <p><b>"Before I was out of high school, I realized I was witnessing the dying of a way of life — the rural, pastoral way of life. In the Southwest the best energies were no longer to be found on the homeplace, or in the small towns; the cities required these energies and the cities bought them...."</b></p> <p class="null1">"I recognized, too, that the no-longer-open but still spacious range on which my ranching family had made its livelihood...would not produce a livelihood for me or for my siblings and their kind....The myth of the cowboy grew purer every year because there were so few actual cowboys left to contradict it...."</p> <p class="null1">"I had actually been living in cities for fourteen years when I pulled together these essays; intellectually I had been a city boy, but imaginatively, I was still trudging up the dusty path that led out of the country...."</p> <p>Writing with characteristic grace and wit, he tackles the full spectum of his favorite themes--from sex, literature, and cowboys to rodeos, small-town folk, and big-city slickers. </p><p class="null1">An Introduction: The God Abandons Texas</p> <p>Being a writer and a Texan is an amusing fate, one that gets funnier as one's sense of humor darkens. In times like these it verges on the macabre. Apparently there was a time in the forties and fifties when people sort of enjoyed reading about Texas, if the reading was light enough. The state was thought to be different — another country, almost. It had Nieman-Marcus and the Alamo and a lot of rather endearing millionaires. As late as 1961 Mr. John Bainbridge of <i>The New Yorker</i> was able to do well with a book called <i>The SuperAmericans,</i> a collection of polite anecdotes about the millionaires. For Texas letters, the forties and fifties were the Golden Age; that is, J. Frank Dobie was still alive. To Texas readers he was a notch above Homer and a notch below Shakespeare, while the world outside reckoned him almost as good as Carl Sandburg. One moderately good writer was all that was expected of a place like Texas.</p> <p>In those days, of course, Lyndon Johnson was still only half of Rayburn and Johnson. The nation's intellectuals lost no sleep over him, and <i>MacBird</i> was undreamt of.</p> <p>Alas, all is changed. We aren't thought of as quaintly vulgar anymore. Some may find us <i>dangerously</i> vulgar, but the majority just find us boring. As a subject, Texas has become frankly stultifying: if it's another country, it's a country literate America hopes to hear no more about. That magisterial stream, the "Pedernales," is frequently pissed in now by intellectuals who appear to hope that the products of their literary bladders will somehow eat holes in the Presidential motorboat. Having yielded Mr. Johnson, it is hardly to be expected that the state will yield anything funny in the next few years, much less anything aesthetically interesting.</p> *<br> <p>Thus the writer like myself, whose characters live in Texas, may find himself writing into a rather stiff wind. If he is ambivalent about the state as a place, the stiffness of the wind may cause him to become discouraged about it as a subject. This is particularly apt to happen if he attempts to write from Texas, as well as about it. Many Texas writers migrate, of course, and make their way to the literary capitals; there they often find their frontier manners and their experience in the boondocks so marketable socially that they have little time for reflection, and, indeed, little desire to reflect upon the place they have left. What most of them find the time for is nostalgia, a somewhat different thing.</p> <p>It would be a pity if the chill literary winds discourage too many people about Texas as a subject, for present-day Texas is a very rich subject, particularly for the novelist. Present-day California might be even richer, but California, whether as a subject or a place to live, is almost too taxing. There the confusion is greater, the rivalries of manners more intense: the question is whether anyone can live in California and comprehend it clearly now. Nathanael West would have a harder time with the state today than he had in 1939.</p> <p>Texas is almost as intense, but much less dizzying. Society here is divided, but it is not yet fragmented to a degree that would raise difficulties for the novelist. The state is at that stage of metamorphosis when it is most fertile with conflict, when rural and soil traditions are competing most desperately with urban traditions — competing for the allegiance of the young. The city will win, of course, but its victory won't be cheap — the country traditions were very strong. As the cowboys gradually leave the range and learn to accommodate themselves to the suburbs, defeats that are tragic in quality must occur and may be recorded.</p> *<br> <p>I started, indeed, to call this book <i>The Cowboy in the Suburb,</i> but chose the present title instead because I wanted a tone that was elegiac rather than sociological. Nonetheless, I think it is essentially that movement, from country to subdivision, homeplace to metropolis, that gives life in present-day Texas its passion. Or if not its passion, its strong, peculiar mixture of passions, part spurious and part genuine, part ridiculous and part tragic.</p> <p>However boring Texas might be to move to, it is not a boring place to be rooted. The transition that is taking place is very difficult, and the situations it creates are very intense. Living here consciously uses a great deal of one's blood; it involves one at once in a birth, a death, and a bitter love affair.</p> <p>From the birth I expect very little: the new Texas is probably going to be a sort of kid brother to California, with a kid brother's tendency to imitation.</p> <p>The death, however, moves me — the way of life that is dying had its value. Its appeal was simple, but genuine, and it called to it and is taking with it people whom one could not but love.</p> <p>The last, the affair of the heart and blood, is really more physical than would have seemed possible, with a land so unadorned; but the quality of one's intimacy with a place seems to depend as little on adornment as the quality of one's intimacy with a woman. One should not, perhaps, call it a <i>bitter</i> love affair — merely one that has become a little too raw, too real, too stripped of fantasy. The time may have come to part or marry, but, for myself, I put no trust in either alternative. Parting would not leave me free, nor marriage make me happy.</p> <p>There is a song Texas kids still sing, a song about the passing of the cowboy:</p> <p><i>I'm going to leave</i></p> <p class="null2">Old Texas now,</p> <p class="null2">They've got no use</p> <p class="null2">For the longhorn cow.</p> <p class="null2">They've plowed and fenced</p> <p class="null2">My cattle range</p> <p class="null2">And the people there</p> <p class="null2">Are all so strange...</p> <p>It is a slight song, but, for the Texas writer, an inescapable subject. When I think about the passing of the cowboy, my mind inappropriately hangs on the poem of Cavafy's, from the scene in Shakespeare, from the sentence of Plutarch's: the poem in which the god abandons Antony. I like Cavafy's treatment best, with Antony at his window at night in Alexandria, bidden to drink past all deceiving while the god and his retinue file away. In Shakespeare only the guards hear the strange music that marks the god's departure, but it is still a telling moment — indeed, a telling fancy.</p> <p>I can believe I have heard such music myself, in Fort Worth, Houston, Dallas; by the Rio Grande and the Brazos; in the brush country and on the Staked Plains. The music of departure is now rather faint, the god almost out of hearing. The god who abandoned Antony was Hercules — what is the name of the god who now abandons Texas? Sometimes I see him as Old Man Goodnight, or as Teddy Blue, or as my Uncle Johnny — all people the reader will meet if the reader reads on — but the one thing that is sure is that he was a horseman, and a god of the country. His home was the frontier, and his mythos celebrates those masculine ideals appropriate to a frontier.</p> <p>Myself, I dislike frontiers, and yet the sense that my own has vanished produces in me the strongest emotion I have felt in connection with Texas, or with any place. It has embedded itself in the titles of each of my books, and just as I think I have worn the emotion out it seizes me again, usually at some unlikely moment. I see my son, age five, riding a mechanical horse in front of the laundromat on Sunday morning, and the sight calls up my Uncle Johnny, when he was age five, sitting on top of the McMurtry barn watching the last trail herd go by. It is indeed a complex distance from those traildrivers who made my father and my uncles determined to be cowboys to the mechanical horse that helps convince my son that he is a cowboy, as he takes a vertical ride in front of a laundromat.</p> <p>That is the distance I hope to cover in this book. It may, like my other books, be a form of parting, a wave of the hand at Old Man Goodnight, Teddy Blue, Uncle Johnny and all they stood for.</p> *<br> <p>It is also, on a baser level, a literary gambit. It has clearly become necessary to write discursively of Texas if one is to be heard at all beyond one's city limits. The South, fortunately for its writers, has always been dark and bloody ground, but Texas is only scenery, and poor scenery at that. Even so, Mr. Faulkner had to write about a girl being raped with a corncob before he gained more than a semblance of a readership, and most of that soon deserted him. Today the fields of fiction are littered with raped bodies — try the corncob route and readers will yawn in your face.</p> <p>As a regionalist, and a regionalist from an unpopular region, I find the problem of how to get heard rather a fascinating one. I haven't found it especially depressing, but then I wouldn't have gone in for writing if I hadn't liked talking to myself. I quite recognize that there have always been literary capitals and literary provinces, and that those who choose for whatever reason to abide in the provinces need not expect a modish recognition. Recently, of course, the picture has become much brighter. The Texas writer who really wants to get famous has only to work up his autobiography in such a way that it will (1) explain the assassination and (2) make it possible for President Johnson to be impeached. If he can do that, his name is made. <i>The New York Review of Books</i> will beat a path to his door, particularly if his door happens to be somewhere in Manhattan. Should his door be in Anarene, Texas, they will probably rely on the mails, but in any event he can put obscurity behind him. If he ever gets to New York he may even meet Susan Sontag.</p> <p>I don't understand the assassination and I doubt that I can do anything about the President. My chances of meeting Miss Sontag are accordingly pretty slim and I might as well forget about it and go on and write a book about the place where my characters live.</p> <p>I have a feeling I had better do it now, before the emotion I feel at the thought of the god becomes only the memory of an emotion. That god is riding fast away, and will soon be out of sight and out of hearing.</p> <p>Copyright © 1968 by Larry McMurtry</p> <p> Copyright renewed © 1996 by Larry McMurtry</p><p>Writing with characteristic grace and wit, Larry McMurtry tackles the full spectrum of his favorite themes -- from sex, literature, and cowboys to rodeos, small-town folk, and big-city slickers. First published in 1968, In a Narrow Grave is the classic statement of what it means to come from Texas. In these essays, McMurtry opens a window into the past and present of America's largest state.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Preface</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Introduction: The God Abandons Texas</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%">1.</TD><TD WIDTH="70%">Here's HUD in Your Eye</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%">2.</TD><TD WIDTH="70%">Cowboys, Movies, Myths, & Cadillacs: An Excursus on Ritual Forms in the Western Movie</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%">3.</TD><TD WIDTH="70%">Southwestern Literature?</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%">4.</TD><TD WIDTH="70%">Eros in Archer County</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%">5.</TD><TD WIDTH="70%">A Look at the Lost Frontier</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%">6.</TD><TD WIDTH="70%">The Old Soldier's Joy</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%">7.</TD><TD WIDTH="70%">Love, Death, and the Astrodome</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%">8.</TD><TD WIDTH="70%">A Handful of Roses</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%">9.</TD><TD WIDTH="70%">Take My Saddle from the Wall: A Valediction</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD></TABLE><article> <h4>From the Publisher</h4>A. C. Greene Takes apart Texas with all the skill and sadness of a master surgeon performing a postmortem on his mother. </article>
186Queer 13: Lesbian and Gay Writers Recall Seventh GradeClifford Chase0Clifford Chasequeer-13clifford-chase97806881716120688171613$15.95PaperbackHarperCollins PublishersSeptember 1999Biographies &amp; Autobiographies, General<p>Gym class, group showers, zits, band practice, drama club, birth of pubic hair, pranks, secrets, spin-the-bottle, voice changes, bullies, sissies, friendship, enemyship -- what's not to love about turning 13? For a gay child, it may be traumatic, but it also carries a richness of observed detail of small but important moments, turning points of sorts. Adolescence is a watermark for pain and change; the anthology <i>Queer 13</i> contains 25 remembrances of the era of sixth, seventh, and eighth grades, charged with the sparks that only the very young can give off.</p><h3>Hank Stuever</h3><p>"When casting about for survival tales of the seventh grade, Clifford Chase, who edited this book of essays, found that most gay writers had suppressed it, like time they'd spent in a cultural junior-high version of Dachau: utter oppression, grueling days, anxious and terrifying nights. They'd simply blocked it out. Seventh grade wasn't too fun for anyone, but it seems to be a particular watershed event for these wordy gays and lesbians, who have risen to the assignment and reconjured that particular year with pubescent horror: the longing, the armpit hair, the confusion, the shame, the teasing -- it's all here. Thankfully, as the sage Judy Blume always assured us, it's only seventh grade, and most everyone survives it. Even gay kids. Seen from these 25 collected pieces -- many of them quite clever memoirs; some of them merely more overwrought gunk from the para-memoirist craze -- seventh grade is quite a hurdle, but also a magic place."</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Macos</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How We Get That Way</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three from Thirteen</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Number Line</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Beginning of My Worthlessness</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Train</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Outtakes</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes on Camp</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mud Pies and Medusa</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Becky's Pagination</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1976</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Close Escape</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Waiting for Blastoff</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fashions of 1971</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Still Life with Boys</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lost in Translation</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Awake</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nancy Booth, Wherever You Are</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Change of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cool for You</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The White Album"</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Underwater</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Passion</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wind in the Louvers</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thirteen</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD></TABLE>
187Hokum: An Anthology of African-American HumorPaul Beatty0<p><P><b>Paul Beatty </b>is the author of two novels, <i>Tuff </i>and <i>The White Boy Shuffle</i>, and two books of poetry, <i>Big Bank Take Little Bank</i> and <i>Joker, Joker, Deuce. </i>He lives in New York City.</p>Paul Beattyhokumpaul-beatty97815969114821596911484$16.95PaperbackBloomsbury USAJanuary 2006Humor, General<p><P><b>Selected and introduced by acclaimed novelist and poet Paul Beatty, <i>Hokum</i> is a liberating, eccentric, savagely comic collection of the funniest writing by black Americans. </b><P>This book is less a comprehensive collection of African-American humor than a mix-tape narrative dubbed by a trusted friend&#151;a sampler of underground classics, rare grooves, and timeless summer jams, poetry and prose juxtaposed with the blues, hip-hop, political speeches, and the world's funniest radio sermon. The subtle musings of Toni Cade Bambara, Henry Dumas, and Harryette Mullen are bracketed by the profane and often loud ruminations of Langston Hughes, Darius James, Wanda Coleman, Tish Benson, Steve Cannon, and Hattie Gossett. Some of the funniest writers don't write, so included are selections from well-known yet unpublished wits Lightnin' Hopkins, Mike Tyson, and the Reverend Al Sharpton. Selections also come from public figures and authors whose humor, although incisive and profound, is often overlooked&#58; Malcolm X, Suzan-Lori Parks, Zora Neale Hurston, Sojourner Truth, and W.E.B. Dubois. Groundbreaking, fierce, and hilarious, this is a necessary anthology for any fan or student of American writing, with a huge range and a smart, political grasp of the uses of humor.</p><h3>Publishers Weekly</h3><p>Acclaimed novelist Beatty (Tuff; White Boy Shuffle) models this controversial anthology on a "mix-tape narrative dubbed by a trusted... friend." Like a mix-tape, the collection is intensely personal: its encompassing feature is the bright, plaintive, scathingly ironic voice that introduces the volume and its various sections. Beatty, who "was the butt of the first joke [he'd] ever heard," mines two centuries of African-American culture for speeches, poems, fiction, comics and screenplays that mirror his own glass-cutting wit and satisfy, in places, his taste for "unintentional comedy." (To wit, "The Wit and Wisdom of Mike Tyson.") Apart from usual suspects like Langston Hughes and Zora Neale Hurston, a Norton anthology this is not. Selections from Fran Ross and Prophet Omega dizzy readers in their logical funhouses. Hattie Gossett's "80s Version of the Dozens" leads them through sewer pipes of lyrical imagination. The volume's general tenor is wild, winking and explosive. As such, it picks up where Chappelle's Show left off-gouging the government, lampooning cultures black and white, leaving no sacred cow unslaughtered. Even the smiling watermelon on the book's front cover has been retained despite sniffs by national media outlets. "This is black humor," Beatty writes, "and I don't mean African-American black." Indeed, at times-as when John Farris's schoolchildren blithely gun down pedestrians-you may need night-vision goggles to find the joke. (Jan.) Copyright 2005 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">And a'n't I a woman?</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On being crazy</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Possum or pig?</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Let me at the enemy - an' George Brown</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Message to the grass roots</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pose-outs</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cadillac blues</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Die, Nigger, die!</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The spook who sat by the door</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">April 15th 1985</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Identifying marks</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On that stuff that ain't nevah been long enuff for no damn body</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yo daddy : an 80s version of the dozens</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wise 1</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The cab driver who ripped me off</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fifth-ward e-mail</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Presidential campaign speech delivered to the San Francisco Commonwealth Club</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The wit and wisdom of Mike Tyson</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When de co'n pone's hot</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How fried?</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Assorted jokes compiled by Alex Rogers</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The city of refuge</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The bone of contention</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Black no more</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brer Rabbit, you's de cutes' of 'em all</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Slim in Atlanta</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Slim lands a job?</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crispus Attucks McKoy</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the hairdresser's</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One reason cats ...</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A song in the front yard</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adventure</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Clay comes out to meet Liston</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Double Nigger</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Yellow back radio broke-down</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The lesson</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dark prophecy : I sing of shine</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memo #9</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rehabilitation & treatment in the prisons of America</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sands of blood</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Do the right thing</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boy sneezes, head explodes</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lil' black Zambo</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Return of the funky man</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The only one</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the park after school with the girl & the boy</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Talk radio, D.C.</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Good fences</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Erasure</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From John Henry days</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Should old shit be forgot</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Book of Harlem</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dirty deceivers</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Invisible man</TD><TD WIDTH="10%" ALIGN="RIGHT">310</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The wig</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Abomunist manifesto</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heavy water blues</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The life and loves of Mr. Jiveass Nigger</TD><TD WIDTH="10%" ALIGN="RIGHT">326</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Groove, bang and jive around</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Oreo</TD><TD WIDTH="10%" ALIGN="RIGHT">360</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Be black, brother, be black</TD><TD WIDTH="10%" ALIGN="RIGHT">378</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Disneyland high</TD><TD WIDTH="10%" ALIGN="RIGHT">379</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Platitudes</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Any lit</TD><TD WIDTH="10%" ALIGN="RIGHT">395</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jinglejangle</TD><TD WIDTH="10%" ALIGN="RIGHT">397</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kamasutra Sutra</TD><TD WIDTH="10%" ALIGN="RIGHT">404</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Souvenir from anywhere</TD><TD WIDTH="10%" ALIGN="RIGHT">405</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Devotees in the garden of love</TD><TD WIDTH="10%" ALIGN="RIGHT">406</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nigger-Reecan blues</TD><TD WIDTH="10%" ALIGN="RIGHT">427</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mulatto millennium</TD><TD WIDTH="10%" ALIGN="RIGHT">429</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to be a street poet</TD><TD WIDTH="10%" ALIGN="RIGHT">440</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Froggie chocolates' Christmas Eve</TD><TD WIDTH="10%" ALIGN="RIGHT">443</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I am what I am</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Swollen feets</TD><TD WIDTH="10%" ALIGN="RIGHT">455</TD></TABLE>
188Voices in Our Blood: America's Best on the Civil Rights MovementJon Meacham0<p><P>Jon Meacham is managing editor of <i>Newsweek</i>. Born in Chattanooga in 1969, he is a graduate of The University of the South in Sewanee, Tennessee. Meacham has been a reporter for <i>The Chattanooga Times</i> and an editor of <i>The Washington Monthly</i>. He and his wife, Keith, live in New York City.</p>Jon Meachamvoices-in-our-bloodjon-meacham9780375758812037575881X$14.98PaperbackRandom House Publishing GroupJanuary 2003ReprintPeoples & Cultures - American Anthologies, American Literature Anthologies5766.16 (w) x 9.21 (h) x 1.27 (d)<p><b>Voices in Our Blood</b> is a literary anthology of the most important and artful interpretations of the civil rights movement, past and present. It showcases what forty of the nation's best writers — including Maya Angelou, James Baldwin, Ralph Ellison, William Faulkner, John Steinbeck, Alice Walker, Robert Penn Warren, Eudora Welty, and Richard Wright — had to say about the central domestic drama of the American Century.</p> <p>Editor Jon Meacham has chosen pieces by journalists, novelists, historians, and artists, bringing together a wide range of black and white perspectives and experiences. The result is an unprecedented and powerful portrait of the movement's spirit and struggle, told through voices that resonate with passion and strength.</p> <p>Maya Angelou takes us on a poignant journey back to her childhood in the Arkansas of the 1930s. On the front page of <i>The New York Times</i>, James Reston marks the movement's apex as he describes what it was like to watch Martin Luther King, Jr., deliver his heralded "I Have a Dream" speech in real time. Alice Walker takes up the movement's progress a decade later in her article <i>"Choosing to Stay at Home: Ten Years After the March on Washington."</i> And John Lewis chronicles the unimaginable courage of the ordinary African Americans who challenged the prevailing order, paid for it in blood and tears, and justly triumphed.</p> <p><b>Voices in Our Blood</b> is a compelling look at the movement as it actually happened, from the days leading up to World War II to the anxieties and ambiguities of this new century. The story of race in America is a never-ending one, and <b>Voices in Our Blood</b> tells us how we got this far—and how far we still have to go to reach the Promised Land.</p><p><b>Inheritors of Slavery: Twelve Million Black Voices: A Folk History of the Negro in the United States, 1941</b><br> <i>Richard Wright</i></p> <p>The word "Negro," the term by which, orally or in print, we black folk in the United States are usually designated, is not really a name at all nor a description, but a psychological island whose objective form is the most unanimous fiat in all American history; a fiat buttressed by popular and national tradition, and written down in many state and city statutes; a fiat which artificially and arbitrarily defines, regulates, and limits in scope of meaning the vital contours of our lives, and the lives of our children and our children's children.</p> <p>This island, within whose confines we live, is anchored in the feelings of millions of people, and is situated in the midst of the sea of white faces we meet each day; and, by and large, as three hundred years of time has borne our nation into the twentieth century, its rocky boundaries have remained unyielding to the waves of our hope that dash against it.<br> The steep cliffs of this island are manifest, on the whole, in the conduct of whites toward us hour by hour, a conduct which tells us that we possess no rights commanding respect, that we have no claim to pursue happiness in our own fashion, that our progress toward civilization constitutes an insult, that our behavior must be kept firmly within an orbit branded as inferior, that we must be compelled to labor at the behest of others, that as a group we are owned by the whites, and that manliness on our part warrants instant reprisal.</p> <p>Three hundred years are a long time for millions of folk like us to be held in such subjection, so long a time that perhaps scores of years will have to pass before we shall be able to express what this slavery has done to us, for our personalities are still numb from its long shocks; and, as the numbness leaves our souls, we shall yet have to feel and give utterance to the full pain we shall inherit.</p> <p>More than one-half of us black folk in the United States are tillers of the soil, and three-fourths of those of us who till the soil are sharecroppers and day laborers. The land we till is beautiful, with red and black and brown clay, with fresh and hungry smells, with pine trees and palm trees, with rolling hills and swampy delta—an unbelievably fertile land, bounded on the north by the states of Pennsylvania, Ohio, Illinois, and Indiana, on the south by the Gulf of Mexico, on the west by the Mississippi River, and on the east by the Atlantic Ocean.</p> <p>Our southern springs are filled with quiet noises and scenes of growth. Apple buds laugh into blossom. Honeysuckles creep up the sides of houses. Sunflowers nod in the hot fields. From mossy tree to mossy tree—oak, elm, willow, aspen, sycamore, dogwood, cedar, walnut, ash, and hickory–bright green leaves jut from a million branches to form an awning that tries to shield and shade the earth. Blue and pink kites of small boys sail in the windy air.</p> <p>In summer the magnolia trees fill the countryside with sweet scent for long miles. Days are slumberous, and the skies are high and thronged with clouds that ride fast. At midday the sun blazes and bleaches the soil. Butterflies flit through the heat; wasps sing their sharp, straight lines; birds fluff and flounce, piping in querulous joy. Nights are covered with canopies sometimes blue and sometimes black, canopies that sag low with ripe and nervous stars. The throaty boast of frogs momentarily drowns out the call and counter-call of crickets.</p> <p>In autumn the land is afire with color. Red and brown leaves lift and flutter dryly, becoming entangled in the stiff grass and cornstalks. Cotton is picked and ginned; cane is crushed and its juice is simmered down into molasses; yams are grubbed out of the clay; hogs are slaughtered and cured in lingering smoke; corn is husked and ground into meal. At twilight the sky is full of wild geese winging ever southward, and bats jerk through the air. At night the winds blow free.</p> <p>In winter the forests resound with the bite of steel axes eating into tall trees as men gather wood for the leaden days of cold. The guns of hunters snap and crack. Long days of rain come, and our swollen creeks rush to join a hundred rivers that wash across the land and make great harbors where they feed the gulf or the sea. Occasionally the rivers leap their banks and leave new thick layers of silt to enrich the earth, and then the look of the land is garish, bleak, suffused with a first-day stillness, strangeness, and awe.</p> <p>But whether in spring or summer or autumn or winter, time slips past us remorselessly, and it is hard to tell of the iron that lies beneath the surface of our quiet, dull days. To paint the picture of how we live on the tobacco, cane, rice, and cotton plantations is to compete with mighty artists: the movies, the radio, the newspapers, the magazines, and even the Church. They have painted one picture: charming, idyllic, romantic; but we live another: full of the fear of the Lords of the Land, bowing and grinning when we meet white faces, toiling from sun to sun, living in unpainted wooden shacks that sit casually and insecurely upon the red clay.</p> <p>In the main we are different from other folk in that, when an impulse moves us, when we are caught in the throes of inspiration, when we are moved to better our lot, we do not ask ourselves: "Can we do it?" but: "Will they let us do it?" Before we black folk can move, we must first look into the white man's mind to see what is there, to see what he is thinking, and the white man’s mind is a mind that is always changing.</p> <p>In general there are three classes of men above us: the Lords of the Land—operators of the plantations; the Bosses of the Buildings—the owners of industry; and the vast numbers of poor white workers—our immediate competitors in the daily struggle for bread. The Lords of the Land hold sway over the plantations and over us; the Bosses of the Buildings lend money and issue orders to the Lords of the Land. The Bosses of the Buildings feed upon the Lords of the Land, and the Lords of the Land feed upon the 5,000,000 landless poor whites and upon us, throwing to the poor whites the scant solace of filching from us 4,000,000 landless blacks what the poor whites themselves are cheated of in this elaborate game.</p> <p>Back of this tangled process is a long history. When the Emancipation Proclamation was signed, there were some 4,000,000 of us black folk stranded and bewildered upon the land which we had tilled under compulsion for two and a half centuries. Sundered suddenly from the only relationship with Western civilization we had been allowed to form since our captivity, our personalities blighted by two hundred and fifty years of servitude, and eager to hold our wives and husbands and children together in family units, some of us turned back to the same Lords of the Land who had held us as slaves and begged for work, resorted to their advice; and there began for us a new kind of bondage: sharecropping.</p> <p>Glad to be free, some of us drifted and gave way to every vagary of impulse that swept through us, being held in the line of life only by the necessity to work and eat. Confined for centuries to the life of the cotton field, many of us possessed no feelings of family, home, community, race, church, or progress. We could scarcely believe that we were free, and our restlessness and incessant mobility were our naïve way of testing that freedom. Just as a kitten stretches and yawns after a long sleep, so thousands of us tramped from place to place for the sheer sake of moving, looking, wondering, landless upon the land. Arkansas, Missouri, Tennessee, Kentucky, North Carolina, South Carolina, Louisiana, Alabama, Mississippi, Georgia, Virginia, and West Virginia became the home states of us freed blacks.</p><p><b>Voices in Our Blood</b> is a literary anthology of the most important and artful interpretations of the civil rights movement, past and present.</p><h3>Black Issues Book Review</h3><p>Without question, the civil rights movement was one of the most significant periods in American history. Meacham s new book, which pays homage to the period, is a compilation of work spotlighting some of the nation s most powerful and vociferous writers and journalists.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%">I</TD><TD WIDTH="70%">Before the Storm</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Inheritors of Slavery</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">North Toward Home</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes of a Native Son</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Pageant of Birds</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I know Why the Caged Bird Sings</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Opera in Greenville</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%">II</TD><TD WIDTH="70%">Into the Streets</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">America Comes of Middle Age</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">American Segregation and the World Crisis</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Moral Aspects of Segregation</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cradle (of the Confederacy) Rocks</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Parting the Waters: America in the King Years</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prime Time</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter from the South</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Segregation: The Inner Conflict in the South</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Travels with Charley</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Liar by Legislation</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Harlem Is Nowhere</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Interview with Malcolm X: A Candid Conversation with the Militant Major-domo of the Black Muslims</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wallace</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mystery and Manners</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Negro Revolt Against "The Negro Leaders"</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%">III</TD><TD WIDTH="70%">The Mountaintop</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Have a Dream ..."</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Capital Is Occupied by a Gentle Army</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bloody Sunday</TD><TD WIDTH="10%" ALIGN="RIGHT">292</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mississippi: The Fallen Paradise</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This Quiet Dust</TD><TD WIDTH="10%" ALIGN="RIGHT">328</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Watts Burned</TD><TD WIDTH="10%" ALIGN="RIGHT">346</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After Watts: Violence in the City - And End or a Beginning?</TD><TD WIDTH="10%" ALIGN="RIGHT">348</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Brilliancy of Black</TD><TD WIDTH="10%" ALIGN="RIGHT">352</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Representative</TD><TD WIDTH="10%" ALIGN="RIGHT">367</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Second Coming of Martin Luther King</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Martin Luther King Is Still on the Case</TD><TD WIDTH="10%" ALIGN="RIGHT">389</TD><TR><TD WIDTH="20%">IV</TD><TD WIDTH="70%">Twilight</TD><TD WIDTH="10%" ALIGN="RIGHT">409</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Keep On A-Walking, Children"</TD><TD WIDTH="10%" ALIGN="RIGHT">413</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"We in a War - Or Haven't Anybody Told You That?"</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Radical Chic: That Party at Lenny's</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Choosing to Stay at Home: Ten Years After the March on Washington</TD><TD WIDTH="10%" ALIGN="RIGHT">478</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Hostile and Welcoming Workplace</TD><TD WIDTH="10%" ALIGN="RIGHT">486</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">State Secrets</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grady's Gift</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">529</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">533</TD></TABLE><article> <h4>From Barnes & Noble</h4><font face="arial, helvetica, sans-serif" size="-1"><b>The Barnes &amp; Noble Review</b></font><br> Here is the contemporaneous record of the civil rights movement, profound and historic events captured by great writers as they happened. <i>Voices in Our Blood,</i> the first anthology of its kind, collects standout essays and reportage by Ralph Ellison, David Halberstam, Maya Angelou, Robert Penn Warren, Richard Wright, and many others. Several decades later, the movement's success may seem preordained; but these compelling pieces attest to just how volatile the debate was and how precarious the balance -- and how important the issues remain. <p>In <i>Voices in Our Blood,</i> <i>Newsweek</i> managing editor John Meacham accurately samples the complexity of the civil rights movement's underlying themes, assembling an impressive, eclectic array of commentary, journalism, and interviews. Here is a running narrative of America's deep midcentury moral crisis, as recorded by the era's finest writers. In his stirring introduction, Meacham quotes Richard Wright's prophetic 1945 statement regarding the abolition of legalized segregation: "If this country can't find its way to a human path, if it can't inform conduct with a deep sense of life, then all of us, black as well as white, are going down the same drain."</p> <p>Jim Crow, while a reality for black Americans, was peripheral to post-WWII white Americans, who were more intent on pursuing prosperity than tackling racial discrimination and answering the "Negro Question." Many black and white contemporary thinkers, though, pushed the nation's social conscience, and their brilliantly written reportage and commentary fills <i>Voices in Our Blood.</i> Meacham's anthology illuminates the human lives at risk, as well as the broader cultural and philosophical aspects of the struggle.</p> <p>The collection is both a literary delight and a documentation of racism's pervading poisons. Willie Morris's <a href="http://shop.barnesandnoble.com/booksearch/isbninquiry.asp?sLinkPrefix&amp;isbn=0375724605"><i>North Toward Home</i></a> (1967) peers behind a small Mississippi town's façade of normality, exposing the legalized apartheid and soul-warping prejudice that define life and its parameters. For Maya Angelou, in passages excerpted from 1970's <a href="http://shop.barnesandnoble.com/booksearch/isbninquiry.asp?sLinkPrefix&amp;isbn=055338001X"><i>I Know Why the Caged Bird Sings</i></a>, poverty and racism become almost living entities in her Arkansas childhood. Meanwhile, James Baldwin eloquently and poetically describes the bitter toll exacted by prejudice and denied opportunity on a black Harlemite in <a href="http://shop.barnesandnoble.com/booksearch/isbninquiry.asp?sLinkPrefix&amp;isbn=0807064319"><i>Notes of a Native Son</i></a>. A stellar (surprise) inclusion is Rebecca West's 1947 article "Opera in Greenville," detailing the racial killing of a black man in South Carolina and its terrifying aftermath.</p> <p>In these and many other selections, Meacham ably captures the civil rights movement in motion, balanced between hope and despair. And ever for the oppressor, the ultimate price of inequality is high. As novelist William Faulkner poignantly asks (of his fellow white southerners), "Why didn't someone tell us this before? Tell us this in time?" <i>(Robert Fleming)</i></p> <p><i>Robert Fleming is the author of many books, most recently</i> The African-American Writer's Handbook: How to Get in Print and Stay in Print. <i>He is also a contributor to</i> Brown Sugar: A Collection of Erotic Black Fiction. <i>Mr. Fleming lives in New York City</i></p> </article> <article> <h4>Black Issues Book Review</h4>Without question, the civil rights movement was one of the most significant periods in American history. Meacham’s new book, which pays homage to the period, is a compilation of work spotlighting some of the nation’s most powerful and vociferous writers and journalists. </article><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>To "give a flavor of what life was like" as the Civil Rights movement played itself out, Meacham, the managing editor of Newsweek, has assembled "a highly personal anthology" of "the country's best writing on the midcentury crisis." Extending far beyond the decade between Rosa Parks's bold act of resistance to the proprieties of segregation in 1955 and the landmark civil rights bills of 1965, Meacham includes some unexpected works written in the heat of the moment: Tom Wolfe's "wicked portrait of the liberal elite's fascination with the Black Panthers," Alex Haley's Playboy interview with Malcolm X and Howell Raines's memoir of his family's complex relationship with their black housekeeper. The pieces range broadly, from "the fissures between the young and the old within the black community" in the late 1950s (embodied in the relationship between Stokely Carmichael and John Kaspar), to the "cornucopia of discontent" afflicting "blacks in the 1980s and 1990s" as rendered by Ellis Cose. Mixing the work of artists and journalists, including Rebecca West, Taylor Branch, William Styron, Eudora Welty, Stanley Crouch, Elizabeth Hardwick, Alice Walker, Hodding Carter and Richard Wright, this compilation is a useful resource for tracking the daily realities of civil rights struggles. Meacham captures the movement's "complications behind the public spectacle" with immediacy, driving home the point that black and white citizens of the U.S. remain "connected by a common heritage, yet hopelessly divided by skin color." (Jan.) Copyright 2000 Cahners Business Information. </article> <article> <h4>KLIATT</h4>It's no exaggeration to say "America's best" in the subtitle: Robert Penn Warren, David Halberstam, Maya Angelou, Ralph Ellison, Richard Wright, Willie Morris, William Styron, Eudora Welty, William Faulkner, Alice Walker, Walker Percy—and more! My hesitation is for YA readers because this is a large collection (561 pages) and the print is not large by any means. Nevertheless, students could read portions, especially since the book is divided into four chronological blocks. A student could focus on any of the periods: just before the movement, as it starts, as it culminates, and as it ebbs. The editing is momentous. What to choose from so much literature? Some pieces are articles from such icons as The New Yorker and The Atlantic Monthly. Most are excerpts taken from larger works: for instance, from Parting the Waters, the prize-winning biography of MLK by Taylor Branch, is a description of King speaking about "the bus situation in Montgomery" to people gathered in a church after Rosa Parks has been arrested. An excerpt from Congressman John Louis's autobiography Walking with the Wind is included—"Bloody Sunday" about the march on Selma. Even though some of the writers are best known for their fiction (William Faulkner, Eudora Welty), their work chosen for this collection is nonfiction. Each selection is remarkable in its own way, and the anthology as a whole is a formidable reading project. KLIATT Codes: SA*—Exceptional book, recommended for senior high school students, advanced students, and adults. 2001, Random House, 561p. index., <br> — Claire Rosser </article> <article> <h4>Juan Williams</h4>Here are stories and news reports about real people exposing real fear, racial prejudice, as well as real bravery and honesty, as they deal with racial situations...This is the essence of race raltions, and it is also the true heart of this valuable collection of writings.<br> —<i>Washington Monthly</i> </article>
189The Complete Works of Kate ChopinKate Chopin0Kate Chopin, Per Seyersted (Editor), Edmund Wilsonthe-complete-works-of-kate-chopinkate-chopin97808071315100807131512$40.05PaperbackLouisiana State University PressMay 2006New EditionAmerican Fiction, Regional American Anthologies10326.10 (w) x 9.10 (h) x 2.10 (d)In 1969, Per Seyersted gave the world the first collected works of Kate Chopin. Seyersted's presentation of Chopin's writings and biographical and bibliographical information led to the rediscovery and celebration of this turn-of-the-century author. Newsweek hailed the two-volume opus—"In story after story and in all her novels, Kate Chopin's oracular feminism and prophetic psychology almost outweigh her estimable literary talents. Her revival is both interesting and timely." Now for the first time, Seyersted's Complete Works is available in a single-volume paperback. It is the first and only paperback edition of Chopin's total oeuvre. Containing twenty poems, ninety-six stories, two novels, and thirteen essays—in short, everything Chopin wrote except several additional poems and three unfinished children's stories—as well as Seyersted's original revelatory introduction and Edmund Wilson's foreword, this anthology is both a historical and a literary achievement. It is ideal for anyone who wishes to explore the pleasures of reading this highly acclaimed author.<br> <p><b>About the Author:</b><br> Per Seyersted also published in 1969 Kate Chopin: A Critical Biography, which remains in print. He lived from 1921–2005 and was a professor of American literature at the University of Oslo.</p><p>In 1969, Per Seyersted gave the world the first collected works of Kate Chopin. Seyersted's presentation of Chopin's writings and biographical and bibliographical information led to the rediscovery and celebration of this turn-of-the-century author. Newsweek hailed the two-volume opus "In story after story and in all her novels, Kate Chopin's oracular feminism and prophetic psychology almost outweigh her estimable literary talents. Her revival is both interesting and timely." Now for the first time, Seyersted's Complete Works is available in a single-volume paperback. It is the first and only paperback edition of Chopin's total oeuvre. Containing twenty poems, ninety-six stories, two novels, and thirteen essays in short, everything Chopin wrote except several additional poems and three unfinished children's stories as well as Seyersted's original revelatory introduction and Edmund Wilson's foreword, this anthology is both a historical and a literary achievement. It is ideal for anyone who wishes to explore the pleasures of reading this highly acclaimed author.<br><P><B>About the Author:</B><BR>Per Seyersted also published in 1969 Kate Chopin: A Critical Biography, which remains in print. He lived from 1921 2005 and was a professor of American literature at the University of Oslo.</p>
190Literature and the Environment: A Reader on Nature and CultureLorraine Anderson0Lorraine Anderson, John P. O'Grady, Scott Slovic, Scott Slovic, John P. O'Gradyliterature-and-the-environmentlorraine-anderson9780321011497032101149X$68.80PaperbackLongmanAugust 19981st EditionLiterary Collections<p><P><table> <tr> <td>Exploring our relationship to nature and the role literature can play in shaping a culture responsive to environmental realities, this thematic, multi-genre anthology includes early writers such as John Muir, Henry David Thoreau, and Mary Austin, alongside contemporary voices such a Gary Snyder and Terry Tempest Williams.</td></tr></table></p><b>I. THE HUMAN ANIMAL.</b><p><b>1. Our Animal Selves.</b><p><i>The Honey Tree,</i> Mary Oliver.<p><i>Living Like Weasels,</i> Annie Dillard.<p><i>Irregular Flight,</i> Kent Nelson.<p>From <i>The Etiquette of Freedom,</i> Gary Snyder.<p><i>Song of the Taste,</i>Gary Snyder.<p><i>La Mariposa, Butterfly Woman,</i> Clarissa Pinkola Est&eacute;s.<p><i>Collecting Myself,</i> Lester Rowntree.<p><i>The Erotic Landscape,</i> Terry Tempest Williams.<p><i>To Build A Fire,</i> Jack London.<p><i>Of Hawks And Men&#58; A Weekend In The Male Wilderness,</i> Jack Tevlin.<p><i>Solitude,</i> Henry David Thoreau.<p><i>O Rotten Gotham,</i> Tom Wolfe.<p><i>Knot,</i> Pattiann Rogers.<p><b>2. Close Encounters.</b><p><i>Come into Animal Presence,</i> Denise Levertov.<p><i>A Blessing,</i> James Wright.<p><i>I Think I Could Turn and Live with Animals,</i> Walt Whitman.<p><i>The Crow in the Woods,</i> John Updike.<p><i>A City Person Encountering Nature,</i> Maxine Hong Kingston.<p><i>Crab-Boil,</i> Rita Dove.<p><i>Apologia,</i> Barry Lopez.<p><i>Traveling Through the Dark,</i> William Stafford.<p><i>The Creatures on My Mind,</i> Ursula K. Le Guin.<p><i>Just Like Us?</i> Harper&rsquo;s Forum.<p><i>In the Abode of the Snows,</i> Pat Murphy.<p><i>Story from Bear Country,</i> Leslie Marmon Silko.<p><i>Muddy Prints on Mohair,</i> Peter Coyote.<p><b>3. Hunting And Fishing.</b><p><i>A Dog Sleeping on My Feet,</i> James Dickey.<p><i>The Willingness of a Deer to Die,</i> Wintu Tribe.<p><i>The Gifts,</i> Richard K. Nelson.<p><i>The Buck,</i> Joyce Carol Oates.<p>From <i>Fellow Creatures,</i> Paul Shepard.<p><i>The Hunt,</i> Susan Griffin.<p><i>Thinking Like a Mountain,</i> Aldo Leopold.<p><i>A White Heron,</i> Sarah Orne Jewett.<p><i>Fight with a 20-Pound Trout,</i> Ernest Hemingway.<p><i>The Fish,</i> Elizabeth Bishop.<p><b>II. INHABITING PLACE.</b><p><b>4. Imprint of the Land.</b><p><i>Incarnation,</i> Kenneth Rexroth.<p><i>The Negro Speaks of Rivers,</i> Langston Hughes.<p><i>Touching the Earth,</i> Bell Hooks.<p><i>What Holds the Water, What Holds the Light,</i> Linda Hogan.<p><i>Sonora Desert Poem,</i> Lucille Clifton.<p><i>A Wind-Storm in the Forests,</i> John Muir.<p><i>A Blizzard Under Blue Sky,</i> Pam Houston.<p><i>The Snow Man,</i> Wallace Stevens.<p><i>Forever,</i> Simon J. Ortiz.<p><i>Alone on a Mountaintop,</i> Jack Kerouac.<p><i>The Memory Place,</i> Barbara Kingsolver.<p><i>The Walling of Awareness,</i> Jerry Mander.<p><i>The Secret Lion,</i> Alberto Rios.<p><i>Haciendo Apenas La Recoleccio&lsquo;n,</i> Tino Villanueva.<p><b>5. Visions of Home.</b><p><i>Stay Home,</i> Wendell Berry.<p><i>On a Scrap of Land in Henry County,</i> Carol Polsgrove.<p><i>Living by Life&#58; Some Bioregional Theory and Practice,</i> Jim Dodge.<p><i>Jim Dodge, Where You At?</i> Leonard Charles.<p><i>A Bioregional Quiz,</i> Lynn Milliman and Victoria Stockley.<p><i>The Flora and Fauna of Las Vegas,</i> Ellen Meloy.<p><i>On Willow Creek,</i> Rick Bass.<p><i>A Word in Favor of Rootlessness,</i> John Daniel.<p><i>What&rsquo;s in Alaska?</i> Raymond Carver.<p><i>Nature,</i> Luther Standing Bear.<p><i>Rock Garden,</i> Jeanne Wakatsuki Houston.<p><i>Curandera,</i> Pat Mora.<p><i>Second Chance at Paradise,</i> William Kittredge.<p><i>Buckeye,</i> Scott Russell Sanders.<p><i>The Gift Outright,</i> Robert Frost.<p><b>6. Politics of Place.</b><p><i>Long Division&#58; A Tribal History,</i> Wendy Rose.<p><i>This Place,</i> Beth Brant.<p><i>Exile. El Paso, Texas,</i> Benjamin Alire Saenz.<p><i>Black Women and the Wilderness,</i> Evelyn C. White.<p><i>Sorrow Home,</i> Margaret Walker.<p><i>Building a More Inclusive Environmental Movement,</i> Running- Grass.<p><i>Alien Soil,</i> Jamaica Kincaid.<p><i>Eminent Domain&#58; A Love Story,</i> Dan O&rsquo;Brien.<p><i>The World According to Cushman,</i> Margaret L. Knox.<p><i>Eco-Defense,</i> Edward Abbey.<p><i>The Clan of One-Breasted Women,</i> Terry Tempest Williams.<p><b>III. ECONOMY AND ECOLOGY.</b><p><b>7. Getting and Spending.</b><p><i>The World Is Too Much with Us,</i> William Wordsworth.<p><i>Assembly Line,</i> B. Traven.<p><i>Work We Hate and Dreams We Love,</i> Jimmy Santiago Baca.<p><i>&ldquo;Take This Job and Shove It,&rdquo;</i> Theodore Roszak.<p><i>The Conundrum of Consumption,</i> Alan Thein Durning.<p><i>We Alone,</i> Alice Walker.<p><i>Living Lightly and Inconsistently on the Land,</i> Donella Meadows.<p><i>A Supermarket in California,</i> Allen Ginsberg.<p><i>Harvest,</i> Meridel LeSueur.<p><i>A Good Scythe,</i> Wendell Berry.<p><i>On Human Connectedness with Nature,</i> Martin W. Lewis.<p><b>8. Land Use.</b><p><i>Sand Roads&#58; The Development,</i> Marge Piercy.<p><i>Line of Credit,</i> Louise Erdrich.<p><i>Confessions of a Developer,</i> Wallace Kaufman.<p><i>A Brook in the City,</i> Robert Frost.<p><i>A Woman&rsquo;s Land,</i> Sallie Bingham.<p>From <i>An Island,</i> John McPhee.<p><i>Rain at Night,</i> W. S. Merwin.<p><i>The Physics of Beauty,</i> Sharman Apt Russell.<p><i>The Environmental Mindset,</i> Rush Limbaugh III.<p><i>Wilderness Letter,</i> Wallace Stegner.<p><i>The American Indian Wilderness,</i> Louis Owens.<p><b>9. Peril and Response.</b><p><i>Tar,</i> C. K. Williams.<p><i>The Last Antelope,</i> Mary Austin.<p><i>World Scientists&rsquo; Warning to Humanity,</i> Union of Concerned Scientists.<p><i>The End is Not at Hand,</i> Robert J. Samuelson.<p><i>Not So Fast,</i> Bill McKibben.<p><i>Are People an Environmental Pollution?</i> Julian L. Simon.<p><i>Passenger Pigeons,</i> Robinson Jeffers.<p><i>Of Man and the Stream of Time,</i> Rachel Carson.<p><i>Baring the Atom&rsquo;s Mother Heart,</i> Marilou Awiakta.<p><i>Devil Deer,</i> Rudolfo Anaya.<p><i>The Circle Is the Way to See,</i> Joseph Bruchac.<p><i>Renewing the Earth,</i> U. S. Bishops.<p><b>Appendix&#58; Writing About Literature and Culture.</b><p><b>Index of Authors and Titles.</b>
191The Heath Anthology of American Literature, Concise EditionPaul Lauter0<p><P>Paul Lauter is the Smith Professor of Literature at Trinity College. He has served as president of the American Studies Association and is a major figure in the revision of the American literary canon.</p>Paul Lauter, Richard Yarboroughthe-heath-anthology-of-american-literature-concise-editionpaul-lauter97806182566310618256636$123.58PaperbackCengage LearningMay 20031st EditionAmerican Literature Anthologies26956.18 (w) x 9.20 (h) x 2.20 (d)<p>This new anthology brings the expansive, inclusive approach of the two-volume Heath to the single-volume format. While other one-volume texts continue to anthologize primarily canonical works, the new Heath Concise offers a fresh perspective for the course, based on the successful hallmarks of the two-volume set.</p><p><P>This new anthology brings the expansive, inclusive approach of the two-volume Heath to the single-volume format. While other one-volume texts continue to anthologize primarily canonical works, the new Heath Concise offers a fresh perspective for the course, based on the successful hallmarks of the two-volume set.<br></p><P><A HREF="http&#58;//college.hmco.com/instructors/catalog/tocs/0618256636_toc.pdf">The Heath Anthology of American Literature&#58; Concise</a><br>
192Early American WritingVarious0Various, Giles Gunn (Editor), Giles Gunnearly-american-writingvarious97801403908720140390871$18.19PaperbackPenguin Group (USA)February 1994ReissueLiterary Criticism, American6725.28 (w) x 7.72 (h) x 1.21 (d)<p>Introduction<br> <b>Prefigurations (1): Native American Mythology</b><br> WINNEBAGO: This Newly Created World CHEROKEE: How the World Was Made BERING STRAIT ESKIMO: Raven Creation Myth HOPI: How the Spaniards Came to Shung-opovi, How They Build a Mission, and How the Hopi Destroyed the Mission IROQUOIS: Iroquois or Confederacy of the Five Nations<br> <b>Prefigurations (2): The Literature of Imagination and Discovery</b><br> ANONYMOUS: from <i>The Saga of Eric the Red</i> (c. 1000)<br> CHRISTOPHER COLUMBUS (1451?-1506): from a <i>Letter to Lord Raphael Sanchez, Treasurer to Ferdinand and Isabella, King and Queen of Spain, on His First Voyage</i> (1493)<br> AMERIGO VESPUCCI (1454-1512): from <i>Mundus Novus</i> (Letter on His Third Voyage to Lorenzo Pietro Francesco de Medici, 1503)<br> THOMAS MORE (1478-1535): from <i>Utopia</i> (1551)<br> ALVAR NUÑEZ CABEZA DE VACA (1490?-1557?): from <i>The Narrative of Alvar Nuñez Cabeza de Vaca</i> (1542)<br> PEDRO DE CASTE-EDA (1510?-1570?): from <i>The Narrative of the Expedition of Coronado</i> (c. 1562)<br> PETER MARTYR (1455-1526) and RICHARD EDEN (1521-1576): from <i>The Decades of the New World or West India</i> (1555)<br> MICHEL DE MONTAIGNE (1533-1592): from <i>Of Cannibals</i> (1580)<br> THOMAS HARIOT (1560-1621): from <i>Brief and True Report of the New-found Land of Virginia</i> (1588)<br> SIR WALTER RALEIGH (1544-1618): from <i>The Discovery of Guiana</i> (1595)<br> MICHAEL DRAYTON (1563-1631): <i>To the Virginian Voyage</i> (1606)<br> RICHARD HAKLUYT (1552?-1616): from <i>The Famous Voyage of Sir Francis Drake</i> (1628)<br> WILLIAM SHAKESPEARE (1564-1616): from <i>The Tempest</i> (1611)<br> FRANCIS BACON (1561-1626): from <i>The New Atlantis</i> (1627)<br> SAMUEL DE CHAMPLAIN (1567-1635): from <i>The Voyages of Samuel de Champlain</i> (1604-1618)<br> GEORGE HERBERT (1593-1633): from <i>The Church Militant</i><br> <b>The Literature of Settlement and Colonization</b><br> JOHN SMITH (1580-1631): from <i>A True Relation of Such Occurrences and Accidents of Noate as Hath Hapned in Virginia Since the First Planting of That Collony</i> (1608); from <i>A Description of New England</i> (1616)<br> JOHN COTTON (1584-1652): from <i>God's Promise to His Plantations</i> (1630)<br> ALEXANDER WHITAKER (1585-1616?): from <i>Good News from Virginia</i> (1613)<br> JOHN WINTHROP (1587-1649): from <i>A Modell of Christian Charity</i> (1630)<br> WILLIAM BRADFORD (1590-1657): from <i>Of Plymouth Plantation</i> (1630-1651):<br> from Chapter I #The Separatist Interpretation of the Reformation in England, 1550-1607#<br> from Chapter II #Of Their Departure to Holland and the Troubles and Difficulties They Met with There. Anno 1608#<br> from Chapter III #Of Their Settlement in Holland and Their Life There#<br> from Chapter IV #On the Reasons and Causes of Their Removal#<br> from Chapter IX #Of their Voyage, and How They Passed the Sea, and of Their Safe Arrival at Cape Cod#<br> from Chapter XI #The Remainder of Anno 1620: Starving Time; Indian Relations#<br> from Chapter XIX #Anno Domini 1628: Thomas Morton of Merry-mont#<br> from Chapter XXXII #Anno Domini 1642: Wickedness Breaks Forth#<br> from Chapter XXXIII #Anno Domini 1643: The Life and Death of Elder Brewster#<br> THOMAS MORTON (1579?-1647): from <i>The New English Canaan</i> (1637)<br> THOMAS HOOKER (1586?-1647): from <i>A True Sight of Sin</i> (1659)<br> ANN HUTCHINSON (1591-1643): from <i>The Examination of Mrs. Ann Hutchinson at the Court at Newtown</i> (1637)<br> THOMAS SHEPARD (1605-1649): <i>The Covenant of Grace</i> (1651) ANN BRADSTREET (1612?-1672): <i>The Prologue</i> (1650)<br> <i>The Author to Her Book Before the Birth of One of Her Children Contemplations To My Dear and Loving Husband A Letter to Her Husband, Absent upon Publick Employment In Memory of My Dear Grand-Child Elizabeth Bradstreet, Who Deceased August, 1655, Being a Year and a Half Old Here Follows Some Verses upon the Burning of Our House (July 10, 1666)<br> To My Dear Children</i><br> ROGER WILLIAMS (1613-1683): from <i>The Bloudy Tenent of Persecution</i> (1644)<br> from <i>The Hireling Ministry None of Christs</i> (1652)<br> SAMUEL DANFORTH (1626-1674): from <i>A Brief Recognition of New England's Errand into the Wilderness</i> (1671)<br> MICHAEL WIGGLESWORTH (1631-1705): from <i>God's Controversy with New-England</i> (1662)<br> MARY ROWLANDSON (1635?-1678?): from <i>A Narrative of the Captivity and Restauration of Mrs. Mary Rowlandson</i> (1682)<br> EDWARD TAYLOR (1644?-1729): from God's Determinations Concerning His Elect (c. 1680): The Preface; The Souls Groan to Christ for Succour; Christ's Reply from <i>Prepatory Meditations</i>: First Series Meditations (1, 8, 38, 39)<br> from <i>Occasional Poems</i>: Upon a Spider Catching a Fly; Huswifery; The Ebb &amp; Flow SAMUEL SEWALL (1652-1730): from <i>The Diary of Samuel Sewall</i> (1674-1729)<br> from <i>Phaenomena quaedam Apocalyptica</i> (1697)<br> from <i>The Selling of Joseph</i> (1700)<br> COTTON MATHER (1633-1728): from <i>Magnalia Christi Americana</i> (1702):<br> A General Introduction Galeacius Secundus: The Life of William Bradford, Esq., Governor of Plymouth Colony SARAH KEMBLE KNIGHT (1666-1727): from <i>The Journal of Madam Knight</i> (1704-1710)<br> EBENEZER COOK (1670-c. 1732): from <i>The Sot-Weed Factor; or, a Voyage to Maryland, &amp;c.</i> (1708)<br> ROBERT BEVERLEY (c. 1673-1722): from <i>The History and Present State of Virginia</i> (1705): Chapter I: Showing What Happened in the First Attempts to Settle Virginia, Before the Discovery of Chesapeake Bay Chapter II: Containing an Account of the First Settlement of Chesapeake Bay, in Virginia, by the Corporation of London Adventurers, and Their Proceedings During Their Government by a President and Council Elective Chapter III: Showing What Happened After the Alteration of the Government From an Elective President to a Commissionated Governor, Until the Dissolution of the Company WILLIAM BYRD II (1674-1744): from <i>The Secret Diary of William Byrd of Westover</i> (1719-1720)<br> FRAY CARLOS JOSÉ DELGADO (1677-c. 1750): <i>Report made by Rev. Father Fray Carlos Delgado to our Reverence Father Ximeno concerning the abominable hostilities and tyrannies of the governors and alcaldes mayores toward the Indians, to the consternation of the custodia</i> (1750)<br> JONATHAN EDWARDS (1703-1758): <i>Sarah Pierrepont</i> (1723)<br> from <i>Personal Narrative</i> (1740)<br> <i>Sinners in the Hands of an Angry God</i> (1741)<br> from <i>A Treatise Concerning Religious Affections</i> (1746)<br> from <i>The Nature of True Virtue</i> (1765)<br> BENJAMIN FRANKLIN (1706-1790): <i>The Way to Wealth</i> (Preface to <i>Poor Richard Improved</i>) (1758)<br> <i>Address to the Public; from the Pennsylvania Society for Promoting the Abolition of Slavery, and the Relief of Free Negroes Unlawfully Held in Bondage</i> (1782)<br> from <i>Information to Those Who Would Remove to America</i> (1784)<br> <i>Remarks Concerning the Savages of North America</i> (1784)<br> <i>Speech in the Convention at the Conclusion of Its Deliberations</i> (September 17, 1787)<br> fromThe Autobiography of Benjamin Franklin (1784, 1788)<br> <i>Letter to Ezra Styles</i> (March 9, 1790)<br> ELIZABETH ASHBRIDGE (1713-1755): from <i>Some Account of the Early Part of the Life of Elizabeth Ashbridge...Written by Herself</i> (1807)<br> JONATHAN MAYHEW (1720-1766): from <i>A Discourse Concerning Unlimited Submission and Non-Resistance to the Higher Powers</i> (1750)<br> JOHN WOOLMAN (1720-1772): from <i>Some Considerations on the Keeping of Negroes</i> (1754)<br> FRANCISCO PALOU (1723-1789): from <i>Life of Junipero Serra</i> (1787)<br> <b>Native American Literature in the Colonial Period</b><br> North American Indian Oratory CHIEF POWHATAN(1609)<br> CHIEF CANASSATEGO (1742)<br> CHIEF LOGAN(1774)<br> CHIEF PACHGANTSCHILIAS(1787)<br> CHIEF TECUMSEH(1810)<br> <b>Literature of the Early Republic</b><br> GEORGE WASHINGTON (1732-1799): from <i>The Farewell Address to the People of the United States</i> (September 17, 1796)<br> THOMAS JEFFERSON (1734-1826): from <i>Autobiography</i><br> from <i>Notes on the State of Virginia</i> (1785): from Query IV. #A Notice of Its Mountains?#<br> from Query V. #Its Cascades and Caverns?#<br> from Query XI. #A Description of the Indians Established in that State?# from Query XVII. #Religion?#<br> <i>An Act for Establishing Religious Freedom in the State of Virginia</i> (1786)<br> <i>First Inaugural Address</i> (March 4, 1801)<br> <i>Letter to James Madison</i> (December 20, 1787)<br> <i>Letter to Dr. Benjamin Rush</i> (April 21, 1803)<br> <i>Letter to Peter Carr</i> (August 19, 1785)<br> <i>Letter to Thomas Law, Esq.</i> (June 13, 1814)<br> JOHN ADAMS (1735-1826): from the Preface to <i>A Defense of the Constitutions of Government</i> (1787)<br> J. HECTOR ST. JEAN DE CREVECOEUR (1737-1818): from <i>Letters of an American Farmer</i> (1782): from Letter III. #What is an American?#<br> from Letter IX. #Thoughts on Slavery; On Physical Evil; A Melancholy Scene#<br> THOMAS PAINE (1737-1809): <i>An Occasional Letter on the Female Sex</i> (1775)<br> from the Introduction to <i>Common Sense</i> (1776)<br> from <i>Of the Religion of Deism Compared with the Christian Religion, and the Superiority of the Former over the Latter</i> (1804)<br> WILLIAM BARTRAM (1739-1823): from <i>Travels Through North and South Carolina, Georgia, East and West Florida</i> (1791)<br> ABIGAIL ADAMS (1744-1818): <i>Letters to John Adams</i>:<br> March 31, 1776<br> April 5, 1776<br> July 13, 1776<br> August 14, 1776<br> April 10, 1782<br> GUSTAVUS VASSA #OLAUDAH EQUIANO# (1745-1797): from <i>The Interesting Narrative of the Life of Oloudah Equiano, or Gustavus Vassa, the African, Written by Himself</i> (1789)<br> HUGH HENRY BRACKENRIDGE (1748-1816): from <i>Modern Chivalry</i> (1792): Chapter I; Chapter III; Chapter V JOHN TRUMBULL: "The Liberty Pole" from <i>M'Fingal</i> (1782)<br> <i>The Federalist Papers</i> (1787-1788):<br> No. 1 #Alexander Hamilton# (1787)<br> No. 10 #James Madison# (1787)<br> JUDITH SARGENT MURRAY (1751-1820): <i>On the Equality of the Sexes</i> (1790)<br> TIMOTHY DWIGHT (1752-1817): from <i>America</i> (1790)<br> PHILIP FRENEAU (1752-1832): <i>On the Emigration to America</i> (1784)<br> <i>The Wild Honey Suckle</i> (1786)<br> <i>The Indian Burying Ground</i> (1787)<br> <i>On Mr. Paine's Rights of Man</i> (1791)<br> PHILLIS WHEATLY (1753?-1784): <i>On Being Brought from Africa to America</i> (1773)<br> <i>On the Death of the Rev. Mr. George Whitfield</i> (1770)<br> <i>To S. M., A Young African Painter, on Seeing His Works</i> (1773)<br> JOEL BARLOW (1754-1812): fromAdvise to the Privileged Orders in the Several States of Europe (1792)<br> <i>The Hasty Pudding</i> (1793)<br> ROYALL TYLER (1757-1826): <i>Choice of a Wife</i> (1796)<br> Prologue to <i>The Contrast</i> (1787)<br> HANNAH WEBSTER FOSTER (1758-1840): from <i>The Coquette; or, the Life and Letters of Eliza Wharton</i> (1797)<br> SUSANNA HASWELL ROWSON (1762?-1824): Preface to <i>Charlotte Temple</i> (1794)<br> Explanatory Notes</p>
193Soulscript: A Collection of Classic African American PoetryJune Jordan0<p><p><I>JUNE JORDAN </I> was an internationally recognized and beloved writer, teacher, and activist. The author of several books of poetry, including <i>Kissing God Goodbye, Haruko/Love Poems, Who Look at Me, </i>and <i>Things That I Do in the Dark</i>, she died from breast cancer in 2002.</p>.</p>June Jordansoulscriptjune-jordan97807679184660767918460$15.00PaperbackCrown Publishing GroupNovember 2004ReprintPoetry Anthologies, American Poetry, American Literature Anthologies2085.50 (w) x 8.25 (h) x 0.50 (d)<p><b>Black poets from the early twentieth century and onward come together for a moving anthology, edited and organized by the late, revered poet June Jordan.<br> </b><br> First published in 1970, <i>soulscript</i> is a poignant, panoramic collection of poetry from some of the most eloquent voices in the art. Selected for their literary excellence and by the dictates of Jordan’s heart, these works tell the story of both collective and personal experiences, in Jordan’s words, “in tears, in rage, in hope, in sonnet, in blank/free verse, in overwhelming rhetorical scream.”<br> <i>Soulscript</i> features works by Jordan and other luminaries like Gwendolyn Brooks, Countee Cullen, Paul Laurence Dunbar, Nikki Giovanni, Langston Hughes, Gayl Jines, James Weldon Johnson, Audre Lorde, Claude McKay, Ishmael Reed, Sonia Sanchez, and Richard Wright, as well as the fresh voices of a turbulent era’s younger writers. Celebrated spoken-word poet Staceyann Chin, an original cast member of <i>Def Poetry Jam on Broadway</i>, has also added an introduction that speaks to Jordan’s legacy, helping to further cement <i>soulscript</i> as a visionary compilation that has already become a modern classic.</p><p class="null1">MY PEOPLE by Langston Hughes</p> <p>The night is beautiful,<br> So the faces of my people.</p> <p>The stars are beautiful,<br> So the eyes of my people.</p> <p>Beautiful, also, is the sun.<br> Beautiful, also, are the souls of my people.</p> <p class="null1">UNCLE BULL-BOY by June Jordan</p> <p>His brother after dinner once a year would play the piano short and tough in white shirt plaid suspenders green tie and checked trousers.<br> Two teeth were gold. His eyes were pink with alcohol. His fingers thumped for Auld Lang Syne.<br> He played St. Louis Woman Boogie, Blues, the light pedestrian.</p> <p>But one night after dinner after chitterlings and pigs' feet after bourbon and rum and rye after turnip greens and mustard greens and sweet potato pie Bullboy looking everywhere realized his brother was not there.</p> <p>Who would emphasize the luxury of ice cream by the gallon who would repeat effusively the glamour not the gall of five degrees outstanding on the wall?<br> Which head would nod and then recall the crimes the apples stolen from the stalls the soft coal stolen by the pile?<br> Who would admire the eighteenth pair of forty dollar shoes?<br> Who could extol their mother with good brandy as his muse?</p> <p>His brother dead from drinking Bullboy drank to clear his thinking saw the roach inside the riddle.<br> Soon the bubbles from his glass were the only bits of charm which overcame his folded arms.</p> <p><b>AMERICAN GOTHIC by Paul Vesey</b><br> <i>To Satch<br> (The legendary Satchel Page, one of the star pitchers in Negro baseball)</i></p> <p>Sometimes I feel like I will <i>never</i> stop Just go on forever Til one fine mornin'</p> <p>I'm gonna reach up and grab me a handfulla stars Swing out my long lean leg And whip three hot strikes burnin' down the heavens And look over at God and say How about that!</p><p><P><b>Black poets from the early twentieth century and onward come together for a moving anthology, edited and organized by the late, revered poet June Jordan. <br></b><br>First published in 1970, <i>soulscript</i> is a poignant, panoramic collection of poetry from some of the most eloquent voices in the art. Selected for their literary excellence and by the dictates of Jordan&#8217;s heart, these works tell the story of both collective and personal experiences, in Jordan&#8217;s words, &#8220;in tears, in rage, in hope, in sonnet, in blank/free verse, in overwhelming rhetorical scream.&#8221; <br><i>Soulscript </i>features works by Jordan and other luminaries like Gwendolyn Brooks, Countee Cullen, Paul Laurence Dunbar, Nikki Giovanni, Langston Hughes, Gayl Jines, James Weldon Johnson, Audre Lorde, Claude McKay, Ishmael Reed, Sonia Sanchez, and Richard Wright, as well as the fresh voices of a turbulent era&#8217;s younger writers. Celebrated spoken-word poet Staceyann Chin, an original cast member of <i>Def Poetry Jam on Broadway</i>, has also added an introduction that speaks to Jordan&#8217;s legacy, helping to further cement <i>soulscript </i>as a visionary compilation that has already become a modern classic.</p><h3>Library Journal</h3><p>Assembled by editor Jordan in 1970, this anthology includes works by Langston Hughes, Gwendolyn Brooks, Richard Wright, Nikki Giovanni, and numerous others. The poems are divided into multiple categories such as Tomorrow Words Today, Black Eyes on a Fallowland, and Attitudes of the Soul. Good stuff. Copyright 2004 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflections</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Monument in black</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foxey lady</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epilogue</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I am waiting</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">April 4, 1968</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Death prosecuting</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No way out</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hands</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The air is dirty</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dedication to the final confrontation</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tripart</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Many die here</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Satori</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My people</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother to son</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fruit of the flower</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Those winter Sundays</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nikki-Rosa</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The bean eaters</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the birth of my son, Malcolm Coltrane</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Award</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Five winters age</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uncle Bull-boy</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To my son Parker, asleep in the next room</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song of the Son</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface to a twenty volume suicide note</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues note</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At that moment (for Malcolm X)</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Runagate runagate</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Frederick Douglass</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Malcolm X - an autobiography</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In time of crisis</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The ballad of Rudolph Reed</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blind and deaf old woman</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After winter</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Holyghost woman : an ole nomad moving thru the South</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Second Avenue encounter</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If you saw a Negro lady</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ameican gothic</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Counterpoint</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The creation</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reapers</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beware : do not read this poem</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mud in Vietnam</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">lXVXII</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Of faith : confessional</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brown river, smile</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The end of man is his beauty</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">As a possible lover</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This age</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sonnet</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Madhouse</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Number 5 - December</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Naturally</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer Oracle</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Iron years : for money</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Off d pig</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A poem looking for a reader</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moonlight moonlight</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coal</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Air</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The distant drum</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It's here in the</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This morning</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Georia dusk</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Louisiana weekly #4</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Right on : white America</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rhythm is a groove (#2)</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Now, all you children</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Incident</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From riot rimes : USA</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From 26 ways of looking at a blackman</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Riot laugh & I talk</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I substitute for the dead lecturer</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I have seen black hands</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In memoriam : Rev. Martin Luther King, Jr. (part one)</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Motto</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The White House</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">O Daedalus, fly away home</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">November cotton flower</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I know I'm not sufficiently obscure</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sorrow is the only faithful one</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Agony. As now</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Midway</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One thousand nine hundred & sixty - eight winters</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yet do I marvel</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dream variation</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We have been believers</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nocturne varial</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the dark tower</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We wear the mask</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If we must die</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD></TABLE><article> <h4>Library Journal</h4>Assembled by editor Jordan in 1970, this anthology includes works by Langston Hughes, Gwendolyn Brooks, Richard Wright, Nikki Giovanni, and numerous others. The poems are divided into multiple categories such as Tomorrow Words Today, Black Eyes on a Fallowland, and Attitudes of the Soul. Good stuff. Copyright 2004 Reed Business Information. </article>
194The Norton Anthology of Literature by Women: The Traditions in English, Vol. 1Sandra M. Gilbert0<p><b>Sandra M. Gilbert</b> is the author of numerous volumes of criticism and poetry, as well as a memoir. She is coeditor (with Susan Gubar) of <i>The Norton Anthology of Literature by Women</i>. A Distinguished Professor of English emerita at the University of California, Davis, she lives in Berkeley, California.<P><b>Susan Gubar</b> (Ph.D. University of Iowa) is a Distinguished Professor at Indiana University, where she has won numerous teaching awards, most recently the Faculty Mentor Award from the Indiana University Graduate and Professional Student Organization. In addition to her critical collaboration with Sandra Gilbert, she is the author of <b>Racechanges&#58; White Skin, Black Face in American Culture</b> (1997), <b>Critical Condition&#58; Feminism at the Turn of the Century</b> (2000), <b>Poetry After Auschwitz&#58; Remembering What One Never Knew</b> (2003), and <b>Rooms of Our Own</b> (2006), and editor of the first annotated edition of Woolf's <b>A Room of One's Own</b> (2005).</p>Sandra M. Gilbert (Editor), Susan Gubarthe-norton-anthology-of-literature-by-womensandra-m-gilbert97803939301390393930130$59.65HardcoverNorton, W. W. & Company, Inc.February 20073rd EditionLiterary Criticism, Women Authors<p>Long the standard teaching anthology, the landmark <b>Norton Anthology of Literature by Women</b> has introduced generations of readers to the rich variety of women&rsquo;s writing in English.</p>
195Out of Her Mind: Women Writing on MadnessRebecca Shannonhouse0<p><P><b>Rebecca Shannonhouse</b> is a freelance writer and editor. Her writing has appeared in <i>The New York Times</i>, the <i>San Francisco Chronicle, USA Today</i>, and other publications. She lives in New York City.</p>Rebecca Shannonhouseout-of-her-mindrebecca-shannonhouse97803757550260375755020$14.22PaperbackRandom House Publishing GroupFebruary 2003ExpandedAmerican Literature Anthologies, Women's Biography, Psychological Disorders, Anthologies, Women's Biography, Fiction Subjects, Patient Narratives2245.20 (w) x 8.00 (h) x 0.50 (d)<i>Out of Her Mind</i>, edited by Rebecca Shannonhouse, captures the best literature by and about women struggling with madness. A remarkable chronicle of gifted and unconventional women who have spun their inner turmoil into literary gold, the collection features classic short stories, breathtaking literary excerpts, key historical writings, and previously unpublished letters by Zelda Fitzgerald. <p>Shannonhouse’s recent anthology, <i>Under the Influence: The Literature of Addiction</i>, is also available as a Modern Library Paperback Original.</p>A century ago, in a genteel neighborhood of Montgomery, Alabama, a child was born who would eventually embody the freewheeling spirit of the 1920s flapper. Lavish and impulsive, Zelda Fitzgerald offered an alluring mix of privilege and melodrama to complement her young novelist husband, E Scott Fitzgerald. The couple stormed through the New York and Paris party circuits, cutting a lasting image of beauty and flamboyance. He produced great works of literature; she wrote fiction and essays, painted, and dreamed of being a dancer. Before she turned thirty, however, Zelda's life would take an abrupt turn as she experienced the first of several mental breakdowns. To those who knew her, the great American flapper had slipped behind a veil of madness. <p>Like Zelda Fitzgerald, generations of other gifted, unconventional, and tormented women have seen their lives eclipsed by mental illness. They have suffered from depression, schizophrenia, manic depression, and other psychological disorders. Their life ambitions have been derailed by illnesses that bring sadness, delusions, and fears leaving one, as Zelda once described herself, "heart-broken, grief-stricken, spiritually sick."</p> <p>Other talented, outlandish women have been labeled "mad" simply for defying societal norms. They are the ones, in the not too distant past, who were considered lunatics for rejecting their socially imposed roles as homemakers. They are the ones who were dragged to institutions for disagreeing with their husbands about religion. They are the ones, like Ann Hopkins, the seventeenth-century politician's wife, who, according to one observer, became insane after "giving herself wholly to reading and writing."</p> <p>So what is "madness"? When is it mental illness? Or when is it the circumstances of a woman's life driving her "out of her mind"? These are the fundamental questions that first inspired this anthology. In looking for answers, my instincts guided me to literature and history. Ever since I first read about Zelda Fitzgerald some twenty years ago, her life has felt unresolved to me, like a stranded traveler in the back of my mind. Was she destined to be mentally ill, or was she overshadowed by her marriage, driven mad by her unfulfilled aspirations?</p> <p>My purpose in creating this anthology was twofold: to compile selections from the writings of Zelda Fitzgerald and other twentieth century women, such as Sylvia Plath, Susanna Kaysen, Kate Millett, and Lauren Slater, who have so deftly rendered their psychological turmoil in American literature; and to track down the other troubled, often misunderstood women whose forgotten writings on madness were buried, I suspected, somewhere on library shelves or confined to aging reels of microfilm.</p> <p>At Princeton University, I read volumes of Zelda's manuscripts and letters, most of them composed in her brash, big-looped handwriting. While reviewing her lifetime of correspondence, I happened upon unpublished letters written during one of her many hospitalizations. Four of those letters are published here for the first time.</p> <p>At other libraries, I began to unearth historical selections-many of them out of print-including an 1896 essay titled "Confessions of a Nervous Woman"; an 1887 expose describing how the famed journalist Elizabeth Cochrane, better known as Nellie Bly, feigned insanity to investigate a mental institution; and an 1873 account by Elizabeth Parsons Ware Packard, whose husband had her committed after she publicly challenged his beliefs. For historical context, I turned to the reportage of another Victorian stalwart, the social reformer Dorothea Dix, who, though she was not mad, single-handedly recounted the abuse of mentally ill women in several states.</p> <p>During my searches, I came across other harrowing pieces of history. There were tales from the Middle Ages, detailing how those suffering from mental illness were considered lepers and sent away to remote countrysides or warehoused on a "Ship of Fools." Other stories spoke of public whippings and barred windows that allowed passers-by to observe mad men and women shackled by chains. To represent this period, I have included an excerpt from The Book of Margery Kempe, which tells of the violent mental collapse of a medieval mystic.</p> <p>Digging through old books and journals also confirmed the uniqueness of women's experiences in the world of mental illness. The notion of "hysteria," which some people once linked to witchcraft, had overtaken the public consciousness by the nineteenth century. With that came a preoccupation with the female reproductive system-the uterus, in particular, the Greek name for which gives us the word "hysteria"-which dictated many of the medical profession's misguided attempts to cure this broad, undefinable category of mental conditions. In the medical literature of the late 1800s, one can easily find references to gynecological procedures, such as removal of the ovaries or even cauterization of the clitoris, which doctors performed on their hysterical patients. Perhaps no other piece of writing embodies this era of oppression and medical injustice better than Charlotte Perkins Gilman's classic short story "The Yellow Wallpaper," which also is included in the collection.</p> <p>Along the way, I read a great deal about the doctors who hoped to cure the so-called menace of hysteria. Yet I was struck by the icy tone of one in particular, Dr. Edward C. Mann, who in the 1880s wrote about hysteria in a medical journal: "The mental condition of a woman with hysteria is somewhat peculiar," he explained. "The patient, when the hysterical feelings come upon her, does not feel disposed to make the slightest effort to resist them, and yields to her emotions, whatever they may be. She will laugh or cry on the slightest provocation, and is very nervous and excitable. She cares nothing for her duties and seemingly takes pleasure in exaggerating all her slight discomforts and annoyances, and by her suspicious exacting and unreasonable behavior makes life generally uncomfortable to those about her."</p> <p>Perhaps no one professed to know more about unraveling mental chaos, though, than the Viennese neurologist who staked claim to the patient's unexplored dreams and fertile unconscious. Building from his studies of hysteria, Sigmund Freud introduced psychoanalysis at the turn of the century as a means of understanding neuroses. After implicating the lasting psychological impact of childhood traumas, he fathered the era of "talk therapy," which many authors have mined for its rich drama.</p> <p>While reading Sylvia Plath's devastating account of a doctor-patient therapeutic relationship in The Bell&nbsp;&nbsp;Jar, Dr. Mann's coarse statements about hysteria and Dr. Freud's theories of mental suffering seem to echo behind her prose. I had imagined a kind, ugly, intuitive man looking up and saying 'Ah!' in an encouraging way, as if he could see something I couldn't, and then I would find words to tell him how I was so scared, as if I were being stuffed farther and farther into a black, airless sack with no way out," wrote Plath. "But Doctor Gordon wasn't like that at all. He was young and good-looking, and I could see right away he was conceited.... The whole time I was talking, Doctor Gordon bent his head as if he were praying, and the only noise apart from the dull, flat voice was the tap, tap, tap of Doctor Gordon's pencil at the same point on the green blotter, like a stalled walking stick."</p> <p>Not long after patients were encouraged to talk about their mental distress, the medical establishment adopted more extreme measures, such as electroshock therapy (EST), insulin therapy, and the lobotomy. For women whose mental illnesses defied medical doctrine, doctors increasingly prescribed massive surges of electrical currents delivered to the brain,-Iarge doses of insulin to induce convulsions, or, for seemingly hopeless cases, a surgical operation to sever nerve pathways in the frontal lobes of the cerebrum. Mary Jane Ward's popular novel The Snake Pit and New Zealand writer Janet Frame's Faces in the Water are excerpted in this collection to portray the ominous world of EST during its early years of use.</p> <p>The venue of such therapy was typically the dreaded asylum, where generations of women have gained ' or lost their sanity, depending on one's viewpoint. At the urging of doctors, family members delivered the mentally ill to these austere institutions with the intention of rejuvenating the mind and spirits of those who could not find solace in their homes. Sadly, many asylums quickly gained a stronger reputation for the horror of their locked wards and punishing regimens than for the effectiveness of their institutional care. Like Zelda Fitzgerald's letters, The Loony-Bin Trip by Kate Millett captures the monotony and crushing isolation of day-to-day existence in a mental institution.</p> <p>By the time I closed in on the I latter part of the twentieth century, it was clear that mental illness had become inextricably tied to a vast array of prescription drugs. While some of these drugs are still delivered forcibly to women in institutions, others, such as Valium, Xanax, Paxil, and Prozac, to name just a few, are consumed eagerly by legions of devotees. To address some of the resulting philosophical questions about the influence of chemicals on one's true personality, the essays "Black Swans" by Lauren Slater and "Thorazine Shuffle" by the film-maker Allie Light have been included in the collection.</p> <p>Other questions-big, eternal ones about the meaning of insanity-appear as themes in many of the works excerpted here, such as the anonymously written Autobiograpby of a Schizophrenic Girl and Girl, Interrupted by Susanna Kaysen. In her memoir, Kaysen describes the onset of madness: "Experience is thick. Perceptions are thickened and dulled. Time is slow, dripping slowly through the clogged filter of thickened perception. The body temperature is low. The pulse is sluggish. The immune system is half-asleep. The organism is torpid and brackish. Even the reflexes are diminished, as if the lower leg couldn't be bothered to jerk itself out of its stupor when the knee is tapped."</p> <p>The issue of family also asserts itself time and time again in these writings. In contemporary stories and histories alike, relatives existed as diminished, shattered figures beside the raging force of mania, despair, or paranoia. What are the experiences of those who cannot escape the heat of mental illness? What is the psychological toll of caring for someone who is emotionally troubled? The Woman Warrior by Maxine Hong Kingston and "Isolation" by Martha Ellen Hughes search for answers to these questions while also penetrating some of the family myths that shroud madness in so many cultures. In other excerpts, such as those from Signe Hammer's By Her Own Hand and Linda Gray Sexton's Searching for Mercy Street, the mother-daughter bond, and its attendant conflicts, is seen through the prism of suicide.</p> <p>In addition to the distinct psychiatric conditions, such as schizophrenia and obsessive-compulsive disorder, that are represented in the anthology, I felt that it was important to present a few selections about depression, the mental illness that affects nearly twice as many women as men. In the collection, excerpts from The Beast by Tracy Thompson and Willow Weep for Me by Meri Nana-Ama Danquah express the numbing sorrow and emptiness of the disorder that both writers and clinicians refer to as the "common cold" of mental illness. In her memoir, Danquah wrote: "Depression offers layers, textures, noises. At times depression is as flimsy as a feather, barely penetrating the surface of my life, hovering like a slight halo of pessimism. Other times it comes on gradually like a common cold or a storm, each day presenting new signals and symptoms until finally I am drowning in it. Most times, in its most superficial and seductive sense, it is rich and enticing. A field of velvet waiting to embrace me. It is loud and dizzying, inviting the tenors and screeching sopranos of thoughts, unrelenting sadness, and the sense of impending doom."</p> <p>Though many of the writers whose work is included here have been widely read, their nonfictional and fictional accounts of mental illness have not been collected in a single volume. The scholar Troy Porter has written extensively about the history of madness in a number of books, including The Greatest Benefit to Mankind and A Social History of Madness. The institutionalization of women has been documented in Dr. Jeffrey L. Geller and psychologist Maxine Harris's wonderful collection Women of the Asylum. And feminist psychologist Phyllis Chesler has eloquently indicted the oppressive clinical tradition that has prevailed for so many years in her classic, Madness and Women. Yet the general topic of madness in women has not been addressed in a literary and historical collection, only in individual novels, essays, memoirs, and articles. With this anthology, I hope to create a collective voice that will speak for the mentally ill women who have so frequently been cast aside for their "otherness."</p> <p>In researching this book, I also encountered a number of delightful women whose circumstances surrounding their madness were more remarkable than their writings. I have not included their work in the collection but offer two such remarkable stories here:</p> <p>In 1890, a brazen 41-year-old known as Andrew M. Sheffield, who cursed and defied the conventions of feminine propriety, was committed to an Alabama mental asylum. An addict and an alleged arsonist who had an affair with a man who supplied her with drugs, she corresponded with a succession of governors in hopes of being moved to a prison. For thirty years, she was unsuccessful in her efforts and eventually died at the hospital. Her correspondence is published in The Letters of a Victorian Madwoman, edited by John S. Hughes.</p> <p>Another Victorian eccentric was an Englishwoman named Georgina Weldon, whose husband tried to have her committed after learning that she believed her dead mother had been reincarnated as a pet rabbit, a claim that these days might win her a lucrative book contract and a place on the bestseller lists. However, by locking herself in the house and disguising herself as a nun so she could safely leave the premises, Weldon escaped from an alienist who had been instructed to escort her to an asylum. Her experiences eventually played a part in the reform of insanity laws, and in 1878 she published The History of my Orphanage or the Outpourings of an Alleged Lunatic.</p> <p>In 1999, well over a century after Weldon eluded the asylum, the White House sponsored its first-ever conference on mental health. At that gathering, Tipper Gore referred to mental illness as the "last great stigma of the twentieth century." Though it is debatable how far society has advanced in its treatment of those who, seemingly at random, have been besieged by madness, it is clear that there is an important body of literature that can reveal to others the largely private world of emotional suffering. The writers whose works are collected in this anthology not only represent creative, romanticized women, like Zelda Fitzgerald, Sylvia Plath, and so many others, but also, in a sense, the silent, anonymous ones who, for generations, have existed behind harsh, impersonal statistics of mental illness. It is my hope that, with this book, their stories will also be told.</p> <p class="null1">From the Hardcover edition.</p><p><P><i>Out of Her Mind</i>, edited by Rebecca Shannonhouse, captures the best literature by and about women struggling with madness. A remarkable chronicle of gifted and unconventional women who have spun their inner turmoil into literary gold, the collection features classic short stories, breathtaking literary excerpts, key historical writings, and previously unpublished letters by Zelda Fitzgerald.<P>Shannonhouse&#8217;s recent anthology, <i>Under the Influence&#58; The Literature of Addiction</i>, is also available as a Modern Library Paperback Original.</p><h3>Library Journal</h3><p>This somewhat uneven collection by freelance writer Shannonhouse focuses not on the experience of mental illness but rather on descriptions of those experiences (both first-and secondhand) written by women, making the subject matter fairly unique. The time span of the 21 brief selections is impressive (1436-1999); however, almost two-thirds of the writings are from the last half of the 20th century. The wide range of work includes arresting first-person descriptions of mental illness and the equally riveting 1843 testimony of Dorothea Dix on the conditions of Massaschusetts insane assylums. Unfortunately, this collection also includes material such as four rather benign letters by Zelda Fitzgerald (published here for the first time) in which she describes "picnic suppers' and "idyllic days" spent at Highland Hospital. Although sufficient for casual reading, a topic this intriguing deserves more thorough treatment. Recommend for larger public and academic collections.-Angela M. Weiler, SUNY Libs., Morrisville</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Book of Margery Kempe</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "On Behalf of the Insane Poor"</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Modern Persecution, or Insane Asylums Unveiled</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Ten Days in a Mad-House, or Nellie Bly's Experiences on Blackwell's Island</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Yellow Wallpaper"</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Confessions of a Nervous Woman"</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Snake Pit</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Autobiography of a Schizophrenic Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Faces in the Water</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Bell Jar</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Woman Warrior</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Loony-Bin Trip</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from By Her Own Hand</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Girl, Interrupted</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Searching for Mercy Street</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Beast</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "Black Swans"</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Willow Weep for Me</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Isolation"</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Thorazine Shuffle"</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Better Place to Live"</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes About the Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD></TABLE><article> <h4>Library Journal</h4>This somewhat uneven collection by freelance writer Shannonhouse focuses not on the experience of mental illness but rather on descriptions of those experiences (both first-and secondhand) written by women, making the subject matter fairly unique. The time span of the 21 brief selections is impressive (1436-1999); however, almost two-thirds of the writings are from the last half of the 20th century. The wide range of work includes arresting first-person descriptions of mental illness and the equally riveting 1843 testimony of Dorothea Dix on the conditions of Massaschusetts insane assylums. Unfortunately, this collection also includes material such as four rather benign letters by Zelda Fitzgerald (published here for the first time) in which she describes "picnic suppers' and "idyllic days" spent at Highland Hospital. Although sufficient for casual reading, a topic this intriguing deserves more thorough treatment. Recommend for larger public and academic collections.-Angela M. Weiler, SUNY Libs., Morrisville </article>
196The Wadsworth Themes American Literature Series, 1945-Present, Theme 18: Class Conflicts and the American DreamJay Parini0<p><P>Jay Parini is a poet, novelist, and biographer. He is Axinn Professor of English at Middlebury College in Vermont. Among his books are THE LAST STATION (Holt, 1990), BENJAMIN'S CROSSING (Holt, 1997), THE ART OF SUBTRACTION&#58; NEW AND SELECTED POEMS (Braziller, 2005), and WHY POETRY MATTERS (Yale, 2008). He has written biographies of John Steinbeck, Robert Frost, and William Faulkner. He has edited numerous books, including THE OXFORD ENCYCLOPEDIA OF AMERICAN LITERATURE (Oxford, 2004) and THE WADSWORTH ANTHOLOGY OF POETRY (Wadsworth, 2006).<p>Henry Hart is the Mildred and J.B. Hickman Professor of Humanities in the English Department at The College of William and Mary. He has published numerous critical books on modern poets, including THE POETRY OF GEOFFREY HILL (SIU Press, 1986), SEAMUS HEANEY&#58; POET OF CONTRARY PROGRESSIONS (Syracuse UP, 1991), ROBERT LOWELL AND THE SUBLIME (Syracuse UP, 1995), and THE JAMES DICKEY READER (Touchstone, 1999). His biography, JAMES DICKEY&#58; THE WORLD AS LIE (St. Martins, 2000), was runner-up for a Southern Book Critics' Circle Award. He has also published three books of poetry&#58; THE GHOST SHIP (Blue Moon Books,1990), THE ROOSTER MASK (University of Illinois Press, 1998), and BACKGROUND RADIATION (Salt, 2007). He serves as managing editor of VERSE, a poetry magazine he helped found in 1984. His essays and poems have appeared in journals such as THE NEW YORKER, POETRY, THE SOUTHERN REVIEW, DENVER QUARTERLY, THE GETTYSBURG REVIEW, THE GEORGIA REVIEW, THE KENYON REVIEW, and TWENTIETH CENTURY LITERATURE.</p>Jay Parini, Henry Hartthe-wadsworth-themes-american-literature-series-1945-present-theme-18jay-parini97814282625081428262504$12.90PaperbackCengage LearningJuly 20081st Edition20th Century American Literature - General & Miscellaneous - Literary Criticism, American Literature Anthologies696.70 (w) x 9.00 (h) x 0.40 (d)<p>The first thematic series published for American literature, THE WADSWORTH THEMES IN AMERICAN LITERATURE SERIES is currently comprised of 21 themes spanning the time period normally covered in the two-semester American literature survey course—1492 to the present. Each carefully edited booklet centers on a core issue of the period with attention given to the development of key themes. Each thematic booklet offers an introductory contextual essay, a variety of literary perspectives, headnotes and footnotes, along with a variety of visual elements. Henry Hart is a contemporary poet, biographer, and critic with a broad range of work to his credit. He currently holds a chair in literature at the College of William and Mary. His themes are drawn from the postwar era, and he puts before readers a seductive range of work by poets, fiction writers, and essayists. Many of the themes from earlier volumes find their culmination here. Hart offers students a chance to think hard about the matter of ethnicity and race in contemporary America. He explores the role of class, gender, and sexuality in American society. In all, these thematic booklets by Hart are certain to challenge, entertain, and instruct.</p><p><P>The first thematic series published for American literature, THE WADSWORTH THEMES IN AMERICAN LITERATURE SERIES is currently comprised of 21 themes spanning the time period normally covered in the two-semester American literature survey course&#151;1492 to the present. Each carefully edited booklet centers on a core issue of the period with attention given to the development of key themes. Each thematic booklet offers an introductory contextual essay, a variety of literary perspectives, headnotes and footnotes, along with a variety of visual elements. Henry Hart is a contemporary poet, biographer, and critic with a broad range of work to his credit. He currently holds a chair in literature at the College of William and Mary. His themes are drawn from the postwar era, and he puts before readers a seductive range of work by poets, fiction writers, and essayists. Many of the themes from earlier volumes find their culmination here. Hart offers students a chance to think hard about the matter of ethnicity and race in contemporary America. He explores the role of class, gender, and sexuality in American society. In all, these thematic booklets by Hart are certain to challenge, entertain, and instruct.</p><br>Preface&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;v<br>Introduction&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1<br>Raymond Carver (1938-1988)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5<br>Cathedral&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;6<br>Charles Wright (b. 1935)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;18<br>Clear Night&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;19<br>Charles Simic (b. 1938)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;19<br>The Initiate&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;20<br>A.R. Ammons (1926-2001)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;22<br>The City Limits&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;23<br>Louise Erdrich (b. 1954)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;23<br>Saint Clare&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;25<br>Alice Walker (b. 1944)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;28<br>From The Color Purple, two letters&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;29<br>Sonia Sanchez (b. 1934)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;34<br>Aaaayeee Babo (Praise God)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;35<br>Flannery O'Connor (1925-1964)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;38<br>Revelation&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;39<br>Lawrence Ferlinghetti (b. 1919)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;56<br>Sometime During Eternity&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;57<br>Annie Dillard (b. 1945)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;59<br>Holy the Firm&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;60<br>Credits&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;69
197Concise Anthology of American LiteratureGeorge McMichael0George McMichael, James Leonard, James S. Leonard (Editor), J. S. Leonardconcise-anthology-of-american-literaturegeorge-mcmichael97801319379250131937928$89.40PaperbackPrentice HallDecember 20056th EditionLiterary Criticism, American<p><P>This book contains selections from Volumes I and II of the Anthology of American Literature, Seventh Edition. Carefully selected works introduce readers to America&#39;s literary heritage, from the colonial times of William Bradford and Anne Bradstreet to the contemporary era of Saul Bellow and Toni Morrison.<p>It provides a wealth of additional contextual information surrounding the readings as well as the authors themselves. An expanded chronological chart and interaction time line help readers associate literary works with historical, political, technological, and cultural developments. Other coverage includes a continued emphasis on cultural plurality, including the contributions to the American literary canon made by women and minority authors, and a reflection of the changing nature of the canon of American Literature.<p>For anyone who likes to read the writings of American Literature&ndash;and wants to understand the connection between those words and their place in American history.</p><P>THE LITERATURE OF COLONIAL AMERICA. <p>Christopher Columbus (1451&mdash;1506). <p>Columbus&#39;s Letter Describing His First Voyage.<p>FROM The Diario of Christopher Columbus&#39;s First Voyage to America&#58;<p>Thursday 11 October 1492.<p>Sunday 14 October 1492.<p>Captain John Smith (1580&mdash;1631). <p>FROM The General History of Virginia<p>The Third Book.<p>Powhatan&#39;s Discourse of Peace and War.<p>Native American Voices I. <p>Myths and Tales.<p>How the World Began.<p>How the World Was Made.<p>The Beginning of Summer and Winter.<p>The Gift of the Sacred Pipe.<p>Thunder, Dizzying Liquid, and Cups That Do Not Grow.<p>William Bradford (1590&mdash;1657). <p>FROM Of Plymouth Plantation.<p>FROM Bradford on the Rise of Protestantism<p>FROM Chapter III, Of Their Settling in Holland, and Their Manner of Living. . .<p>FROM Chapter IV, Showing the Reasons and Causes of Their Removal.<p>FROM Chapter VII, Of Their Departure from Leyden. . .<p>FROM Chapter IX, Of Their Voyage. . .<p>FROM Chapter X, Showing How They Sought Out a Place of Habitation. .<p>FROM Chapter XI [The Mayflower Contract].<p>FROM Chapter XII [Narragansett Threat].<p>FROM Chapter XIV [Ending of the &#39;Common Course . . . ]<p>FROM Chapter XXVIII [War with the Pequots].<p>FROM Chapter XXXVI [Winslow Abandons the Plymouth Colony].<p>John Winthrop (1588&mdash;1649). <p>FROM The Journal of John Winthrop.<p>The Bay Psalm Book (1640). <p>FROM The Bay Psalm Book.<p>The New England Primer (c. 1683). <p>FROM The New England Primer.<p>Anne Bradstreet (1612&mdash;1672). <p>The Prologue.<p>Contemplations.<p>The Flesh and the Spirit.<p>The Author to Her Book.<p>Before the Birth of One of Her Children.<p>To My Dear and Loving Husband.<p>A Letter to Her Husband Absent Upon Public Employment<p>In Reference to Her Children, 23 June, 1659<p>In Memory of My Dear Grandchild Elizabeth Bradstreet<p>On My Dear Grandchild Simon Bradstreet. . .<p>[On Deliverance] from Another Sore Fit.<p>Upon the Burning of our House, July 10, 1666<p>As Weary Pilgrim.<p>FROM Meditations Divine and Moral.<p>Edward Taylor (c. 1642&mdash;1729). <p>Prologue.<p>FROM Preparatory Meditations.<p>The Reflexion.<p>Meditation 6 (First Series).<p>Meditation 8 (First Series).<p>Meditation 38 (First Series).<p>Meditation 39 (First Series).<p>Meditation 150 (Second Series).<p>FROM God&#39;s Determinations.<p>The Preface.<p>The Joy of Church Fellowship Rightly Attended.<p>Upon a Spider Catching a Fly.<p>Huswifery.<p>The Ebb and Flow.<p>A Fig for Thee Oh! Death.<p>Samuel Sewall (1652&mdash;1730). <p>FROM The Diary of Samuel Sewall.<p>Mary Rowlandson (c 1637&mdash;1711). <p>FROM A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson.<p>William Byrd II (1674&mdash;1744). <p>FROM The Secret Diary of William Byrd of Westover, 1709-1712.<p>Jonathan Edwards (1703&mdash;1758). <p>Sarah Pierrepont.<p>Sinners in the Hands of an Angry God.<p>FROM Images or Shadows of Divine Things.<p>THE LITERATURE OF THE EIGHTEENTH CENTURY. <p>Benjamin Franklin (1706&mdash;1790). <p>FROM The Autobiography.<p>Michel-Guillaume-Jean de Cr&eacute;vecoeur (1735&mdash;1813). <p>FROM Letters from an American Farmer.<p>Letter III (What Is an American?).<p>Letter IX (Description of Charleston . . .).<p>Thomas Paine (1737&mdash;1809). <p>FROM Common Sense.<p>FROM The American Crisis.<p>Thomas Jefferson (1743&mdash;1826). <p>The Declaration of Independence.<p>FROM Notes on the State of Virginia.<p>FROM Query V&#58; Cascades.<p>FROM Query VI&#58; Productions Mineral, Vegetable and Animal.<p>FROM Query XVII&#58; Religion.<p>FROM Query XVIII&#58; Manners.<p>FROM Query XIX&#58; Manufactures.<p>To James Madison.<p>To John Adams.<p>The Federalist (1787&mdash;1788).<p>The Federalist No.10.<p>The Federalist No.51.<p>Phillis Wheatley (1754?&mdash;1784). <p>On Virtue.<p>To the University of Cambridge, in New England.<p>On Being Brought from Africa to America.<p>On Imagination.<p>To S.M. A Young African Painter, On Seeing His Works. Recollection.<p>To His Excellency General Washington.<p>Philip Freneau (1752&mdash;1832). <p>The Power of Fancy.<p>The Hurricane.<p>To Sir Toby.<p>The Wild Honey Suckle.<p>The Indian Burying Ground. On<p>On the Universality and Other Attributes of the God of Nature.<p>Hannah Webster Foster (1758-1840)<p>FROM The Coquette, &ldquo;Letters LXV-LXXIV [the seduction, decline, and death of Eliza Wharton]&rdquo;<p>William Bartram (1739-1823)<p>FROM Travels through North and South Carolina. . .<p>Native American Voices II. <p>FROM A Son of the Forest.<p>FROM Crashing Thunder. . .<p>FROM Story of the Indian.<p>FROM Pawnee Hero Stories. Legend of the Snake Order&hellip;.<p>When the Coyote Married the Maiden.<p>The Creation of the Horse.<p>Poems.<p>Orations.<p>THE AGE OF ROMANTICICSM <p>WashingtonIrving (1783&mdash;1859). <p>FROM A History of New York, by Diedrich Knickerbocker.<p>FROM The Sketch-Book of Geoffrey Crayon, Gent.<p>The Author&#39;s Account of Himself.<p>Rip Van Winkle.<p>The Legend of Sleepy Hollow.<p>James Fenimore Cooper (1789&mdash;1851). <p>Preface to the Leather-Stocking Tales.<p>FROM The Deerslayer.<p>FROM The Pioneers.<p>William Cullen Bryant (1794&mdash;1878). <p>Thanatopsis.<p>To a Waterfowl.<p>To Cole, the Painter, Departing for Europe.<p>To the Fringed Gentian.<p>The Prairies.<p>Abraham Lincoln.<p>Edgar Allan Poe (1809&mdash;1849). <p>Sonnet&ndash;To Science.<p>To Helen.<p>The City in the Sea.<p>Sonnet&ndash;Silence.<p>Lenore.<p>The Raven.<p>Annabel Lee<p>Ligeia.<p>The Fall of the House of Usher.<p>The Purloined Letter.<p>FROM &ldquo;Twice-Told Tales, by Nathaniel Hawthorne&rdquo; [A Review].<p>The Philosophy of Composition.<p>Ralph Waldo Emerson (1803&mdash;1882). <p>Nature.<p>The American Scholar.<p>Self-Reliance.<p>The Rhodora.<p>Each and All.<p>Concord Hymn.<p>The Problem.<p>Ode.<p>Hamatreya.<p>Give All to Love.<p>Days.<p>Brahma.<p>Nathaniel Hawthorne (1804&mdash;1864). <p>Young Goodman Brown.<p>The Minister&#39;s Black Veil.<p>The Birth-Mark.<p>Herman Melville (1819&mdash;1891). <p>Bartleby, the Scrivener.<p>Benito Cereno.<p>The Paradise of Bachelors and the Tartarus of Maids.<p>The Portent.<p>Shiloh.<p>Malvern Hill.<p>The College Colonel.<p>The &AElig;olian Harp.<p>The Tuft of Kelp.<p>The Maldive Shark.<p>The Berg.<p>Art.<p>Greek Architecture.<p>Henry David Thoreau (1817&mdash;1862). <p>Civil Disobedience.<p>FROM Walden.<p>Henry Wadsworth Longfellow (1807&mdash;1882). <p>A Psalm of Life.<p>The Arsenal at Springfield.<p>The Jewish Cemetery at Newport.<p>My Lost Youth.<p>Aftermath.<p>The Tide Rises, the Tide Falls.<p>James Russell Lowell (1819&mdash;1891). <p>To the Dandelion.<p>FROM The Biglow Papers, First Series.<p>FROM A Fable for Critics.<p>Harriet Beecher Stowe (1811&mdash;1896). <p>FROM Uncle Tom&#39;s Cabin.<p>Frederick Douglass (1817?&mdash;1895). <p>FROM The Life and Times of Frederick Douglass.<p>Harriet Ann Jacobs (1813&mdash;1897). <p>FROM Incidents in the Life of a Slave Girl.<p>Abraham Lincoln (1809&mdash;1865). <p>To Horace Greeley.<p>Gettysburg Address.<p>Second Inaugural Address.<p>Walt Whitman (1819&mdash;1892). <p>Preface to the 1855 Edition of Leaves of Grass.<p>FROM Inscriptions.<p>One&#39;s-Self I Sing.<p>When I read the book.<p>Song of Myself.<p>FROM Children of Adam.<p>Out of the rolling ocean the crowd.<p>Once I pass&#39;d through a populous city.<p>Facing west from California&#39;s shores.<p>FROM Calamus. In<p>I saw in Louisiana a live-oak growing.<p>I hear it was charged against me.<p>Crossing Brooklyn Ferry.<p>FROM Sea-Drift.<p>Out of the cradle endlessly rocking.<p>FROM By the Roadside.<p>When I heard the learn&#39;d astronomer.<p>The Dalliance of the Eagles.<p>FROM Drum-Taps.<p>Beat! Beat! Drums!<p>Cavalry Crossing a Ford.<p>Bivouac on a Mountain Side.<p>Vigil strange I kept on the field one night.<p>A march in the ranks hard-prest, and the road unknown.<p>A sight in camp in the daybreak gray and dim.<p>The Wound-Dresser.<p>FROM Memories of President Lincoln.<p>When lilacs last in the dooryard bloom&#39;d.<p>FROM Autumn Rivulets.<p>There was a child went forth.<p>Passage to India.<p>The Sleepers.<p>FROM Whispers of Heavenly Death.<p>A noiseless patient spider.<p>FROM Noon to Starry Night.<p>To a Locomotive in Winter.<p>FROM Goody-Bye My Fancy.<p>L. of G.&#39;s Purport.<p>Emily Dickinson (1830&mdash;1886). <p>I never lost as much but twice.<p>Success is counted sweetest.<p>For each ecstatic instant.<p>These are the days when Birds come back.<p>A Wounded Deer&ndash;leaps highest.<p>&ldquo;Faith&rdquo; is a fine invention.<p>The thought beneath so slight a film.<p>I taste a liquor never brewed.<p>Safe in their Alabaster Chambers.<p>I like a look of Agony.<p>Wild Nights&ndash;Wild Nights!<p>There&#39;s a certain Slant of light.<p>I felt a Funeral, in my Brain.<p>I reason, Earth is short<p>The Soul selects her own Society.<p>A Bird came down the Walk.<p>I know that He exists.<p>What Soft&ndash;Cherubic Creatures.<p>Much Madness is divinest Sense.<p>This is my letter to the World.<p>I died for Beauty &ndash;but was scarce.<p>I heard a Fly buzz&ndash;when I died.<p>It was not Death, for I stood up.<p>The Heart asks Pleasure First<p>I like to see it lap the Miles.<p>I cannot live with You.<p>Pain&ndash;has an Element of Blank.<p>One need not be a Chamber &ndash; to be Haunted.<p>Essential Oils-are wrung<p>Because I could not stop for Death.<p>Presentiment &ndash; is that long Shadow&ndash; on the Lawn.<p>Death is a Dialogue between.<p>A narrow Fellow in the Grass.<p>I never saw a Moor.<p>The Bustle in a House. Tell<p>He preached upon &ldquo;Breadth&rdquo; till it argued him narrow.<p>A Route of Evanescence.<p>Apparently with no surprise.<p>My life closed twice before its close.<p>To make a prairie it takes a clover and one bee.<p>THE AGE OF REALISM. <p>Mark Twain (Samuael L. Clemens) (1835&mdash;1910). <p>The Dandy Frightening the Squatter.<p>The Notorious Jumping Frog of Calaveras County.<p>Whittier Birthday Dinner Speech.<p>Adventures of Huckleberry Finn.<p>Mary E. Wilkins Freeman (1852&mdash;1930). <p>A New England Nun.<p>Bret Harte. <p>Tennessee&#39;s Partner.<p>Charles Waddell Chesnutt (1858&mdash;1932). <p>The Goophered Grapevine.<p>William Dean Howells (1837&mdash;1920). <p>Editha<p>Henry James (1843&mdash;1916). <p>Daisy Miller&#58; A Study.<p>The Real Thing.<p>Ambrose Bierce (1842&mdash;1914). <p>An Occurrence at Owl Creek Bridge.<p>Charlotte Perkins Gilman (1860&mdash;1935). <p>The Yellow Wall-Paper.<p>Kate Chopin (1851&mdash;1904). <p>Neg Creol.<p>Stephen Crane (1871&mdash;1900). <p>Black riders came from the sea.<p>In the desert.<p>A God in wrath.<p>I saw a man pursuing the horizon.<p>&ldquo;Do not weep, maiden, for war is kind.<p>A man said to the universe.<p>A man adrift on a slim spar.<p>The Open Boat.<p>Frank Norris (1870&mdash;1902). <p>A Deal in Wheat.<p>Jack London (1876&mdash;1916). <p>The Law of Life.<p>Edith Wharton (1862&mdash;1937). <p>The Other Two.<p>Theodore Dreiser (1871&mdash;1945). <p>The Lost Phoebe<p>THE MODERNIST ERA (1900-1945) <p>W.E.B. Du Bois (1868&mdash;1963). <p>FROM The Souls of Black Folk.<p>Edwin Arlington Robinson (1869&mdash;1935). <p>Richard Cory.<p>Cliff Klingenhagen.<p>Miniver Cheevy.<p>How Annandale Went Out.<p>Eros Turannos.<p>Mr. Flood&#39;s Party.<p>Robert Frost (1874&mdash;1963). <p>The Tuft of Flowers<p>Mending Wall.<p>Home Burial.<p>The Black Cottage.<p>After Apple-Picking.<p>The Wood-Pile<p>The Road Not Taken.<p>An Old Man&#39;s Winter Night.<p>Birches.<p>The Oven Bird.<p>For Once, Then, Something.<p>Fire and Ice.<p>Design.<p>Stopping by Woods on a Snowy Evening.<p>Willa Cather (1873&mdash;1947). <p>Paul&rsquo;s Case<p>Gertrude Stein (1874&mdash;1946). <p>FROM Three Lives.<p>The Gentle Lena.<p>Susie Asado.<p>Picasso.<p>Sherwood Anderson (1876&mdash;1941). <p>I Want to Know Why<p>John Dos Passos (1896&mdash;1970). <p>FROM U.S.A.<p>Preface.<p>FROM The 42nd Parallel.<p>Proteus.<p>FROM 1919.<p>Newsreel The XLIII.&rdquo;,<p>The Body of an American.<p>FROM The Big Money.<p>Newsreel LXVI.<p>The Camera Eye (50).<p>Newsreel LXVIII&rdquo;<p>Vag.<p>Eugene O&#39;Neill (1888&mdash;1953). <p>The Hairy Ape.<p>Ezra Pound (1885&mdash;1972). <p>Portrait d&#39;une Femme.<p>Salutation.<p>A Pact.<p>In a Station of the Metro.<p>The River-Merchant&#39;s Wife&#58; A Letter.<p>FROM Hugh Selwyn Mauberley.<p>I E. P. Ode pour I&#39;Election de son Sepulchre.<p>II The age demanded an image.<p>III The tea-rose tea-grown, etc..<p>IV These fought in any case.<p>V There died a myriad.<p>FROM The Cantos.<p>I And then went down to the ship.<p>II Hang it all, Robert Browning.<p>XLV With Usura.<p>LXXXI What thou lovest well remains.<p>T. S. Eliot (1888&mdash;1965). <p>The Love Song of J. Alfred Prufrock.<p>Preludes.<p>Gerontion.<p>The Waste Land.<p>Notes on 'The Waste Land&#39;.<p>Journey of the Magi.<p>E. E. Cummings (1894&mdash;1962). <p>[all in green my love went riding]<p>[when god lets my body be]<p>[in Just-]<p>[O sweet spontaneous]<p>[Buffalo Bill&rsquo;s defunct]<p>[the Cambridge ladies who live in furnished souls]<p>[Poem, or beauty hurts, Mr. Vinal]<p>[my sweet old etcetera]<p>[anyone lived in a pretty how town]<p>Hart Crane (1899&mdash;1932). <p>Black Tambourine<p>Chaplinesque.<p>At Melville&#39;s Tomb.<p>Voyages.<p>FROM The Bridge.<p>To Brooklyn Bridge.<p>Powhatan&#39;s Daughter.<p>The Harbor Dawn.<p>Van Winkle.<p>The River.<p>The Tunnel.<p>Atlantis.<p>Wallace Stevens (1879&mdash;1955). <p>Peter Quince at the Clavier.<p>Disillusionment of Ten O&#39;Clock.<p>Sunday Morning.<p>Bantams in Pine-woods<p>Anecdote of the Jar.<p>To the One of Fictive Music.<p>A High-Toned Old Christian Woman.<p>The Emperor of Ice-Cream.<p>Of Modern Poetry.<p>No Possum, No Sop, No Taters.<p>Final Soliloquy of the Interior Paramour.<p>The Plain Sense of Things.<p>William Carlos Williams (1883&mdash;1963). <p>Con Brio.<p>The Young Housewife.<p>Pastoral.<p>Tract.<p>Danse Russe.<p>Queen-Ann&#39;s-Lace.<p>Spring and All.<p>To Elsie.<p>The Red Wheelbarrow.<p>At the Ball Game.<p>Between Walls.<p>This Is Just to Say.<p>The Yachts.<p>These.<p>Seafarer.<p>Landscape with the Fall of Icarus.&rdquo;<p>Marianne Moore (1887&mdash;1972). <p>To a Steam Roller.<p>The Fish.<p>Poetry.<p>No Swan So Fine.<p>The Student.<p>The Pangolin.<p>The Mind Is an Enchanting Thing.<p>In Distrust of Merits.<p>Count&eacute;e Cullen (1903&mdash;1946). <p>Yet Do I Marvel.<p>For a Lady I Know.<p>Incident.<p>From the Dark Tower.<p>A Brown Girl Dead.<p>Heritage.<p>Jean Toomer (1894&mdash;1967). <p>Blood-Burning Moon.<p>Zora Neale Hurston (1891&mdash;1960). <p>John Redding Goes to Sea<p>Thomas Wolfe (1900&mdash;1938). <p>Only the Dead Know Brooklyn.<p>Scott Fitzgerald (1896&mdash;1940). <p>Winter Dreams.<p>Ernest Hemingway (1899&mdash;1961). <p>The Killers<p>William Faulkner (1897&mdash;1962). <p>The Evening Sun<p>Langston Hughes (1902&mdash;1967). <p>The Negro Speaks of Rivers.<p>The Weary Blues.<p>Young Gal&#39;s Blues.<p>I, Too.<p>Note on Commercial Theatre.<p>Dream Boogie.<p>Harlem.<p>Theme for English B.<p>On the Road.<p>John Steinbeck (1902&mdash;1968). <p>Flight<p>Katherine Anne Porter (1890&mdash;1980). <p>Maria Concepcion<p>POSTMODERN ERA (1945 TO PRESENT). <p>Eudora Welty (1909&mdash;). <p>Death of a Traveling Salesman.<p>Richard Wright (1908&mdash;1960). <p>FROM Eight Men.<p>The Man Who Was Almost a Man.<p>Ralph Ellison (1914&mdash;1994). <p>FROM Invisible Man. &ldquo;Chapter I.&rdquo;<p>Tennessee Williams (1911&mdash;1983). <p>The Glass Menagerie.<p>Theodore Roethke (1908&mdash;1963). <p>Open House.<p>Cuttings.<p>Cuttings (Later).<p>Root Cellar.<p>My Papa&#39;s Waltz.<p>I Knew a Woman.<p>In a Dark Time.<p>Elizabeth Bishop (1911&mdash;1979). <p>A Miracle for Breakfast.<p>Over 2,000 Illustrations and a Complete Concordance.<p>Visits to St. Elizabeths.<p>Sestina.<p>Brazil, January 1, 1502.<p>In the Waiting Room.<p>Robert Lowell (1917&mdash;1977). <p>The Quaker Graveyard in Nantucket.<p>Mr. Edwards and the Spider.<p>Memories of West Street and Lepke.<p>Skunk Hour.<p>For the Union Dead.<p>Waking Early Sunday Morning.<p>Will Not Come Back.<p>Allen Ginsberg (1926&mdash;1997). <p>Howl.<p>A Supermarket in California.<p>America.<p>To Aunt Rose.<p>Mugging<p>Anne Sexton (1928&mdash;1974). <p>The Farmer&#39;s Wife.<p>Ringing the Bells.<p>All My Pretty Ones.<p>And One for My Dame.<p>The Addict.<p>Us.<p>Rowing.<p>Sylvia Plath (1932&mdash;1963). <p>All the Dead Dears.<p>Two Views of a Cadaver Room.<p>The Bee Meeting.<p>Lady Lazarus.<p>Ariel.<p>The Applicant.<p>Daddy.<p>Fever 103&deg;<p>James Dickey (1923&mdash;1997). <p>The Lifeguard.<p>Reincarnation (I).<p>In the Mountain Tent.<p>Cherrylog Road.<p>The Shark&#39;s Parlor.<p>W. S. Merwin (1927&mdash;). <p>Grandfather in the Old Men&#39;s Home.<p>The Drunk in the Furnace.<p>Separation<p>Noah&#39;s Raven.<p>The Dry Stone Mason.<p>Fly.<p>Strawberries.<p>Direction.<p>Thanks.<p>The Morning Train.<p>Before the Flood<p>Remembering Signs<p>Youth of Animals<p>To the Consolations of Philosophy<p>Louise Gl&uuml;ck (1943&mdash;). <p>Hesitate to Call.<p>The Chicago Train.<p>The Edge.<p>My Neighbor in the Mirror.<p>Thanksgiving.<p>Mock Orange.<p>The Reproach.<p>Celestial Music.<p>Vespers.<p>Field Flowers.<p>James Baldwin (1924&mdash;1987). <p>Sonny&#39;s Blues.<p>Flannery O&#39;Connor (1925&mdash;1964). <p>Good Country People.<p>John Updike (1932&mdash;). <p>Flight.<p>Bernard Malamud (1914&mdash;1986). <p>The Magic Barrel.<p>Amiri Baraka (LeRoi Jones) (1934&mdash;). <p>In Memory of Radio.<p>The Bridge.<p>Notes for a Speech.<p>An Agony, As Now.<p>A Poem for Democrats.<p>A Poem for Speculative Hipsters.<p>A Poem Some People Will Have to Understand.<p>Poem for Half-White College Students.<p>Biography.<p>Sonia Sanchez (1934&mdash;). <p>the final solution/<p>To blk/record/buyers.<p>FROM right on&#58; wite america<p>3.<p>young/black/girl.<p>womanhood.<p>Masks.<p>Just Don&#39;t Never Give Up on Love.<p>June Jordan (1936&mdash;2002) <p>FROM Things That I Do in the Dark.<p>All the World Moved.<p>In Memoriam&#58; Martin Luther King, Jr.<p>Meta-Rhetoric.<p>FROM Naming Our Own Destiny.<p>Poem about My Rights.<p>Rita Dove (1952&mdash;). <p>Adolescence - I.<p>Adolescence - II.<p>Adolescence - III.<p>Banneker.<p>Jiving.<p>The Zeppelin Factory.<p>Under the Viaduct, 1932.<p>Roast Possum.<p>Weathering Out.<p>Daystar.<p>Edward Albee (1928&mdash;). <p>The Zoo Story.<p>Saul Bellow (1915&mdash;). <p>A Silver Dish.<p>Kurt Vonnegut (1922&mdash;). <p>Welcome to the Monkey House.<p>Joyce Carol Oates (1938&mdash;). <p>The Knife<p>Alice Walker (1944&mdash;). <p>Everyday Use.<p>Amy Tan (1952&mdash;). <p>FROM The Joy Luck Club.<p>Half and Half.<p>Donald Barthelme (1931&mdash;1989). <p>The School.<p>Bobbie Ann Mason (1940&mdash;). <p>Shiloh.<p>Gloria Naylor (1950&mdash;). <p>FROM The Women of Brewster Place.<p>Lucielia Louise Turner.<p>Leslie Marmon Silko (1948&mdash;). <p>The Man to Send Rain Clouds<p>Coyote Holds a Full House in His Hand.<p>Raymond Carver (1938&mdash;1988). <p>Cathedral.<p>Don DeLillo (1936&mdash;). <p>FROM White Noise.<p>Sandra Cisneros (1954&mdash;). <p>FROM Woman Hollering Creek.<p>Mericans.<p>Louise Erdrich (1954&mdash;). <p>FROM Love Medicine.<p>The Red Convertible (1974).<p>Tina Howe (1937&mdash;). <p>Painting Churches.<p>Toni Morrison (1931&mdash;). <p>FROM Sula<p>1922.<p>David Mamet (1947-)<p>House of Games<p>Judy Budnitz (1973-)<p>Where We come from<p>REFERENCE WORKS, BIBLIOGRAPHIES<p>CRITICISM, LITERARY AND CULTURAL HISTORY<p>ACKNOWLEDGEMENTS<p>INDEX TO AUTHORS, TITLES AND FIRST LINES
198Written by Herself: Autobiographies of American WomenJill Ker Conway0<p><P>Jill Ker Conway was born in Hillston, New South Wales, Australia, graduated from the University of Sydney in 1958, and received her Ph.D. from Harvard University in 1969.&#160;&#160;From 1964 to 1975 she taught at the University of Toronto and was Vice President there before serving for ten years as President of Smith College.&#160;&#160;Since 1985 she has been a visiting scholar and professor in M.I.T.'s Program in Science, Technology and Society, and she now lives in Boston, Massachusetts.<br><br>NOTES ON CONTRIBUTORS&#58;<br><br>Margery Perham (1895-1982) went to Africa to study race relations on a Rhodes Fellowship.&#160;&#160;Her sojourn in Africa made her an expert on tribal institutions and a passionate and lifelong supporter of the rights of native peoples, in her writings and as director of the Institute of Colonial Studies.<br><br>Vera Brittain (1893-1970) served as a nurse during World War I, the conflict in which her fianc&#233;e, her beloved brother, and all his friends were killed.&#160;&#160;Later Brittain became a committed feminist and wrote extensively about the psychological costs of war.&#160;&#160;<b>Testament of Youth</b> is a moving and influential account of the slaughter of 1914-18.<br><br>Angelica Garnett (1918-&#160;&#160;&#160;&#160;) is the daughter of artist Vanessa Bell (Virginia Woolf's sister) and Bell's artist lover Duncan Grant.&#160;&#160;Garnett's memoir depicts the sophisticated, permissive, and intellectual world of the Bloomsbury circle in which she was raised, and chronicles her quest to come to terms with her extraordinary family and to pursue her own artistic career.<br><br>Isak Dinesen Baroness Blixen (1885-1962) was born in Denmark and followed her husband to a coffee plantation in Kenya, where she fell in love with Africa and African people.&#160;&#160;She became a writer, twice nominated for the Nobel Prize, and is best known for her classic memoir <b>Out of Africa</b>.<br><br>Elspeth Huxley (1907-&#160;&#160; ) was born in London and raised in Kenya on her parents' coffee plantation, developing a lifelong love of Africa.&#160;&#160;She wrote three memoirs, including <b>The Flame Trees of Thika</b>, and was awarded the C.B.E. in 1960 for her extensive commentary on African history and politics.<br><br>Mary Benson (1919-&#160;&#160; ) was born to an affluent white family in Pretoria. She became a committed opponent of apartheid and testified against it before the United Nations.&#160;&#160;After being arrested and exiled from South Africa, she wrote plays and novels about apartheid and a biography of Mandela.<br><br>Ruth First (1925-1982) was a journalist in Johannesburg who, at age 21, exposed brutal conditions among miners and farm laborers.&#160;&#160;Married to the leader of the South African Communist party, First edited a reform journal.&#160;&#160;She was arrested and detained in solitary confinement for four months of psychological terror and interrogation.&#160;&#160;She was later killed by a letter bomb while living in exile.<br><br>Emma Mashinini (1929-&#160;&#160; ) was born to a black family in Johannesburg.&#160;&#160;After leaving an abusive husband, Mashinini worked in a factory where she began her career as a labor organizer.&#160;&#160;She led labor protests through the 1960s and 70s, and was eventually put in prison for six months, where she survived constant interrogation and intimidation.<br><br>Shudha Mazumdar (1899-&#160;&#160;) was born in Calcutta and married at 12 to a Civil Service magistrate. In her travels around India, Mazumdar became interested in women's welfare, and the needs of prostitutes and women prisoners.&#160;&#160;She organized and worked for many women's groups, and after her husband's death, felt free to support Gandhi and the nationalist movement as well, though women's welfare remained the focus of her life's work.<br><br>Vijaya Lakshmi Pandit (1900-&#160;&#160; ) was Nehru's sister and the aunt of Indira Gandhi.&#160;&#160;She was jailed many times for her active opposition to British rule.&#160;&#160;After independence, Pandit served as Ambassador to the Soviet Union, the U.S., and Britain, and led the Indian delegation to the United Nations, where she served as President of the U.N. General Assembly from 1964-68. Her opposition to Indira Gandhi's semi-military rule earned her the popular name &quot;Lamp of India.&quot;<br><br>Meena Alexander (1951-&#160;&#160; ) was born to an Indian service family in Allahabad.&#160;&#160;She entered the University of Khartoum at 13, and then earned her Ph.D. in England.&#160;&#160;A poet, novelist, playwright, and critic, Alexander now lives with her American husband in Manhattan.<br><br>Vivian Gornick (1935-&#160;&#160; ), journalist and scholar, was born in the Bronx.&#160;&#160;Her memoir Fierce Attachments examines her intense relationship with her Jewish mother, a committed Communist Party member.&#160;&#160;Gornick has taught English literature, written for <b>The Village Voice</b>, and written books on feminist issues.<br><br>Gloria Wade-Gayles (1938-&#160;&#160;) was born in Memphis.&#160;&#160;A literary scholar and poet, she teaches at Spelman College, and has written extensively on black women's fiction and black women's spirituality. Her memoir <b>Pushed Back to Strength</b> traces her initial rejection of Christianity as oppressive, and her eventual journey back to the spirituality of her mother and grandmother.<br><br>Edith Mirante (1953-&#160;&#160;) pursued a career as a painter before traveling to Southeast Asia, where her eyes were opened to political oppression in Burma.&#160;&#160;She has since worked as an activist for the rights of tribal peoples and the needs of Third World women. A black belt in karate, Mirante's adventures in Burma took her among opium drug lords and troops of women soldiers, and are told with humor and verve in her memoir, <b>Burmese Looking Glass</b>.</p>Jill Ker Conwaywritten-by-herselfjill-ker-conway97806797363320679736336$15.99PaperbackKnopf Doubleday Publishing GroupNovember 19921st edLiterary Figures - Women's Biography, Historical Biography - General & Miscellaneous, General & Miscellaneous Women's Literary Biography, Women Authors - General & Miscellaneous - Literary Criticism, American Literature Anthologies6885.20 (w) x 7.99 (h) x 1.55 (d)The bestselling author of The Road from Coorain presents an extraordinarily powerful anthology of the autobiographical writings of 25 women, literary predecessors and contemporaries that include Jane Addams, Zora Neale Hurst, Harriet Jacobs, Ellen Glasgow, Maya Angelou, Sara Josephine Baker, Margaret Mead, Gloria Steinem, and Maxine Hong Kingston.<p><P>The bestselling author of The Road from Coorain presents an extraordinarily powerful anthology of the autobiographical writings of 25 women, literary predecessors and contemporaries that include Jane Addams, Zora Neale Hurst, Harriet Jacobs, Ellen Glasgow, Maya Angelou, Sara Josephine Baker, Margaret Mead, Gloria Steinem, and Maxine Hong Kingston.</p><h3>Library Journal</h3><p>The autobiographies in this collection are by women of extraordinary achievement--some well known, some neglected through the generations--who overcame daunting obstacles to pursue their individual destinies in an often hostile, changing America. The narratives, chosen and edited by historian Conway, a former president of Smith College, are grouped into the areas of freedom-fighting, science, arts and letters, and social reform. Among the women relaying their encounters with discrimination are Marian Anderson, preeminent black contralto, who was celebrated in Europe but barred from appearing at Constitution Hall in Washington, D.C., and Margaret Mead, the renowned anthropologist, who refused a ``safe'' field assignment and forged her own way in Samoa. Many, like writer Zora Neale Hurston, emerged from broken or impoverished families to pursue an education and find a way to support themselves and their families. The strong, clear voices of the trailblazers found in this exemplary anthology reveal a sheer delight in excellence, adventure, and intellectual challenge. Essential for public and academic libraries.-- Amy Boaz , ``Library Journal''</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">Sect. 1</TD><TD WIDTH="70%">My Story Ends With Freedom</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Incidents in the Life of a Slave Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Dust Tacks on a Road</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from My Lord, What a Morning</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from I Know Why the Caged Bird Sings</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%">Sect. 2</TD><TD WIDTH="70%">Research Is a Passion With Me: Women Scientists and Physicians</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A History of Psychology in Autobiography</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Fighting for Life</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Unpublished Memoir</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Research is a Passion with Me</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Stranger and Friend</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from An Autobiography and Other Recollections</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Blackberry Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%">Sect. 3</TD><TD WIDTH="70%">Arts and Letters 309</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A New England Girlhood</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from On Journey</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Modeling my Life</TD><TD WIDTH="10%" ALIGN="RIGHT">348</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Woman Within</TD><TD WIDTH="10%" ALIGN="RIGHT">372</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Journey Around My Room</TD><TD WIDTH="10%" ALIGN="RIGHT">401</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Portrait of Myself</TD><TD WIDTH="10%" ALIGN="RIGHT">423</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Woman Warrior</TD><TD WIDTH="10%" ALIGN="RIGHT">454</TD><TR><TD WIDTH="20%">Sect. 4</TD><TD WIDTH="70%">Pioneers and Reformers</TD><TD WIDTH="10%" ALIGN="RIGHT">471</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Story of a Pioneer</TD><TD WIDTH="10%" ALIGN="RIGHT">474</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Twenty Years at Hull-House</TD><TD WIDTH="10%" ALIGN="RIGHT">504</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from My Days of Strength</TD><TD WIDTH="10%" ALIGN="RIGHT">526</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Margaret Sanger</TD><TD WIDTH="10%" ALIGN="RIGHT">548</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from I Change Worlds</TD><TD WIDTH="10%" ALIGN="RIGHT">610</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from This Life I've Led</TD><TD WIDTH="10%" ALIGN="RIGHT">638</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Outrageous Acts and Everyday Rebellions</TD><TD WIDTH="10%" ALIGN="RIGHT">657</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editions Cited</TD><TD WIDTH="10%" ALIGN="RIGHT">673</TD></table><article> <h4>Library Journal</h4>The autobiographies in this collection are by women of extraordinary achievement--some well known, some neglected through the generations--who overcame daunting obstacles to pursue their individual destinies in an often hostile, changing America. The narratives, chosen and edited by historian Conway, a former president of Smith College, are grouped into the areas of freedom-fighting, science, arts and letters, and social reform. Among the women relaying their encounters with discrimination are Marian Anderson, preeminent black contralto, who was celebrated in Europe but barred from appearing at Constitution Hall in Washington, D.C., and Margaret Mead, the renowned anthropologist, who refused a ``safe'' field assignment and forged her own way in Samoa. Many, like writer Zora Neale Hurston, emerged from broken or impoverished families to pursue an education and find a way to support themselves and their families. The strong, clear voices of the trailblazers found in this exemplary anthology reveal a sheer delight in excellence, adventure, and intellectual challenge. Essential for public and academic libraries.-- Amy Boaz , ``Library Journal'' </article>
199Asian American Studies Now: A Critical ReaderJean Yu-wen Shen Wu0<p><P>Jean Yu-wen Shen Wu is a senior lecturer in the American studies program at Tufts University and the coeditor of <i>Asian American Studies&#58; A Reader</i>(Rutgers University Press).<P>Thomas C. Chen is a doctoral candidate in the American civilization department at Brown University.</p>Jean Yu-wen Shen Wu (Editor), Thomas C. Chenasian-american-studies-nowjean-yu-wen-shen-wu97808135457520813545757$35.40PaperbackRutgers University PressApril 2010New EditionAsian American Studies - General & Miscellaneous, Peoples & Cultures - American Anthologies, United States History - Ethnic Histories6727.00 (w) x 10.00 (h) x 1.80 (d)<i>Asian American Studies Now</i> truly represents the enormous changes occurring in Asian American communities and the world, changes that require a reconsideration of how the interdisciplinary field of Asian American studies is defined and taught. This comprehensive anthology, arranged in four parts and featuring a stellar group of contributors, summarizes and defines the current shape of this rapidly changing field, addressing topics such as transnationalism, U.S. imperialism, multiracial identity, racism, immigration, citizenship, social justice, and pedagogy. <p>Jean Yu-wen Shen Wu and Thomas C. Chen have selected essays for the significance of their contribution to the field and their clarity, brevity, and accessibility to readers with little to no prior knowledge of Asian American studies. Featuring both reprints of seminal articles and groundbreaking texts, as well as bold new scholarship, <i>Asian American Studies Now</i> addresses the new circumstances, new communities, and new concerns that are reconstituting Asian America.</p><p><P><i>Asian American Studies Now</i> represents the changes occurring in Asian American communities and the world that require a reconsideration of how the interdisciplinary field of Asian American studies is defined and taught. The editors have selected essays for the significance of their contribution and their clarity, brevity, and accessibility to readers with little to no prior knowledge of Asian American studies, and feature reprints of seminal articles and groundbreaking texts, as well as bold new scholarship.</p><P>Acknowledgments xi<P>Introduction xiii<P>1 Situating Asian America<P>1 When and Where I Enter Gary Y. Okihiro 3<P>2 Neither Black nor White Angelo N. Ancheta 21<P>3 Detroit Blues&#58; &ldquo;Because of You Motherfuckers&rdquo; Helen Zia 35<P>4 A Dialogue on Racial Melancholia David L. Eng Shinhee Han 55<P>5 Home Is Where the Han Is&#58; A Korean American Perspective on the Los Angeles Upheavals Elaine H. Kim 80<P>6 Recognizing Native Hawaiians&#58; A Quest for Sovereignty Davianna Pomaika'i McGregor 99<P>7 Situating Asian Americans in the Political Discourse on Affirmative Action Michael Omi Dana Takagi 118<P>8 Racism&#58; From Domination to Hegemony Howard Winant 126<P>2 History and Memory<P>9 The Chinese Are Coming. How Can We Stop Them? Chinese Exclusion and the Origins of American Gatekeeping Erika Lee 143<P>10 Public Health and the Mapping of Chinatown Nayan Shah 168<P>11 The Secret Munson Report Michi Nishiura Weglyn 193<P>12 Asian American Struggles for Civil, Political, Economic, and Social Rights Sucheng Chan 213<P>13 Out of the Shadows&#58; Camptown Women, Military Brides, and Korean (American) Communities Ji-Yeon Yuh 239<P>14 The Cold War Origins of the Model Minority Myth Robert G. Lee 256<P>15 Why China? Identifying Histories of Transnational Adoption Sara Dorow 272<P>16 The &ldquo;Four Prisons&rdquo; and the Movements of Liberation&#58; Asian American Activism from the 1960s to the 1990s Glenn Omatsu 298<P>3 Culture, Politics, and Society<P>17 Youth Culture, Citizenship, and Globalization&#58; South Asian Muslim Youth in the United States after September 11th Sunaina Maira 333<P>18 Asian Immigrant Women and Global Restructuring, 1970s&ndash;1990s Rhacel Salazar Parre&ntilde;as 354<P>19 Medical, Racist, and Colonial Constructions of Power in Anne Fadiman's The Spirit Catches You and You Fall Down Monica Chiu 370<P>20 Searching for Community&#58; Filipino Gay Men in New York City Martin F. Manalansan IV 393<P>21 How to Rehabilitate a Mulatto&#58; The Iconography of Tiger Woods Hiram Perez 405<P>22 Occult Racism&#58; The Masking of Race in the Hmong Hunter Incident&#58; A Dialogue between Anthropologist Louisa Schein Filmmaker/Activist Va-Megn Thoj 423<P>23 Collateral Damage&#58; Southeast Asian Poverty in the United States Eric Tang 454<P>4 Pedagogies and Possibilities<P>24 Whither Asian American Studies? Suckeng Chan 477<P>25 Freedom Schooling&#58; Reconceptualizing Asian American Studies for Our Communities Glenn Omatsu 496<P>26 Asians on the Rim&#58; Transnational Capital and Local Community in the Making of Contemporary Asian America Arif Dirlik 515<P>27 Crafting Solidarities Vijay Prashad 540<P>28 We Will Not Be Used&#58; Are Asian Americans the Racial Bourgeoisie? Mari Matsuda 558<P>29 The Struggle over Parcel C&#58; How Boston's Chinatown Won a Victory in the Fight Against Institutional Expansionism and Environmental Racism Andrew Leong 565<P>30 Race Matters in Civic Engagement Work Jean Y. Wu 581<P>31 Homes, Borders, and Possibilities Yen Le Espiritu 603<P>Biographical Notes 623<P>Copyrights and Permissions 627<P>Index 631<article> <h4>Choice</h4>"A very valuable resource for students and scholars of Asian American and ethnic studies. Highly recommended." </article> <article> <h4>MELUS</h4>"Pedagogically focused and structured, <i>Asian American Studies Now</i> underscores the present-day relevance of the field, given the contemporary realities of neoliberal globalization and the post-9/11 security state. <i>Asian American Studies Now</i> is a return to the field's community-driven roots."<br> </article><article> <h4>author of Almost All Aliens</h4>"To read these essays is to be challenged again and again by some of the brightest minds and most sophisticated political sensibilities at work today. This volume is essential reading." </article>
200Growing Up in the South: An Anthology of Modern Southern LiteratureSuzanne Jones0<p>Suzanne W. Jones is a professor of American Literature and Women’s Studies at the University of Richmond. The author of a number of essays about southern literature, she is also the editor of another collection of stories, <b>Crossing the Color Line: Readings in Black and White</b>, and two collections of essays, <b>South to a New Place</b> (with Sharon Monteith) and <b>Writing the Woman Artist</b>.</p>Suzanne Jones (Editor), Suzanne W. Jonesgrowing-up-in-the-southsuzanne-jones97804515287350451528735$8.95Mass Market PaperbackPenguin Group (USA)January 2003ReprintAmerican Literature Anthologies, Fiction Subjects5444.28 (w) x 6.76 (h) x 1.22 (d)<p>Something about the South has inspired the imaginations of an extraordinary number of America’s best storytellers—and greatest writers. That quality may be a rich, unequivocal sense of place, a living connection with the past, or the contradictions and passions that endow this region with awesome beauty and equally awesome tragedy. The stories in this superb collection of modern Southern writing are about childhood, adolescence, and young adulthood—in other words, about growing up in the South. Flannery O’Connor’s “Everything That Rises Must Converge,” set in a South that remains segregated even after segregation is declared illegal, is the story of a white college student who chastises his mother for her prejudice against blacks. But black, white, aristocrat, or sharecropper, each of these 23 authors is unmistakably Southern—and their writing is indisputably wonderful.</p><p><P>Twenty-four unmistakably Southern 20th-century voices-of varying race, class, and gender-demonstrate that region's extraordinary range of storytellers in this eloquent coming-of-age collection.</p><p>Growing Up in the South Introduction</p> <p><b>I. Remembering Southern Places</b><br> Elizabeth Spencer, "The Gulf Coast"<br> Harry Crews, from <i>A Childhood: The Biography of a Place</i><br> Eudora Welty, from <i>One Writer's Beginnings</i><br> Bobbie Ann Mason, "State Champions"<br> Gustavo Pérez Firmat, "Mooning over Miami"<br> Randall Kenan, "Where Am I Black"</p> <p><b>II. Experiencing Southern Families</b><br> William Hoffman, "Amazing Grace"<br> Alice Walker, "Everyday Use"<br> Lee Smith, "Artists"<br> Shirley Ann Grau, "Homecoming"<br> Ellen Gilchrist, "The President of the Louisiana Live Oak Society"<br> Mary Hood, "How Far She Went"</p> <p><b>III. Negotiating Southern Communities</b><br> Richard Wright, "The Man Who Was Almost a Man"<br> Flannery O'Connor, "Everything That Rises Must Converge"<br> Peter Taylor, "The Old Forest"<br> Gail Godwin, "The Angry Year"<br> Michael Malone, "Fast Love"<br> Jill McCorkle, "Carnival Lights"</p> <p><b>IV. Challanging Southern Traditions</b><br> William Faulkner, "An Odor of Verbena"<br> Mary Mebane, from <i>Mary</i><br> Anne Moody, from <i>Coming of Age in Mississippi</i><br> Joan Williams, "Spring Is Now"<br> Henry Louis Gates, Jr., "Sin Boldly"<br> Ernest J. Gaines, "Thomas Vincent Sullivan"</p>
201American Protest LiteratureZoe Trodd0<p><b>Zoe Trodd</b> is a member of the Tutorial Board in History and Literature, Harvard University.<P><b>John Stauffer</b> is Professor of English and American Literature and Language and Professor of African and African American Studies at Harvard University.</p>Zoe Trodd (Editor), Howard Zinn (Afterword), John Staufferamerican-protest-literaturezoe-trodd97806740276330674027639$16.45PaperbackHarvard University PressApril 20081st EditionPolitical Protest & Dissent, Political Activism & Social Action, Radical Thought, American Literature Anthologies5765.90 (w) x 9.10 (h) x 1.20 (d)<p>“I like a little rebellion now and then”—so wrote Thomas Jefferson to Abigail Adams, enlisting in a tradition that throughout American history has led writers to rage and reason, prophesy and provoke. This is the first anthology to collect and examine an American literature that holds the nation to its highest ideals, castigating it when it falls short and pointing the way to a better collective future.</p> <p><i>American Protest Literature</i> presents sources from eleven protest movements—political, social, and cultural—from the Revolution to abolition to gay rights to antiwar protest. Each section reprints documents from the original phase of the movement as well as evidence of its legacy in later times. Informative headnotes place the selections in historical context and draw connections with other writings within the anthology and beyond. Sources include a wide variety of genres—pamphlets, letters, speeches, sermons, legal documents, poems, short stories, photographs, posters—and a range of voices from prophetic to outraged to sorrowful, from U.S. Presidents to the disenfranchised. Together they provide an enlightening and inspiring survey of this most American form of literature.</p><p><P>&ldquo;I like a little rebellion now and then&rdquo;&mdash;so wrote Thomas Jefferson to Abigail Adams, enlisting in a tradition that throughout American history has led writers to rage and reason, prophesy and provoke. This is the first anthology to collect and examine an American literature that holds the nation to its highest ideals, castigating it when it falls short and pointing the way to a better collective future.<P><i>American Protest Literature</i> presents sources from eleven protest movements&mdash;political, social, and cultural&mdash;from the Revolution to abolition to gay rights to antiwar protest. Each section reprints documents from the original phase of the movement as well as evidence of its legacy in later times. Informative headnotes place the selections in historical context and draw connections with other writings within the anthology and beyond. Sources include a wide variety of genres&mdash;pamphlets, letters, speeches, sermons, legal documents, poems, short stories, photographs, posters&mdash;and a range of voices from prophetic to outraged to sorrowful, from U.S. Presidents to the disenfranchised. Together they provide an enlightening and inspiring survey of this most American form of literature.</p><h3>L. L. Johnson - Choice</h3><p>Trodd organizes this excellent anthology around 11 reform movements, most based on race, class, or gender (e.g., the American Revolution, abolition, women's suffrage, gay rights). Collecting the work of both established writers and new voices, the book comprises some hundred pieces (1-3 pages each)&#58; prose excerpts, political documents, poems, photographs, film briefs, essays, fiction, narratives, and orations...This excellent book can serve as a textbook as well as a resource on social change and the literature thereof. Indeed, the persuasiveness of the collection raises the question not only of whether protest literature is a genre of its own, but also of whether it is the most American literary form.</p><P>Foreword&nbsp;&nbsp;&nbsp;John Stauffer&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xi<br>Introduction&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xix<br>Declaring Independence: The American Revolution<br>The Literature<br>"A Political Litany" (1775)&nbsp;&nbsp;&nbsp;Philip Freneau&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3<br>From Common Sense (1776)&nbsp;&nbsp;&nbsp;Thomas Paine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5<br>From "The Dominion of Providence over the Passions of Men" (1776)&nbsp;&nbsp;&nbsp;John Witherspoon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;10<br>The Declaration of Independence (1776)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;15<br>From Letters from an American Farmer (1782)&nbsp;&nbsp;&nbsp;J. Hector St. John de Crevecoeur&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;19<br>The Legacy<br>"The Working Men's Party Declaration of Independence" (1829)&nbsp;&nbsp;&nbsp;George Evans&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;24<br>"Seneca Falls Declaration of Sentiments" (1848)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;27<br>From "Resistance to Civil Government" (1849)&nbsp;&nbsp;&nbsp;Henry David Thoreau&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;31<br>From "Provisional Constitution" (1858)&nbsp;&nbsp;&nbsp;John Brown&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;36<br>From "Declaration of Interdependence by the Socialist Labor Party" (1895)&nbsp;&nbsp;&nbsp;Daniel De Leon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;38<br>Unvanishing the Indian: Native American Rights<br>The Literature<br>Speech to Governor William Harrison at Vincennes (1810)$dTecumseh&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;45<br>"An Indian's Looking-Glass for the White Man" (1833)&nbsp;&nbsp;&nbsp;William Apess&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;48<br>"Indian Names" (1834)&nbsp;&nbsp;&nbsp;Lydia Sigourney&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;55<br>From From the Deep Woods to Civilization(1916)&nbsp;&nbsp;&nbsp;Charles Eastman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;57<br>From Black Elk Speaks (1932)&nbsp;&nbsp;&nbsp;Black Elk&nbsp;&nbsp;&nbsp;John G. Neihardt&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;61<br>The Legacy<br>From Bury My Heart at Wounded Knee (1970)&nbsp;&nbsp;&nbsp;Dee Brown&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;65<br>"What Is the American Indian Movement?" (1973)&nbsp;&nbsp;&nbsp;Birgil Kills Straight&nbsp;&nbsp;&nbsp;Richard LaCourse&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;68<br>"American Indians and Vietnamese" (1973)&nbsp;&nbsp;&nbsp;Roland Winkler&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;70<br>From Lakota Woman (1990)&nbsp;&nbsp;&nbsp;Mary Crow Dog&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;72<br>"The Exaggeration of Despair" (1996)&nbsp;&nbsp;&nbsp;Sherman Alexie&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;75<br>Little Books That Started a Big War: Abolition and Antislavery<br>The Literature<br>From Appeal to the Coloured Citizens (1829)&nbsp;&nbsp;&nbsp;David Walker&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;79<br>From Uncle Tom's Cabin (1852)&nbsp;&nbsp;&nbsp;Harriet Beecher Stowe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;85<br>From "The Meaning of July Fourth for the Negro" (1852)&nbsp;&nbsp;&nbsp;Frederick Douglass&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;92<br>Prison Letters (1859)&nbsp;&nbsp;&nbsp;John Brown&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;99<br>From Incidents in the Life of a Slave Girl (1861)&nbsp;&nbsp;&nbsp;Harriet Jacobs&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;106<br>The Legacy<br>The Emancipation Proclamation and the Thirteenth, Fourteenth, and Fifteenth Amendments to the Constitution (1863, 1865-1870)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;112<br>"Solidarity Forever" (1915)&nbsp;&nbsp;&nbsp;Ralph Chaplin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;116<br>From "Everybody's Protest Novel" (1949)&nbsp;&nbsp; &nbsp;James Baldwin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;118<br>From The Defiant Ones (1958)&nbsp;&nbsp;&nbsp;Stanley Kramer&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;122<br>From Disposable People: New Slavery in the Global Economy (1999)&nbsp;&nbsp;&nbsp;Kevin Bales&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;124<br>This Land is Herland: Women's Rights and Suffragism<br>The Literature<br>From "Shall Women Have the Right to Vote?" (1851)&nbsp;&nbsp;&nbsp;Wendell Phillips&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;133<br>From "Women and Suffrage" (1867)&nbsp;&nbsp;&nbsp;Lydia Maria Child&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;139<br>From "Declaration and Protest of the Women of the United States" (1876)$dNational Woman Suffrage Association&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;144<br>From "Solitude of Self" (1892)&nbsp;&nbsp;&nbsp;Elizabeth Cady Stanton&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;149<br>"The Yellow Wallpaper" (1892)&nbsp;&nbsp;&nbsp;Charlotte Perkins Gilman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;155<br>The Legacy<br>"Frederick Douglass" (1908)&nbsp;&nbsp;&nbsp;Mary Church Terrell&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;170<br>From "Why Women Should Vote" (1910)&nbsp;&nbsp;&nbsp;Jane Addams&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;175<br>From Herland (1915)&nbsp;&nbsp;&nbsp;Charlotte Perkins Gilman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;181<br>Nineteenth Amendment and Equal Rights Amendments (1920, 1923, 1943)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;185<br>"Now We Can Begin" (1920)&nbsp;&nbsp;&nbsp;Crystal Eastman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;187<br>Capitalism's Discontents: Socialism and Industry<br>The Literature<br>From Life in the Iron Mills (1861)&nbsp;&nbsp;&nbsp;Rebecca Harding Davis&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;195<br>From Looking Backward, 2000-1887 (1888)&nbsp;&nbsp;&nbsp;Edward Bellamy&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;204<br>From How the Other Half Lives (1890)&nbsp;&nbsp;&nbsp;Jacob Riis&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;211<br>From The Jungle (1906)&nbsp;&nbsp;&nbsp;Upton Sinclair&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;216<br>"Sadie Pfeifer" and "Making Human Junk" (1908, 1915)&nbsp;&nbsp;&nbsp;Lewis Hine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;222<br>The Legacy<br>From "The People's Party Platform" (1892)&nbsp;&nbsp;&nbsp;Ignatius Donnelly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;225<br>From Food and Drugs Act and Meat Inspection Act (1906)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;229<br>Statement to the Court (1918)&nbsp;&nbsp;&nbsp;Eugene V. Debs&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;232<br>"Farewell, Capitalist America!" (1929)&nbsp;&nbsp;&nbsp;William (Big Bill) Haywood&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;237<br>From Nickel and Dimed (2001)&nbsp;&nbsp;&nbsp;Barbara Ehrenreich&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;240<br>Strange Fruit: Against Lynching<br>The Literature<br>From Southern Horrors (1892)&nbsp;&nbsp;&nbsp;Ida B. Wells&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;247<br>"Jesus Christ in Texas" (1920)&nbsp;&nbsp;&nbsp;W. E. B. Du Bois&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;256<br>"The Lynching" (1920)&nbsp;&nbsp;&nbsp;Claude McKay&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;264<br>From "Big Boy Leaves Home" (1936)&nbsp;&nbsp;&nbsp;Richard Wright&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;266<br>"Strange Fruit" (1937, 1939)&nbsp;&nbsp;&nbsp;Abel Meeropol&nbsp;&nbsp;&nbsp;Billie Holiday&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;274<br>The Legacy<br>"Bill for Negro Rights and the Suppression of Lynching" (1934)$dLeague of Struggle for Negro Rights&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;276<br>"Federal Law Is Imperative" (1947)&nbsp;&nbsp;&nbsp;Helen Gahagan Douglas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;279<br>"Take a Stand against the Klan" (1980)$dThe John Brown Anti-Klan Committee&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;281<br>From "AmeriKKKa 1998: The Lynching of James Byrd" (1998)&nbsp;&nbsp;&nbsp;Michael Slate&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;286<br>"The Lynching of Thomas Shipp and Abram Smith, 1930" (2000)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;289<br>Dust Tracks on the Road: The Great Depression<br>The Literature<br>"Migrant Mother" (1936)&nbsp;&nbsp;&nbsp;Dorothea Lange&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;293<br>"Farmer and Sons" (1936)&nbsp;&nbsp;&nbsp;Arthur Rothstein&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;295<br>From The Grapes of Wrath (1939)&nbsp;&nbsp;&nbsp;John Steinbeck&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;297<br>Hale County, Alabama (1936)&nbsp;&nbsp;&nbsp;Walker Evans&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;303<br>From Let Us Now Praise Famous Men (1941)&nbsp;&nbsp;&nbsp;James Agee&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;306<br>The Legacy<br>"Tom Joad" (1940)&nbsp;&nbsp;&nbsp;Woody Guthrie&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;316<br>From 12 Million Black Voices (1941)&nbsp;&nbsp;&nbsp;Richard Wright&nbsp;&nbsp;&nbsp;Edwin Rosskam&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;320<br>From The Sweet Flypaper of Life (1955)&nbsp;&nbsp;&nbsp;Roy DeCarava&nbsp;&nbsp;&nbsp;Langston Hughes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;326<br>From The Other America (1962)&nbsp;&nbsp;&nbsp;Michael Harrington&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;328<br>"Poverty Is a Crime" (1972)&nbsp;&nbsp;&nbsp;Malik&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;332<br>The Dungeon Shook: Civil Rights and Black Liberation<br>The Literature<br>"Montgomery: Reflections of a Loving Alien" (1956)&nbsp;&nbsp;&nbsp;Robert Granat&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;337<br>"My Dungeon Shook" (1962)&nbsp;&nbsp;&nbsp;James Baldwin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;342<br>From "Letter from Birmingham Jail" (1963)&nbsp;&nbsp;&nbsp;Martin Luther King, Jr.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;346<br>"Civil Rights March on Washington, D.C." (1963)&nbsp;&nbsp;&nbsp;Marion Trikosko&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;354<br>From "The Ballot or the Bullet" (1964)&nbsp;&nbsp;&nbsp;Malcolm X&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;356<br>The Legacy<br>"On Civil Rights" (1963)&nbsp;&nbsp;&nbsp;John F. Kennedy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;364<br>From "The American Promise" (1965)&nbsp;&nbsp;&nbsp;Lyndon B. Johnson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;369<br>"Black Art" (1966)&nbsp;&nbsp;&nbsp;Amiri Baraka&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;375<br>"Panther Power" (1989)&nbsp;&nbsp;&nbsp;Tupac Shakur&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;378<br>"Ten Point Program" (2001)$dNew Black Panther Party&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;381<br>A Problem That Had No Name: Second-Wave Feminism<br>The Literature<br>"I Stand Here Ironing" (1956)&nbsp;&nbsp;&nbsp;Tillie Olsen&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;387<br>From The Feminine Mystique (1963)&nbsp;&nbsp;&nbsp;Betty Friedan&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;394<br>"Statement of Purpose" (1966)$dNational Organization for Women&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;400<br>"Women's Liberation Has a Different Meaning for Blacks" (1970)&nbsp;&nbsp;&nbsp;Renee Ferguson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;406<br>"For the Equal Rights Amendment" (1970)&nbsp;&nbsp;&nbsp;Shirley Chisholm&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;411<br>The Legacy<br>Letter to Betty Friedan (1963)&nbsp;&nbsp;&nbsp;Gerda Lerner&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;416<br>"Poetry Is Not a Luxury" (1977)&nbsp;&nbsp;&nbsp;Audre Lorde&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;418<br>"The Female and the Silence of a Man" (1989)&nbsp;&nbsp;&nbsp;June Jordan&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;422<br>From The Morning After (1993)&nbsp;&nbsp;&nbsp;Katie Roiphe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;424<br>"Women Don't Riot" (1998)&nbsp;&nbsp;&nbsp;Ana Castillo&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;430<br>The Word Is Out: Gay Liberation<br>The Literature<br>From "Howl" (1956)&nbsp;&nbsp;&nbsp;Allen Ginsberg&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;435<br>Stonewall Documents (1969-1970)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;438<br>From "Refugees from Amerika: A Gay Manifesto" (1969)&nbsp;&nbsp;&nbsp;Carl Wittman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;444<br>"The Women's Liberation and Gay Liberation Movements" (1970)&nbsp;&nbsp;&nbsp;Huey P. Newton&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;451<br>From Street Theater (1982)&nbsp;&nbsp;&nbsp;Doric Wilson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;454<br>The Legacy<br>"Read My Lips" (1988); Still/Here (1994)&nbsp;&nbsp;&nbsp;Bill T. Jones$dACT UP&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;458<br>From Angels in America (1990, 1991)&nbsp;&nbsp;&nbsp;Tony Kushner&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;460<br>"Dyke Manifesto" (1993)&nbsp;&nbsp;&nbsp;Lesbian Avengers&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;467<br>From Stone Butch Blues (1993)&nbsp;&nbsp;&nbsp;Leslie Feinberg&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;471<br>Goodridge v. Department of Public Health (2003)&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;476<br>From Saigon to Baghdad: The Vietnam War and Beyond<br>The Literature<br>"I-Feel-Like-I'm-Fixin'-To-Die-Rag" (1965)$dCountry Joe and the Fish&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;481<br>"Advent 1966" (1966)&nbsp;&nbsp;&nbsp;Denise Levertov&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;484<br>From Why Are We in Vietnam? (1967)&nbsp;&nbsp;&nbsp;Norman Mailer&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;486<br>"Saigon" (1968); "Napalm" (1972)&nbsp;&nbsp;&nbsp;Eddie Adams&nbsp;&nbsp;&nbsp;Nick (Huynh Cong) Ut&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 489<br>From Dispatches (1967-1969, 1977)&nbsp;&nbsp;&nbsp;Michael Herr&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;491<br>The Legacy<br>"April 30, 1975" (1975)&nbsp;&nbsp;&nbsp;John Balaban&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;496<br>From "How to Tell a True War Story" (1987)&nbsp;&nbsp;&nbsp;Tim O'Brien&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;498<br>Poets against the War&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;502<br>"Speak Out" (2003)&nbsp;&nbsp;&nbsp;Lawrence Ferlinghetti&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;503<br>"Poem of War" (2003)&nbsp;&nbsp;&nbsp;Jim Harrison&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;504<br>"Poem of Disconnected Parts" (2005)&nbsp;&nbsp;&nbsp;Robert Pinsky&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;505<br>"Who Would Jesus Torture?" (2004)&nbsp;&nbsp;&nbsp;Clinton Fein&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;507<br>From Born on the Fourth of July (1976, 2005)&nbsp;&nbsp;&nbsp;Ron Kovic&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;510<br>Afterword&nbsp;&nbsp;&nbsp;Howard Zinn&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;515<br>Sources&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;519<br>Acknowledgments&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;529<br>Index&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;531<article> <h4>Choice</h4><p>Trodd organizes this excellent anthology around 11 reform movements, most based on race, class, or gender (e.g., the American Revolution, abolition, women's suffrage, gay rights). Collecting the work of both established writers and new voices, the book comprises some hundred pieces (1–3 pages each): prose excerpts, political documents, poems, photographs, film briefs, essays, fiction, narratives, and orations… This excellent book can serve as a textbook as well as a resource on social change and the literature thereof. Indeed, the persuasiveness of the collection raises the question not only of whether protest literature is a genre of its own, but also of whether it is the most American literary form.<br> — L. L. Johnson</p> </article> <article> <h4>Syracuse New Times</h4><p>The recently published treasure <i>American Protest Literature</i>, edited by Zoe Trodd…belongs on our bookshelves for two types of enjoyment. For starters, it is an invaluable reference, the first anthology to collect and examine American literature 'that holds the nation to its highest ideals, castigating it when it falls short and pointing the way to a better collective future.' It is also a great pleasure to read the 500-plus pages… May the daily newspaper and the nightly news glow with new perspective. Read this book.<br> — Karen DeCrow</p> </article><article> <h4>Library Journal</h4>In this time of warrantless wiretaps and imprisonment without trial, these two anthologies remind us how hard previous generations of Americans fought to preserve and broaden our civil and human rights. Dissent is the larger and broader of the two. Young (history, Temple Univ.) organizes his book chronologically, with introductions to each of nine broad periods from pre-Revolutionary War to contemporary times (Cindy Sheehan against the war in Iraq in 2005) and briefer introductions for each author. Early protests of religious persecution by Puritans in the 17th century mix with Native American speeches and an anonymous slave's letter, and the collection continues with a wide social, economic, political, and racial span, ultimately embracing a panoply of issues including black liberation, the environment, gay rights, workers' rights, and peace movements. While Young defines dissent as coming from both the Left and the Right in his introduction, left of center predominates. American Protest Literature is organized by Trodd around 11 subjects, which are collected more or less as they have arisen chronologically in our history, from "Declaring Independence" and "Unvanishing the Indian" to "The Word Is Out: Gay Liberation" and "From Saigon to Baghdad." Within each area, Trodd presents writings from both the originating movement and the later protest writings on similar themes, e.g., Daniel De Leon's 1895 Declaration of Interdependence by the Socialist Labor Party is with Thomas Paine in the first section. There is less introductory material here than in Young's book, but by linking original works to later pieces Trodd underlines the historical roots of American dissent and the ongoing relevance of these writings. Trodd does not attempt to include right-of-center dissent, nor does her work contain literature on environmentalism or the long history of anti-imperialism, as does Young. Taken together, these books offer an exciting and inclusive vision of Americans fighting for their rights since the 17th century. Both are highly recommended for academic and public libraries. Duncan Stewart, Univ. of Iowa Libs., Iowa City Copyright 2006 Reed Business Information. </article>
202The Vietnam Reader: The Definitive Collection of American Fiction and Nonfiction on the WarStewart O'Nan23<p>In 1996, the literary magazine <i>Granta</I> named Stewart O'Nan one of America's best young novelists -- an honor he has continued to justify in an impressive body of complex and stylistically diverse fiction.</p>Stewart O'Nanthe-vietnam-readerstewart-o-nan97803854911810385491182$15.64PaperbackKnopf Doubleday Publishing GroupOctober 1998Fiction, Film Genres, American Literature Anthologies, Southeast Asian History, War Narratives, General & Miscellaneous Literature Anthologies, United States History - 20th Century - Wars & Conflict, United States History - 20th Century - 1945 to 2000, Vi7365.15 (w) x 8.01 (h) x 1.58 (d)<p><i>The Vietnam Reader</i> is a selection of the finest and best-known art from the American war in Vietnam, including fiction, nonfiction, poetry, drama, film, still photos, and popular song lyrics. All the strongest work is here, from mainstream bestsellers to radical poetry, from Tim O'Brien to Marvin Gaye. Also included are incisive reader's questions—useful for educators and book clubs—in a volume that makes an essential contribution to a wider understanding of the Vietnam War.</p> <p>This authoritative and accessible volume is sure to become a classic reference, as well as indispensable and provocative reading for anyone who wants to know more about the war that changed the face of late-twentieth-century America.</p><p><P><i>The Vietnam Reader</i> is a selection of the finest and best-known art from the American war in Vietnam, including fiction, nonfiction, poetry, drama, film, still photos, and popular song lyrics. All the strongest work is here, from mainstream bestsellers to radical poetry, from Tim O'Brien to Marvin Gaye. Also included are incisive reader's questions&#151;useful for educators and book clubs&#151;in a volume that makes an essential contribution to a wider understanding of the Vietnam War.<P>This authoritative and accessible volume is sure to become a classic reference, as well as indispensable and provocative reading for anyone who wants to know more about the war that changed the face of late-twentieth-century America.</p><h3>Kirkus Reviews</h3><p>O'Nan, himself the author of a well-received novel about the struggles of a Vietnam vet to readjust to civilian life (<i>The Names of the Dead</i>), has compiled a lengthy, varied, and somewhat idiosyncratic anthology of fiction and nonfiction by American writers about the war and its aftermath. The book was inspired, he notes in his preface, by his discovery that there was no wide-ranging compilation on the subject. O'Nan's selections, primarily excerpts from full-length works, include fiction by Tim O'Brien (<i>Going After Cacciato</i>, <i>The Things They Carried</i>), James Webb (<i>Fields of Fire</i>), Larry Heinemann (<i>Paco's Story</i>), Stephen Wright (<i>Meditations in Green</i>), and John Del Vecchio (<i>The 13th Valley</i>), plus excerpts from memoirs by Robert Mason (<i>Chickenhawk</i>), Ronald J. Glasser (<i>365 Days</i>), and Michael Lee Lanning (<I>The Only War We Had</i>). O'Nan also includes the lyrics of a variety of period songs ('The Ballad of the Green Berets,' 'Born in the USA'), critical summaries of films about the war, and some poetry. His adroit notes point out some of the most salient features of this literature (the relative neglect of the Vietnamese experience of war; the evolution of the American soldier protagonist from hero to cynical survivor; the persistent attempt to puzzle out what the war tells us about our society and government), and a glossary, bibliography, and chronology further help set the work in context. While the inclusion of more less-familiar writers would have been welcome, this is nonetheless a powerful, deeply revealing collection, and the best available introduction to a major body of modern American literature.<P></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Map of Vietnam</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronology of the War</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Green</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Green Berets (1965)</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If I Die in a Combat Zone (1973)</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Going After Cacciato (1978)</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Early Work</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">one very hot day (1967)</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If I Die in a Combat Zone (1973)</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Obscenities (1972)</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sticks and Bones (1969)</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Demilitarized Zones (1976)</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">First Wave of Major Work</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Born on the Fourth of July (1976)</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fields of Fire (1978)</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Rumor of War (1977)</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dispatches (1977)</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Going After Cacciato (1978)</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">First Wave of Major Films</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Deer Hunter, Coming Home, Apocalypse Now</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Ballad of the Green Berets" (1966)</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I-Feel-Like-I'm-Fixin'-to-Die Rag" (1965)</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Fortunate Son" (1969)</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Unknown Soldier" (1968)</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"What's Going On" (1971)</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"War" (1970)</TD><TD WIDTH="10%" ALIGN="RIGHT">292</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Born in the U.S.A." (1984)</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Big Parade" (1989)</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">The Oral History Boom</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nam (1981)</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bloods (1984)</TD><TD WIDTH="10%" ALIGN="RIGHT">324</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Piece of My Heart (1985)</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Dear America: Letters Home from Vietnam, (1985)</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Everything We Had (1981)</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Second Wave of Major Work</TD><TD WIDTH="10%" ALIGN="RIGHT">389</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The 13th Valley (1982)</TD><TD WIDTH="10%" ALIGN="RIGHT">395</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meditations in Green (1983)</TD><TD WIDTH="10%" ALIGN="RIGHT">414</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paco's Story (1986)</TD><TD WIDTH="10%" ALIGN="RIGHT">427</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">Second Wave of Major Films</TD><TD WIDTH="10%" ALIGN="RIGHT">439</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Platoon, Full Metal Jacket</TD><TD WIDTH="10%" ALIGN="RIGHT">441</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">Memoirs</TD><TD WIDTH="10%" ALIGN="RIGHT">457</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">365 Days (1971)</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Killing Zone (1978)</TD><TD WIDTH="10%" ALIGN="RIGHT">470</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chickenhawk (1983)</TD><TD WIDTH="10%" ALIGN="RIGHT">483</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Only War We Had (1987)</TD><TD WIDTH="10%" ALIGN="RIGHT">495</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Masterwork</TD><TD WIDTH="10%" ALIGN="RIGHT">503</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Things They Carried (1990)</TD><TD WIDTH="10%" ALIGN="RIGHT">507</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">Homecoming</TD><TD WIDTH="10%" ALIGN="RIGHT">539</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paco's Story (1986)</TD><TD WIDTH="10%" ALIGN="RIGHT">545</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Medicine (1984)</TD><TD WIDTH="10%" ALIGN="RIGHT">561</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Carrying the Darkness (1985)</TD><TD WIDTH="10%" ALIGN="RIGHT">573</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Romance (1979), The Monkey Wars (1985), What Saves Us (1992)</TD><TD WIDTH="10%" ALIGN="RIGHT">579</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Things They Carried (1990)</TD><TD WIDTH="10%" ALIGN="RIGHT">593</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">613</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dien Cai Dau (1988)</TD><TD WIDTH="10%" ALIGN="RIGHT">619</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Country (1985)</TD><TD WIDTH="10%" ALIGN="RIGHT">632</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Incoming" (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">653</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Lake of the Woods (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">655</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Mr. Giai's Poem" (1991)</TD><TD WIDTH="10%" ALIGN="RIGHT">672</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">The Wall</TD><TD WIDTH="10%" ALIGN="RIGHT">675</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Invasion of Grenada" (1984)</TD><TD WIDTH="10%" ALIGN="RIGHT">679</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Names of the Dead (1996)</TD><TD WIDTH="10%" ALIGN="RIGHT">680</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dien Cai Dau (1988)</TD><TD WIDTH="10%" ALIGN="RIGHT">687</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glossary</TD><TD WIDTH="10%" ALIGN="RIGHT">693</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Selected Additional Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">697</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Selected Additional Filmography</TD><TD WIDTH="10%" ALIGN="RIGHT">699</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reading Questions</TD><TD WIDTH="10%" ALIGN="RIGHT">701</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">715</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">719</TD></TABLE><article> <h4>From Barnes & Noble</h4>Edited by Stewart O'Nan, <i>The Vietnam Reader</i> presents an authoritative collection of fiction, nonfiction, poetry, film, photography, and popular song lyrics depicting the war in Vietnam. From Tim O'Brien, Ron Kovic, and James Webb to Bruce Springsteen and Marvin Gaye, this wide-ranging compilation includes "selections that will give the reader both an essential overview and a deep understanding of how America has seen its time in Vietnam over the past thirty years." </article> <article> <h4>Kirkus Reviews</h4>O'Nan, himself the author of a well-received novel about the struggles of a Vietnam vet to readjust to civilian life (<i>The Names of the Dead</i>), has compiled a lengthy, varied, and somewhat idiosyncratic anthology of fiction and nonfiction by American writers about the war and its aftermath. The book was inspired, he notes in his preface, by his discovery that there was no wide-ranging compilation on the subject. O'Nan's selections, primarily excerpts from full-length works, include fiction by Tim O'Brien (<i>Going After Cacciato</i>, <i>The Things They Carried</i>), James Webb (<i>Fields of Fire</i>), Larry Heinemann (<i>Paco's Story</i>), Stephen Wright (<i>Meditations in Green</i>), and John Del Vecchio (<i>The 13th Valley</i>), plus excerpts from memoirs by Robert Mason (<i>Chickenhawk</i>), Ronald J. Glasser (<i>365 Days</i>), and Michael Lee Lanning (<i>The Only War We Had</i>). O'Nan also includes the lyrics of a variety of period songs ('The Ballad of the Green Berets,' 'Born in the USA'), critical summaries of films about the war, and some poetry. His adroit notes point out some of the most salient features of this literature (the relative neglect of the Vietnamese experience of war; the evolution of the American soldier protagonist from hero to cynical survivor; the persistent attempt to puzzle out what the war tells us about our society and government), and a glossary, bibliography, and chronology further help set the work in context. While the inclusion of more less-familiar writers would have been welcome, this is nonetheless a powerful, deeply revealing collection, and the best available introduction to a major body of modern American literature. </article>
203Reinventing the Enemy's Language: Contemporary Native Women's Writings of North AmericaGloria Bird0<p><b>Gloria Bird</b> lives in Nespelem, Washington.<P><b>Joy Harjo</b> lives in Honolulu, Hawaii, and travels the United States playing saxophone with her band.</p>Gloria Bird (Editor), Joy Harjoreinventing-the-enemys-languagegloria-bird97803933182890393318281$18.95PaperbackNorton, W. W. & Company, Inc.September 1998Fiction, Anthologies (multiple authors)<p>"A collection of important, eloquent, and often mesmerizing writings by American Indian Women. . . . A profoundly moving statement of resilience and renewal."&mdash;<b>San Francisco Chronicle</b></p><h3>Library Journal</h3><p>Coeditors Harjo (The Woman Who Fell from the Sky, LJ 11/15/94) and Bird (Full Moon on the Reservation, Greenfield Review, 1994) have put together a one-of-a-kind anthology of fiction, poetry, and memoir from over 80 Native women writers representing over 50 nations. Although nationally known writers such as Louise Erdrich, Linda Hogan, and Leslie Silko are included, many others are being published here for the first time. More than a collection of literature, this work is divided into four sectionsgenesis, struggle, transformation, and returningto illuminate the writing process. Each writer introduces herself and her philosophical perspective about writing, and the willingness to share personal stories makes this a work of rare beauty, truth, and power. In addition, the anthology also highlights the writers' views on universal concerns such as violence against women, poverty, alcoholism, depression, government/Native American relations, and, especially, identity and place. Recommended for all libraries.Vicki Leslie Toy Smith, Univ. of Nevada, Reno</p>
204The Norton Anthology of American Literature: Volume E: 1945 to the PresentJerome Klinkowitz0<p><b>Nina Baym</b> (General Editor), Ph.D. Harvard, is Swanlund Endowed Chair and Center for Advanced Study Professor Emerita of English, and Jubilee Professor of Liberal Arts and Sciences at The University of Illinois at Urbana-Champaign. She is author of <b>The Shape of Hawthorne&rsquo;s Career</b>; <b>Woman's Fiction&#58; A Guide to Novels by and About Women in America</b>; <b>Novels, Readers, and Reviewers&#58; Responses to Fiction in Antebellum America</b>; <b>American Women Writers and the Work of History, 1790-1860</b>; and <b>American Women of Letters and the Nineteenth-Century Sciences</b>. Some of her essays are collected in <b>Feminism and American Literary History</b>; she has also edited and introduced many reissues of work by earlier American women writers, from Judith Sargent Murray through Kate Chopin. In 2000 she received the MLA&rsquo;s Hubbell medal for lifetime achievement in American literary studies.<P><b>Jerome Klinkowitz</b> (co-editor, American Literature since 1945), Ph.D. Wisconsin, is University Distinguished Scholar and Professor of English at the University of Northern Iowa. He is the author or editor of over forty books in postwar culture and literature, among them, <b>Structuring the Void&#58; The Struggle for Subject in Contemporary American Fiction</b>; <b>Slaughterhouse Five&#58; Reforming the Novel and the World</b>; <b>Literary Subversions&#58; New American Fiction and the Practice of Criticism</b>; and <b>The Practice of Fiction in America&#58; Writers from Hawthorne to the Present</b>.<P><b>Arnold Krupat</b> (editor, Native American Literatures), Ph.D. Columbia, is Professor of Literature at Sarah Lawrence College. He is the author, among other books, of <b>Ethnocriticism&#58; Ethnography, History, Literature</b>, <b>The Voice in the Margin&#58; Native American Literature and the Canon</b>, <b>Red Matters</b>, and most recently, <b>All That Remains&#58; Native Studies</b> (2007). He is the editor of a number of anthologies, including <b>Native American Autobiography&#58; An Anthology and New Voices in Native American Literary Criticism</b>. With Brian Swann, he edited <b>Here First&#58; Autobiographical Essays by Native American Writers</b>, which won the Wordcraft Circle of Native Writers and Storytellers Award for best book of nonfiction prose in 2001.<P><b>Patricia B. Wallace</b> (co-editor, American Literature since 1945), Ph.D. Iowa, is Professor of English at Vassar College. She is a contributing editor of <b>The Columbia History of American Poetry</b>; her essays and poems have appeared in such journals as <b>The Kenyon Review</b>, <b>The Sewanee Review</b>, <b>MELUS</b> and <b>PEN America</b>. She has been a recipient of fellowships from the NEA, the Mellon Foundation, and the ACLS.</p>Jerome Klinkowitz (Editor), Mary Loeffelholz (Editor), Arnold Krupat (Editor), Philip F. Gura (Editor), Bruce Michelsonthe-norton-anthology-of-american-literaturejerome-klinkowitz97803939274360393927431$46.66PaperbackNorton, W. W. & Company, Inc.April 20077th EditionAmerican Literature Anthologies11846.00 (w) x 9.20 (h) x 1.40 (d)<p><b>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field,</b> The Norton Anthology of American Literature has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p> <p>Under Nina Baym’s direction, the editors have considered afresh each selection and all the apparatus to make the anthology an even better teaching tool.</p><p>Firmly grounded in the core strengths that have made it the best-selling undergraduate survey in the field, <b>The Norton Anthology of American Literature</b> has been revitalized in this Seventh Edition through the collaboration between three new period editors and five seasoned ones.</p>
205Living Literature: An Introduction to Fiction, Poetry, DramaJohn Brereton0John Breretonliving-literaturejohn-brereton97803210889940321088999$4.09PaperbackLongmanJanuary 20071st EditionEnglish Language Readers, Academic & Research Paper Writing, Student Life - College Guides, English & Irish Literature Anthologies, American Literature Anthologies, Rhetoric - English Language21446.22 (w) x 9.06 (h) x 1.82 (d)<p>Living Literature<br> An Introduction to Fiction, Poetry, and Drama John Brereton</p> <p>Bringing the past into the present, this innovative anthology focuses on literature as part of a fluid, living conversation across cultures, genres, and time periods. More so than any other anthology, Living Literature energizes students by offering new perspectives on a vibrant collection of stories, poems, and plays, contextualizing classic works with contemporary pieces and emphasizing the dynamic creative relationship between writers, artists, filmmakers, and musicians.</p> <p>Moments<br> Five “Moments” chapters gather literary works from one particular time, place, or cultural viewpoint and frame the connections between them.</p> <ul> <li>More than Magnolias: Southern Women Storytellers (Chapter Seven)</li> <li>Passage to America: New Immigrants Tell Their Stories (Chapter Eight)</li> <li>Passionate Verse: Love Poetry of the English Renaissance (Chapter Sixteen)</li> <li>Writing Out Loud: Popular Victorian Narratives (Chapter Seventeen)</li> <li>Sweet Home Chicago: From Chicago Renaissance to A Raisin in the Sun (Chapter Twenty Five)</li> </ul> <blockquote>A Moment in Fiction: Southern Women Storytellers<br> Flannery O’Connor discusses her craft as one of the seven women writers in the Moments chapter, “More than Magnolias: Southern Women Storytellers.”</blockquote> <p>Inspiration<br> “Inspiration” sections in each chapter highlight artists from all genres–filmmakers, painters, musicians–who draw their creative spark from a writer or work in the anthology.</p> <blockquote>Inspiration: Yeats and U2’s Bono<br> U2’s Bono draws inspiration from fellow Irishman, William Butler Yeats, incorporating lines of Yeats’s poetry into song lyrics and live performances.</blockquote> <p>Literary, Web, Audio, and Visual Locales<br> “Locales” in every chapter prompt readers to seek out contextual resources–a real-life literary location, an online site, an audio clip, or visual image–that will enrich their understanding of a particular text.</p> <blockquote>Literary Locale: Tennessee Williams Literary Festival, New Orleans<br> The Tennessee Williams Literary Festival, hosted annually in New Orleans, celebrates the playwright’s work, such as A Streetcar Named Desire.</blockquote> <p>Visit us at www.ablongman.com</p><p><P><p>Living Literature<br>An Introduction to Fiction, Poetry, and Drama John Brereton<p><p>Bringing the past into the present, this innovative anthology focuses on literature as part of a fluid, living conversation across cultures, genres, and time periods. More so than any other anthology, Living Literature energizes students by offering new perspectives on a vibrant collection of stories, poems, and plays, contextualizing classic works with contemporary pieces and emphasizing the dynamic creative relationship between writers, artists, filmmakers, and musicians.<p>Moments<br> Five &ldquo;Moments&rdquo; chapters gather literary works from one particular time, place, or cultural viewpoint and frame the connections between them. <ul> <li>More than Magnolias&#58; Southern Women Storytellers (Chapter Seven) <li>Passage to America&#58; New Immigrants Tell Their Stories (Chapter Eight) <li>Passionate Verse&#58; Love Poetry of the English Renaissance (Chapter Sixteen) <li>Writing Out Loud&#58; Popular Victorian Narratives (Chapter Seventeen) <li>Sweet Home Chicago&#58; From Chicago Renaissance to A Raisin in the Sun (Chapter Twenty Five) </ul> <blockquote>A Moment in Fiction&#58; Southern Women Storytellers<br>Flannery O&rsquo;Connor discusses her craft as one of the seven women writers in the Moments chapter, &ldquo;More than Magnolias&#58; Southern Women Storytellers.&rdquo; </blockquote><p>Inspiration<br>&ldquo;Inspiration&rdquo; sections in each chapter highlight artists from all genres&ndash;filmmakers, painters, musicians&ndash;who draw their creative spark from a writer or work in the anthology.<p><blockquote>Inspiration&#58; Yeats and U2&rsquo;s Bono<br>U2&rsquo;s Bono draws inspiration from fellow Irishman, William Butler Yeats, incorporating lines of Yeats&rsquo;s poetry into song lyrics and live performances. </blockquote><p>Literary, Web, Audio, and Visual Locales<br>&ldquo;Locales&rdquo; in every chapter prompt readers to seek out contextual resources&ndash;a real-life literary location, an online site, an audio clip, or visual image&ndash;that will enrich their understanding of a particular text.<p><blockquote>Literary Locale&#58; Tennessee Williams Literary Festival, New Orleans<br> The Tennessee Williams Literary Festival, hosted annually in New Orleans, celebrates the playwright&rsquo;s work, such as A Streetcar Named Desire. </blockquote> <p>Visit us at www.ablongman.com<p></p><P>PART I&#58; FICTION<p>1. Stories&#58; Plot, Character, Setting<p>The Hare and the Tortoise<p>Story with a Lesson<p>Inspiration&#58; Animation and The Tortoise and the Hare<p>Video locale&#58; Bugs Bunny Cartoons of The Tortoise and the Hare<p>Plot Ordering the Plot Kate Chopin, The Story of An Hour<p>For Further Reading&#58; Plot<p>Richard Ford, Under the Radar<p>Character<p>Tim O&rsquo;Brien, Stockings<p>Types of Characters<p>For Further Reading&#58; Character<p>Alice Munro, Prue<p>Setting<p>James Joyce, Araby<p>Literary Locale&#58; James Joyce and Davy Byrnes Pub<p>Symbolic Setting<p>For Further Reading&#58; Setting<p>Literary Locale&#58; Colter&rsquo;s Chicago&mdash;The South Side and the El<p>Cyrus Colter, Mary&rsquo;s Convert<p>2. Stories&#58; Point of View, Theme, Symbol, Performance Point of View<p>First-Person Narration<p>Third-Person Narration<p>Subjective vs. Objective Narration<p>Jamaica Kincaid, Girl<p>Point of View in &ldquo;Girl&rdquo;<p>The Narrator&rsquo;s Role<p>For Further Reading&#58; Point of View<p>Margaret Atwood, Happy Endings<p>Theme<p>John Updike, A & P<p>Theme in &ldquo;A & P&rdquo;<p>Theme, Meaning, and Intention<p>For Further Reading&#58; Theme<p>Anita Desai, Games at Twilight<p>Symbol<p>Stuart Dybek, The Palatski Man<p>For Further Reading&#58; Symbol<p>Gabriel Garc&iacute;a M&aacute;rquez, The Handsomest Drowned Man in the World<p>Tone<p>Inspiration&#58; Carver to Altman&#58; From Fiction to Film<p>Raymond Carver, Cathedral<p>For Further Reading&#58; Tone<p>Ana Castillo, Loverboys<p>Story and Performance<p>Wallace Stegner, A Note on Technique<p>Story and Performance in &ldquo;A Note on Technique&rdquo;<p>Audio and Video Locale&#58; Updike&rsquo;s &ldquo;A&P&rdquo; in Performance<p>3. Writing about Stories<p>The Cultural Conversation<p>Reviews<p>Short Review<p>Short Review of Harry Potter and the Sorcerer&rsquo;s Stone<p>Full Review<p>Full Review of Harry Potter and the Sorcerer&rsquo;s Stone<p>Beyond Reviews&#58; Criticism<p>Popular Criticism<p>Newsweek, Here&rsquo;s Harry&#58; Behind the Fastest-Selling Book in History<p>Scholarly Articles<p>Roni Natov, Harry Potter and the Extraordinariness of the Ordinary<p>How to Enter the Conversation?<p>Virtual Locale&#58; Blogging about Stories<p>Questions to Develop Ideas About a Story<p>Point of View<p>Language<p>Setting<p>Character<p>Plot<p>Links to Other Texts<p>Response<p>Formats for Writing about Stories<p>Annotating a Story<p>Annotations for a page of &ldquo;The Story of An Hour&rdquo;<p>Summarizing a Story<p>Summaries of &ldquo;The Story of An Hour&rdquo;<p>Keeping a Personal Journal<p>Double-Entry Reaction Journal on a page of &ldquo;The Story of An Hour&rdquo;<p>Writing a Response Paper<p>From a Response Paper to &ldquo;The Story of An Hour&rdquo;<p>Writing an Intervention<p>Writing an Explication<p>Explication of the opening of &ldquo;The Story of An Hour&rdquo;<p>Writing an Analytical Essay<p>Student Analytical Essay of &ldquo;The Story of An Hour&rdquo;<p>4. A Fiction Writer in Depth&#58; Nathaniel Hawthorne<p>Literary Locale&#58; Hawthorne&rsquo;s Massachusetts&mdash;Concord and Salem<p>Virtual Locale&#58;Hawthorne in Salem Website<p>Nathaniel Hawthorne Timeline<p>Stories by Nathaniel Hawthorne<p>Young Goodman Brown<p>Lady Eleanore&rsquo;s Mantle<p>The Maypole of Merry Mount<p>Commentary&#58; Nathaniel Hawthorne on his Art and His Life<p>Inspiration&#58;<p>Hawthorne and Melville&#58; A Literary Friendship<p>5. A Fiction Writer in Depth&#58; Willa Cather<p>Literary and Virtual Locale&#58; Willa Cather&rsquo;s Red Cloud, Nebraska<p>Willa Cather Timeline<p>Audio Locale&#58; Cather&rsquo;s 1933 Radio Speech<p>Stories by Willa Cather<p>Peter<p>Paul&rsquo;s Case<p>A Wagner Matin&eacute;e<p>Inspiration&#58; &ldquo;A Wagner Matin&eacute;e&rdquo; in Performance&mdash;Cather from Page to Radio Stage<p>Audio and Virtual Locale&#58;Recording of Scribbling Women &ldquo;A Wagner Matin&eacute;e&rdquo; Radio Play<p>An Old Beauty<p>Virtual Locale&#58;The Willa Cather Archive <p>Commentary&#58; Willa Cather on Writing<p>Commentary&#58; Willa Cather the Critic<p>Willa Cather, From &ldquo;Shakespeare and Hamlet&rdquo;<p>6. A Fiction Writer in Depth&#58; Charles Baxter <p>Charles Baxter Timeline<p>Literary Locale&#58; Baxter&rsquo;s Michigan and the Mystery of the Midwest<p>Stories by Charles Baxter<p>Shelter<p>Inspiration&#58;&ldquo;Gryphon&rdquo; in Performance&mdash;Chicago Public Radio&rsquo;s Stories on Stage<p>Gryphon<p>Audio and Virtual Locale&#58;Recording of Stories on Stage &ldquo;Gryphon&rdquo; Dramatic Reading<p>Saul and Patsy Are Pregnant<p>Virtual Locale&#58;Charles Baxter&rsquo;s Website<p>Kiss Away<p>Commentary&#58; Charles Baxter on Fiction and the Writer&rsquo;s Role<p>Commentary&#58; Charles Baxter, Critical Writing on Fiction<p>Commentary&#58; Excerpts from Selected Reviews<p>Inspiration&#58; Music in the Fiction of Charles Baxter<p>Audio Locale&#58;Recordings of &ldquo;Gimme Shelter&rdquo; and &ldquo;Unchain My Heart&rdquo;<p>7. More Than Magnolias&#58; Southern Women Storytellers<p>Literary and Virtual Locale&#58; The Gravesite of Zora Neale Hurston, Fort Pierce, Florida<p>Southern Women Writers Timeline<p>Literary and Virtual Locale&#58; Zora Festival, Eatonville, Florida<p>Zora Neale Hurston, Sweat<p>Inspiration&#58;<p>&ldquo;Sweat&rdquo; in Performance&mdash;Hurston from Page to Radio Stage<p>Audio and Virtual Locale&#58;Recording of Scribbling Women &ldquo;Sweat&rdquo; Radio Play<p>Literary and Virtual Locale&#58;The Homes and the Archives of Eudora Welty&mdash;Jackson, Mississippi<p>Virtual Locale&#58;The Eudora Welty House and The Eudora Welty Collection<p>Eudora Welty, Why I Live at the P.O.<p>A Worn Path<p>A Shower of Gold<p>Commentary&#58; Eudora Welty on the Craft of Writing<p>Inspiration&#58; Alice Walker and Lee Smith on Flannery O&rsquo;Connor and Eudora Welty<p>Literary Locale&#58; The Georgia Homes of Flannery O&rsquo;Connor&mdash;Savannah and Milledgville<p>Virtual Locale&#58;Flannery O&#39;Connor Home Foundation and Andalusia Farm Websites<p>Flannery O&rsquo;Connor, A Good Man is Hard to Find<p>Parker&rsquo;s Back<p>Inspiration&#58; Flannery O&rsquo;Connor and Bruce Springsteen&rsquo;s Nebraska Commentary&#58; Flannery O&rsquo;Connor on her Craft<p>Lee Smith, Cakewalk<p>Mary Hood, How Far She Went<p>Dorothy Allison, I&rsquo;m Working on My Charm<p>Inspiration&#58; Writers Who Inspired Dorothy Allison<p>Virtual Locale&#58;Alice Walker and other &ldquo;Voices of Mississippi&rdquo;<p>Alice Walker, Everyday Use<p>Commentary&#58; Contemporary Southern Women Writers Speak On the South<p>8. Passage to America&#58; New Immigrant Tell Their Stories<p>Passage to America Timeline<p>Pat Mora, Immigrants<p>Inspiration&#58;<p>&ldquo;I, Too, Sing Am&eacute;rica&rdquo;&mdash;&ldquo;All-American&rdquo; Writers, from Whitman to Hughes to Alvarez<p>Langston Hughes, I, Too, Sing America<p>Virtual Locale&#58;<p>The &ldquo;Writers on America&rdquo; Project&#58; What Does It Means to be an American Writer?<p>Literary Locale&#58;<p>Los Angeles&rsquo;s Latino Museum of History, Art and Culture<p>Jhumpa Lahiri, The Third and Final Continent<p>Commentary&#58; Jhumpa Lahiri on the Short Story<p>Virtual Locale&#58;<p>The South Asian Women&rsquo;s Network&rsquo;s Online Bookshelf<p>Gish Jen, In the American Society<p>Commentary&#58; Gish Jen on the Short Story<p>Virtual and Video Locale&#58;Interview With Gish Jen on "Becoming American&#58; Personal Journeys"<p>Esmeralda Santiago, When I Was Puerto Rican<p>Commentary&#58; Esmeralda Santiago on When I Was Puerto Rican<p>Video and Virtual Locale&#58;<p>Santiago in Performance&#58; PBS Film Adaptation of Almost a Woman<p>Junot D&iacute;az, Fiesta, 1980<p>Commentary&#58; Junot D&iacute;az on Fiction<p>Literary and virtual Locale&#58; New York&rsquo;s El Museo del Barrio<p>Anjana Appachana, Her Mother<p>Commentary&#58; Anjana Appachana on the Short Story<p>Literary Locale&#58;Ellis Island&mdash;The Gateway for the Early U.S. Immigrant<p>virtual Locale&#58; The Ellis Island Immigration Museum<p>9. Stories for Further Reading<p>A Brief Note on the Sequencing of the Stories<p>A Brief Note on the Inclusion of Non-Fiction<p>Jonathan Swift, A Modest Proposal<p>Edgar Allan Poe, The Tell-Tale Heart<p>Literary Locale&#58; Edgar Allan Poe&mdash;The Philadelphia Years<p>Anton Chekhov, The Lady with the Dog<p>D.H. Lawrence, The Horse Dealer&rsquo;s Daughter<p>Ernest Hemingway, Hills Like White Elephants<p>Inspiration&#58; Imitation Hemingway and Faux Faulkner Contests<p>Virtual Locale&#58; Hemispheres Magazine Website<p>Katherine Anne Porter, The Jilting of Granny Weatherall<p>William Faulkner, Barn Burning<p>A Rose for Emily<p>Literary Locale&#58; Faulkner&rsquo;s Oxford, Mississippi<p>James Thurber, The Night the Bed Fell In<p>George Orwell, Shooting an Elephant<p>E.B. White, Once More to the Lake<p>Richard Wright, The Man Who Lived Underground<p>Jorge Luis Borges, Theme of the Traitor and the Hero<p>James Baldwin, Sonny&rsquo;s Blues<p>Chinua Achebe, A Civil Peace<p>Leslie Marmon Silko, Yellow Woman<p>Kazuo Ishiguro, Family Dinner<p>David Leavitt, Territory<p>Amy Hempel, In the Cemetery Where Al Jolson is Buried<p>Lorrie Moore, How to Become a Writer<p>Sherman Alexie, Lone Ranger & Tonto Fistfight in Heaven<p>Stuart Dybek, We Didn&rsquo;t<p>Inspiration&#58; From Verse to Prose&#58; Yehuda Amichai&rsquo;s &ldquo;We Did It&rdquo; and Dybek&rsquo;s &ldquo;We Didn&rsquo;t&rdquo;<p>Andrea Barrett, Rare Bird<p>Ha Jin, Saboteur<p>PART II&#58; POETRY <p>10. Poems&#58; Tone, Image, Language<p>Shaping Experience<p>Paul Laurence Dunbar, We Wear the Mask<p>Literary and VIRTUAL Locale&#58; Paul Laurence Dunbar House&mdash;Dayton, Ohio<p>Tone<p>Linda Pastan, Marks<p>D.H. Lawrence, Piano<p>For Further Reading&#58; Tone<p>Ezra Pound, The River Merchant&rsquo;s Wife&#58; A Letter<p>Inspiration&#58; Two Additional Translations of Li Po&rsquo;s Poem<p>Philip Larkin, This Be The Verse<p>Virtual Locale&#58; The Lannan Foundation and Louise Gl&uuml;ck<p>Louise Gl&uuml;ck, The Red Poppy<p>Audio Locale&#58; Louise Gl&uuml;ck&rsquo;s &ldquo;The Red Poppy&rdquo;<p>Margaret Atwood, Siren Song<p>Images and Imagery<p>Ezra Pound, In a Station of the Metro<p>William Shakespeare, Sonnet 73<p>For Further Reading&#58; Images and Imagery<p>Robert Burns, My Luve&rsquo;s like a Red, Red Rose<p>Sylvia Plath, Metaphors<p>Wallace Stevens, Thirteen Ways of Looking at a Blackbird<p>Adrienne Rich, Diving into the Wreck<p>Inspiration&#58; Adrienne Rich Rethinks Emily Dickinson<p>Poetic Language<p>Emily Dickinson, I like to see it lap the miles<p>William Butler Yeats, The Lake Isle of Innisfree<p>Literary Locale&#58; Yeats and the Landscape in Sligo, Ireland<p>Inspiration&#58; U2&rsquo;s Bono&mdash;The Yeats of Our Time?<p>Before the World Was Made<p>Commentary&#58; Louise Gl&uuml;ck on Poetic Language<p>For Further Reading&#58; Poetic Language<p>Frank O&rsquo;Hara, The Day Lady Died<p>Audio Locale&#58; Lady Sings the Blues<p>Thomas Gray, Ode on the Death of a Favorite Cat, Drowned in a Tub of Goldfishes<p>Phyllis Wheatley, On Being Brought from Africa to America<p>Henry Wadsworth Longfellow, Snow-Flakes<p>Jimmy Santiago Baca, Green Chile<p>Struggles Over Poetic Language<p>11. Poems&#58; Meter, Stanza, Form<p>Meter<p>William Langland, From Piers Plowman<p>John Newton, From Amazing Grace<p>Iamb<p>Trochee<p>Anapest<p>Dactyl<p>John Hollander, Historical Reflection<p>Spondee<p>Feet<p>Blank verse<p>William Shakespeare, From Macbeth<p>John Milton, From Paradise Lost<p>Elizabeth Barrett Browning, From Aurora Leigh<p>For Further Reading&#58; Meter<p>Robert Frost, Stopping by Woods on a Snowy Evening<p>Literary Locale&#58; The Robert Frost Place, Franconia, New Hampshire<p>Ben Jonson, Song&#58; To Celia<p>A.E. Housman, When I Was One-and-Twenty<p>Stanza<p>Alexander Pope, From The Rape of the Lock<p>Percy Bysshe Shelley, From Ode to the West Wind<p>Anonymous, From Bonny Barbara Allan<p>Free verse<p>Walt Whitman, When I heard the Learn&rsquo;d Astronomer<p>William Carlos Williams, The Red Wheelbarrow<p>William Carlos Williams, This Is Just to Say<p>Inspiration&#58; William Carlos Williams and Tino Villaneuva<p>For Further Reading&#58; Stanza<p>William Carlos Williams, The Great Figure<p>Inspiration&#58; Charles Demuth&#39;s painting The Figure 5 in Gold<p>George Herbert, Easter Wings<p>William Wordsworth, A Slumber Did My Spirit Seal<p>Adrienne Rich, Aunt Jennifer&rsquo;s Tigers<p>Video Locale&#58; Adrienne Rich and The Lannan Foundation<p>Form<p>Sonnet<p>John Keats, On First Looking into Chapman&rsquo;s Homer<p>John Keats, When I Have Fears That I May Cease to Be<p>Edna St. Vincent Millay, I will put Chaos into fourteen lines<p>Billy Collins, Sonnet<p>Commentary&#58; Billy Collins on American Poetry<p>John Milton, On His Blindness<p>Robert Frost, Once by the Pacific<p>Alice Oswald, Wedding<p>Weldon Kees, For My Daughter<p>Elegy<p>Ben Jonson, On My First Son<p>Thomas Gray, Sonnet on the Death of Richard West<p>Samuel Johnson, On the Death of Mr. Robert Levet, a Practiser in Physic<p>Chidiock Tichborne, Elegy Written with His Own Hand in the Tower before His Execution<p>E.E. Cummings, Buffalo Bill&rsquo;s<p>Inspiration&#58; Cummings and Bjork&#58; Poetry as Pop Song<p>I will wade out<p>It may not always be so<p>Aubade<p>William Shakespeare, Aubade from Cymbeline<p>Amy Lowell, Aubade<p>John Donne, The Sun Rising<p>Richard Wilbur, A Late Aubade<p>Terese Svoboda, Aubade<p>Barbara Lau, Aubade/Iowa<p>Philip Larkin, Aubade<p>William Shakespeare, Aubade from Romeo and Juliet<p>Villanelle<p>Elizabeth Bishop, One Art<p>Video Locale&#58; Documentary on Elizabeth Bishop<p>Dylan Thomas, Do not go gentle into that good night<p>For Further Reading&#58; Form<p>Theodore Roethke, The Waking<p>Robert Frost, Design<p>Edna St. Vincent Millay, Love Is Not All&#58; It Is Not Meat nor Drink<p>Gertrude Schnackenberg, Signs<p>Marge Piercy, Barbie Doll<p>Michael Drayton, Since There&rsquo;s No Help<p>Edmund Spenser, One day I wrote her name upon the strand<p>Thomas Hardy, The Darkling Thrush<p>During Wind and Rain<p>Gerard Manly Hopkins, God&rsquo;s Grandeur<p>The Windhover<p>12. Writing about Poetry<p>The Cultural Conversation<p>Reviews<p>Short Review&#58; The Collected Poems of Robert Lowell, ed. by Frank Bidart and David Gewanter<p>Full Review&#58; The Collected Poems of Robert Lowell, ed. by Frank Bidart and David Gewanter<p>Beyond Reviews&#58; Criticism<p>Popular Criticism<p>Scott Thrill, Eminem vs. Robert Frost<p>Scholarly Articles or Works<p>Edward Hirsch, From How to Read a Poem<p>How to Enter the Conversation<p>Questions to Develop Ideas about a Poem<p>Point of View<p>Language<p>Setting<p>Character<p>Plot<p>Links to Other Texts<p>Response<p>Virtual Locale&#58; Poetry Websites and Blog<p>Formats for Writing about Poems<p>Annotating a Poem<p>Annotations forDickinson&rsquo;s &ldquo;After Great Pain&rdquo;<p>Summarizing or Paraphrasing a Poem<p>Summary of &ldquo;After Great Pain&rdquo;<p>Paraphrase of &ldquo;After Great Pain&rdquo;<p>Keeping a Personal Journal<p>Double-Entry Reaction Journal on &ldquo;After Great Pain&rdquo;<p>Writing a Response Paper<p>From a Response Paper to &ldquo;After Great Pain&rdquo;<p>Writing an Intervention<p>Inspiration&#58; Two Poets Respond to Emily Dickinson<p>Francis Heaney, Skinny Domicile [An anagram of Emily Dickinson]<p>Billy Collins,Taking Off Emily Dickinson&rsquo;s Clothes<p>Writing an Explication<p>Student Explication of &ldquo;After Great Pain&rdquo;<p>Professional Explication of &ldquo;After Great Pain&rdquo;<p>Writing an Analytical Essay<p>Student Analytical Essay of &ldquo;After Great Pain&rdquo;<p>13. A Poet in Depth&#58; Walt Whitman<p>Inspiration&#58; Ralph Waldo Emerson&rsquo;s Letter to Whitman<p>Virtual Locale&#58; The Whitman Electronic Archive<p>Walt Whitman Timeline<p>Literary Locale&#58; Walt Whitman House, Camden, New Jersey<p>Poems by Walt Whitman<p>From Song of Myself<p>Audio Locale&#58; Whitman Reading &ldquo;America&rdquo;<p>Crossing Brooklyn Ferry<p>Literary Locale&#58; Whitman in New York<p>Out of the Cradle Endlessly Rocking<p>When Lilacs Last in the Dooryard Bloom&rsquo;d<p>O Captain! My Captain!<p>Inspiration&#58; Whitman and the Civil War<p>A Noiseless Patient Spider<p>Inspiration&#58; The Music of Whitman<p>I Hear America Singing<p>Literary Locale&#58; The &ldquo;I Hear America Singing&rdquo; Mural, Bronx, New York<p>When I Heard at the Close of the Day<p>I Saw in Louisiana a Live-Oak Growing<p>Video Locale&#58; Whitman in Video<p>Cavalry Crossing a Ford<p>The Wound-Dresser<p>Commentary&#58; Walt Whitman on his Art and Poetry<p>Commentary&#58; Four Poets Inspired by Whitman<p>Langston Hughes, Old Walt<p>Kenneth Koch, Whitman&rsquo;s Words<p>Marge Piercy, How I Came to Walt Whitman and Found Myself<p>Alicia Ostriker, Loving Walt Whitman and the Problem of America<p>14. A Poet in Depth&#58; Emily Dickinson<p>Literary Locale&#58; The Emily Dickinson Museum<p>Emily Dickinson Timeline<p>Poems by Emily Dickinson<p>I heard a Fly buzz&mdash;when I died<p>Because I could not stop for Death<p>A narrow Fellow in the Grass<p>Inspiration&#58;Three Poets Write of Emily Dickinson<p>Hart Crane, To Emily Dickinson<p>Linda Pastan, Emily Dickinson<p>Wild Nights&mdash;Wild Nights!<p>It dropped so low&mdash;in my Regard&mdash;<p>I taste a liquor never brewed<p>Safe in their Alabaster Chambers<p>There&rsquo;s a certain Slant of light<p>I felt a Funeral, in my Brain<p>Inspiration&#58;<p>&ldquo;In My Dreams Awake&rdquo;&#58; Photos by John Dugdale and Dickinson&rsquo;s Poetry<p>Elysium is as far to<p>We grow accustomed to the Dark<p>The Soul selects her own Society<p>My Life had stood&mdash;a Loaded Gun&mdash;<p>Video Locale&#58; Loaded Gun&#58; Life, Death, and Dickinson<p>Tell all the Truth but tell it slant<p>As imperceptibly as Grief<p>&lsquo;Faith&rsquo; is a fine invention<p>From all the Jails, the boys and girls<p>The Bible is an antique Volume&mdash;<p>Audio Locale&#58; The Songs of Emily Dickinson<p>Much Madness is divinest Sense&mdash;<p>Beauty be not caused, it is<p>On a columnar Self<p>Commentary&#58; Excerpts from Selected Reviews<p>Commentary&#58; Emily Dickinson in her Letters<p>15. A Poet in Depth&#58; Gwendolyn Brooks <p>Literary Locale&#58;Brooks inBronzeville, Chicago<p>Gwendolyn Brooks Timeline<p>Poems by Gwendolyn Brooks<p>Kitchenette Building<p>Sadie and Maud<p>The Mother<p>the preacher&#58; ruminates behind the sermon<p>Gay Chaps at the Bar<p>What shall I give my children? who are poor (Sonnet 2)<p>First Fight. Then Fiddle (Sonnet 4)<p>In Honor of David Anderson Brooks, My Father<p>Beverly Hills, Chicago<p>The Bean Eaters<p>Audio Locale&#58; Brooks Reading Her Poetry<p>Audio Locale&#58; Brooks Reading &ldquo;We Real Cool&rdquo;<p>Commentary&#58; Gwendolyn Brooks on the Men in &ldquo;We Real Cool&rdquo;<p>A Bronzeville Woman Loiters in Mississippi&hellip;<p>Crazy Woman<p>Ballad of Rudolph Reed<p>Inspiration&#58;Artists of Inspiration&#151;Hughes, Frost, and Robeson<p>Langston Hughes<p>Of Robert Frost<p>Paul Robeson<p>The Sermon on the Warpland<p>The Second Sermon on the Warpland<p>From In the Mecca<p>Inspiration&#58; Brooks and Emily Dickinson<p>Myself<p>Commentary&#58; Gwendolyn Brooks on her Life and the Art of Poetry<p>Commentary&#58; Excerpts from Selected Reviews<p>Inspiration&#58;The Wall of Respect, Chicago<p>The Wall<p>16. Passionate Verse&#58; Love Poetry of the English Renaissance <p>English Renaissance Timeline<p>Sir Philip Sidney, Loving in Truth<p>Pastoral Poems<p>Christopher Marlowe, The Passionate Shepherd to his Love<p>Inspiration&#58; Sir Walter Raleigh&rsquo;s Nymph&mdash;Talking Back to Marlowe&rsquo;s Shepherd Poems on Clothing<p>Ben Jonson, Still to Be Neat, Still to Be Drest<p>Robert Herrick, Delight in Disorder<p>Upon Julia&#39;s Clothes<p>Virtual Locale&#58; Elizabethan Clothing<p>Carpe Diem Poems<p>Robert Herrick, To Virgins, to Make Much of Time<p>Andrew Marvell, To His Coy Mistress<p>Poems and Music<p>Thomas Campion, When Thou Must Home to Shades of Underground<p>Fire, Fire, Fire<p>Shakespearean Love Sonnets<p>William Shakespeare, Sonnet 18<p>Audio and Virtual Locale&#58; Sir John Gielgud Reading the Shakespearean Sonnets<p>Sonnet 55<p>Sonnet 106<p>Audio Locale&#58; Shakespearean Sonnets Out Loud&mdash;Sung and Spoken<p>Sonnet 116<p>Sonnet 130<p>INSPIRATION&#58; Shakespeare&rsquo;s Sonnet 130 and Sting&rsquo;s &ldquo;Sister Moon&rdquo;<p>Sonnet 138<p>INSPIRATION&#58; Love&rsquo;s Fire&mdash;Shakespeare&rsquo;s Sonnets from Page to Stage<p>Garden scene from Romeo and Juliet<p>INSPIRATION&#58; Romeo and Juliet&#58; The Garden Scene, From Stage to Screen<p>VIDEO AND VIRTUAL LOCALE&#58; Trailer for George Cukor&rsquo;s 1936 film, Romeo and Juliet<p>VIRTUAL LOCALE&#58; Two Versions of the Famous Romeo and Juliet Garden Scene<p>Women&rsquo;s Voices in the English Renaissance<p>Lady Mary Wroth, Am I Thus Conquer&#39;d? Have I Lost the Powers<p>When every one to pleasing pastime hies<p>How fast thou fliest, O time, on loues swift wings<p>My paine still smother&#39;d in my grieved brest<p>Ben Jonson, A Sonnet to the Noble Lady, the Lady Mary Wroth<p>Katherine Philips, Against Love<p>A Married State<p>To My Excellent Lucasia, On Our Friendship<p>Anne Bradstreet, To My Dear and Loving Husband<p>Commentary&#58; Virginia Woolf&rsquo;s A Room of One&rsquo;s Own<p>17. Writing Out Loud&#58; Popular Victorian Narratives<p>Poetry&rsquo;s Oral Beginnings<p>Virtual Locale&#58; Aural Poetry on the Web<p>Poetry Readings at Home<p>Professional Authors on the Stage<p>Inspiration&#58; Modern Poetry Out Loud&mdash;From Beat Poets to Russell Simmons&rsquo; Def Poetry Jam<p>Professonal Readers<p>Video Locale&#58; Fooling With Words with Bill Moyers<p>Elocution<p>Victorian Narratives Timeline<p>Clement Clark Moore, A Visit from St. Nicholas<p>Ernest L. Thayer, Casey at the Bat<p>Felicia Hemans, Casabianca<p>INSPIRATION&#58; Elizabeth Bishop Responds to Felicia Hemans<p>Letitia Elizabeth Landon, The Proud Layde<p>Edgar Allan Poe, The Raven<p>Commentary&#58; Poe on the Composition of &ldquo;The Raven&rdquo;<p>Literary and Virtual Locale&#58; Poe Historical Sites<p>Annabelle Lee<p>Video Locale&#58; Poe on American Masters<p>Henry Wadsworth Longfellow, from The Building of the Ship<p>Inspiration&#58; Sonnet on Mrs. Kemble&rsquo;s Reading from Shakespeare<p>The Wreck of the Hesperus<p>Inspiration&#58; George Harrison Riffing on Longfellow<p>Robert Browning, My Last Duchess<p>Elizabeth Barrett Browning, Mother and Poet<p>Walt Whitman, O Captain! My Captain!<p>Alfred, Lord Tennyson, Ulysses<p>The Charge of the Light Brigade<p>18. Poems for Further Reading <p>A Brief Note on the Sequencing of the Poems<p>Video Locale&#58; Robert Pinsky&rsquo;s Favorite Poems Project<p>Robert Southwell, The Burning Babe<p>John Donne, First Anniversary<p>A Valediction&#58; Forbidding Mourning<p>Batter My Heart Three Personed God<p>The Canonization<p>Death be not Proud<p>The Flea<p>The Relic<p>The Anniversarie<p>Ben Jonson, Come, my Celia, let us prove<p>On My First Daughter<p>George Herbert, The Pulley<p>The Windows<p>John Milton, How Soon Hath Time<p>Richard Lovelace, To Lucasta, Going to the Wars<p>Andrew Marvell, The Garden<p>Mary, Lady Chudleigh, To the Ladies<p>Jonathan Swift, A Description of the Morning<p>Samuel Johnson, Prologue Spoken by Mr. Garrick at the Opening of the Theatre in Drury-Lane, 1747<p>Christopher Smart, For I will consider my cat Jeoffry<p>William Cowper, The Castaway<p>William Blake, Infant Joy<p>The Lamb<p>The Tyger<p>Infant Sorrow<p>A Poison Tree<p>The Sick Rose<p>Virtual Locale&#58; The William Blake Archive<p>William Wordsworth, Lines Composted a Few Miles Above Tintern Abbey<p>Composed upon Westminster Bridge, September 3, 1802<p>It is a Beauteous Evening<p>London, 1802<p>My Heart Leaps Up When I Behold<p>The World Is Too Much with Us<p>Surprised by Joy<p>Mutability<p>Samuel Taylor Coleridge, Kubla Khan<p>Dejection&#58; An Ode<p>George Gordon, Lord Byron, When We Two Parted<p>The Destruction of Sennacherib<p>She Walks in Beauty<p>Percy Bysshe Shelley, Ozymandias<p>Ode to the West Wind<p>When the lamp is shattered<p>England in 1819<p>John Clare, Badger<p>John Keats, La Belle Dame sans Merci<p>Ode to a Nightingale<p>Ode on a Grecian Urn<p>The Eve of St. Agnes<p>To Autumn<p>Elizabeth Barrett Browning, How Do I Love Thee<p>Henry Wadsworth Longfellow, Mezzo Cammin<p>Aftermath<p>Edgar Allen Poe, The Bells<p>Alfred Tennyson, Break, Break, Break<p>Now Sleeps the Crimson Petal<p>Tears, Idle Tears<p>Robert Browning, My Last Duchess<p>Meeting at Night<p>Parting at Morning<p>Matthew Arnold, Dover Beach<p>Inspiration&#58; Anthony Hecht&rsquo;s The Dover Bitch<p>Christina Rossetti, Song<p>Lewis Carroll [Charles Ludwig Dodgson], Jabberwocky<p>Thomas Hardy, Hap<p>The Darkling Thrush<p>The Convergence of the Twain<p>During Wind and Rain<p>Gerard Manly Hopkins, Spring and Fall<p>Emma Lazarus, The New Colossus<p>A.E. Housman, Loveliest of trees, the cherry now<p>Eden Phillpotts, The Learned<p>W.B. Yeats, The Song of the Wandering Angus<p>The Scholars<p>The Wild Swans at Coole<p>The Second Coming<p>Leda and the Swan<p>Sailing to Byzantium<p>Virtual Locale&#58; Boland on Yeats&mdash;Branching Out Lecture Series<p>Paul Lawrence Dunbar, Theology<p>Sympathy<p>Robert Gould Shaw<p>Robert Frost, Mending Wall<p>The Road Not Taken<p>For Once, Then, Something<p>Once by the Pacific<p>Audio Locale&#58; Frost Reading &ldquo;The Road Not Taken&rdquo;<p>Rainer Maria Rilke, Archaic Torso of Apollo (trans. by Stephen Mitchell)<p>Carl Sandburg, Chicago<p>Wallace Stevens, The Emperor of Ice Cream<p>Anecdote of the Jar<p>The Snow Man<p>The Idea of Order at Key West<p>The House Was Quiet and the World Was Calm<p>Literary Locale&#58; Stevens Walking Tour, Hartford, Connecticut<p>William Carlos Williams, Landscape with the Fall of Icarus<p>Virtual Locale&#58; Pinsky on Williams&mdash;Branching Out Lecture Series<p>Marianne Moore, Poetry<p>Robinson Jeffers, Continent&rsquo;s End<p>Carmel Point<p>T.S. Eliot, The Love Song of J. Alfred Prufrock<p>Audio Locale&#58; Eliot Reading Prufrock<p>Preludes<p>Audio Locale&#58; NPR&rsquo;s top 15 American Poems of the 20<sup>th</sup> Century<p>Edna St. Vincent Millay, Recuerdo<p>What lips my lips have kissed<p>Wilfred Owen, Anthem for Doomed Youth<p>Dulce et decorum est<p>Louise Bogan, Women<p>Federico Garc&iacute;a Lorca, Arbol&eacute;, Arbol&eacute; (trans. by William Logan)<p>Langston Hughes, The Negro Speaks of Rivers<p>Audio Locale&#58; Hughes Reading &ldquo;The Negro Speaks of Rivers&rdquo;<p>Theme for English B<p>Advice<p>Virtual Locale&#58; Pinsky on Williams and Frost&mdash;Branching Out Poetry Lecture Series<p>Stevie Smith, Not Waving But Drowning<p>The Heavenly City<p>Countee Cullen, Yet Do I Marvel<p>Pablo Neruda, Oblivion<p>The Potter<p>The Son<p>W.H. Auden, Stop All the Clocks, Cut Off the Telephone<p>Mus&eacute;e des Beaux Arts<p>September 1, 1939<p>Audio Locale&#58; Auden Reading at the 92<sup>nd</sup> Street Y<p>Theodore Roethke, My Papa&rsquo;s Waltz<p>Root Cellar<p>Elizabeth Bishop, At the Fishhouses<p>First Death in Nova Scotia<p>The Moose<p>Czeslaw Milosz, After Paradise<p>Robert Hayden, Homage to the Empress of the Blues<p>Those Winter Sundays<p>Octavio Paz, With Our Eyes Shut/Con Los Ojos Cerrados<p>William Stafford, Ask Me<p>Waiting in Line<p>Dylan Thomas, Fern Hill<p>In My Craft or Sullen Art<p>Robert Lowell, Skunk Hour<p>Amy Clampitt, On the Disadvantages of Central Heating<p>Richard Hugo, Degrees of Gray in Phillipsburg<p>Denise Levertov, The Ache of Marriage<p>The Wedding-Ring<p>Jack Gilbert, The Forgotten Dialect of the Heart<p>A.R. Ammons, The City Limits<p>Allen Ginsberg, A Supermarket in California<p>Audio Locale&#58; Ginsberg Reading &ldquo;A Supermarket in California&rdquo;<p>First Party at Ken Kesey&rsquo;s with Hell&rsquo;s Angels<p>James Merrill, To a Butterfly<p>Frank O&rsquo;Hara, Why I Am Not a Painter<p>Inspiration&#58; Frank O&rsquo;Hara and the New York School of Painters<p>Ave Maria<p>Digression on Number 1, 1948<p>In Memory of My Feelings<p>John Ashbery, Paradoxes and Oxymorons<p>Galway Kinnell, After Making Love We Hear Footsteps<p>Blackberry Eating<p>W.S. Merwin, One of the Lives<p>James Wright, A Blessing<p>Lying in a Hammock at William Duffy&rsquo;s Farm in Pine Island, Minnesota<p>Philip Levine, Animals are Passing from Our Lives<p>Anne Sexton, The Starry Night<p>Two Hands<p>Adrienne Rich, Moving in Winter<p>Living in Sin<p>Gary Snyder, Above Pate Valley<p>Derek Walcott, Midsummer, Tobago<p>Geoffrey Hill, September Song<p>Linda Pastan, Agoraphobia<p>Sylvia Plath, Mushrooms<p>The Mirror<p>Daddy<p>Audre Lorde, Coal<p>Mark Strand, Keeping Things Whole<p>Mary Oliver, The Wild Geese<p>When Death Comes<p>Lucille Clifton, homage to my hips<p>Audio Locale&#58; Clifton Reading &ldquo;homage to my hips&rdquo;<p>Charles Simic, Eyes Fastened With Pins<p>Margaret Atwood, This is a Photograph of Me<p>Siren Song<p>February<p>Frank Bidart, Hammer<p>Seamus Heaney, Digging<p>From the Frontier of Writing<p>The Summer of Lost Rachel<p>Billy Collins, Picnic, Lightning<p>Audio Locale&#58; Billy Collins on National Public Radio<p>Toi Derricotte, Black Boys Play the Classics<p>Robert Hass, Meditation at Lagunitas<p>A Story about the Body<p>Marilyn Hacker, Sonnet<p>William Matthews, An Airline Breakfast<p>Pat Mora, La Migra<p>Sharon Olds, Sex Without Love<p>Tess Gallagher, I Stop Writing This Poem<p>Nikki Giovanni, Ego Tripping<p>Louise Gl&uuml;ck, Mock Orange<p>The School Children<p>James Tate, Where Babies Come From<p>Eavan Boland, Anorexic<p>The Dolls Museum in Dublin<p>Mary Kinzie, Beautiful Days<p>Ira Sadoff, Nazis<p>Linda Hogan, First Light<p>Jane Kenyon, Let Evening Come<p>Yusef Komunyakaa, Facing It<p>Wendy Rose, For the White Poets Who would be Indian<p>Agha Shahid Ali, The Country Without a Post Office<p>Julia Alvarez, Dusting<p>Anne Carson, Helen<p>Carolyn Forche, The Colonel<p>Jorie Graham, Over and Over Stitch<p>The Way Things Work<p>Brooks Haxton, Again Consider the Wind<p>Ed Hirsch, Fast Break<p>Marie Howe, Isaac<p>Garrett Hongo, The Legend<p>Brigit Pegeen Kelly, River of Heaven<p>Judith Ortiz Cofer, Quincea&ntilde;era<p>Rita Dove, Describe Yourself in Three Words or Less<p>Soprano<p>Cynthia Huntington, Breaking<p>Linton Kwesi Johnson, Sense Outa Nonsense<p>Dorianne Laux, For My Daughter Who Loves Animals<p>Naomi Shahib Nye, Rain<p>Gary Soto, Oranges<p>Black Hair<p>Susan Stewart, Kingfisher Carol<p>Rosanna Warren, Simile<p>Sandra Cisneros, Loose Woman<p>Marilyn Chin, Composed Near the Bay Bridge<p>Cathy Song, Beauty and Sadness<p>A Conservative View<p>Henri Cole, Myself With Cats<p>Martin Espada, Public School 190, Brooklyn, 1963<p>The Bouncer&rsquo;s Confession<p>Li-Young Lee, From Blossoms<p>Lucia Perillo, The Afterlife of the Fifties Dad<p>The Crows Start Demanding Royalties<p>Elizabeth Alexander, Affirmative Action Blues (1993)<p>Deborah Garrison, A Working Girl Can&rsquo;t Win<p>Sherman Alexie, Evolution<p>19. Biographies of Selected Poets <p>PART III&#58; DRAMA<p>Plays&#58; Action and Performance<p>Seeing vs. Reading<p>Talking about Drama<p>Susan Glaspell, Trifles<p>INSPIRATION&#58; Glaspell&rsquo;s A Jury of Her Peers<p>Drama as Action<p>Audio Locale&#58; Scribbling Women&rsquo;s A Jury of Her Peers<p>Performance Notes&#58; Trifles in Performance<p>Virtual Locale&#58;American Literature on the Web&mdash;Susan Glaspell<p>Lady Gregory, Spreading the News<p>Performance Notes&#58; Spreading the News in Performance<p>Virtual Locale&#58; Gregory&rsquo;s Our Irish Theatre Online<p>David Ives, The Philadelphia<p>Performance Notes&#58; The Philadelphia in Performance<p>Inspiration&#58; Ives on the Power of Theater<p>Writing about Plays<p>The Cultural Conversation<p>Reviews<p>Full Review<p>Chris Rohmann, Opening Night Review&#58; Art<p>Ross Wetzsteon, Janet McTeer in A Doll&rsquo;s House<p>Brief Reviews<p>Beyond Reviews&#58; Criticism<p>How to Enter the Conversation?<p>Virtual Locale&#58;Blogging about Plays<p>Questions to Develop Ideas About a Play<p>Point of View<p>Language<p>Setting<p>Character<p>Plot<p>Links to Other Texts<p>Response<p>Formats for Writing about Plays<p>Annotating a Play<p>Annotations forGlaspell&rsquo;s Trifles<p>Keeping a Personal Journal<p>Double-Entry Reaction Journal for Spreading the News<p>Writing a Response Paper<p>From a Response Paper to [EXAMPLE TK]<p>Writing an Intervention<p>Inspiration&#58; Muriel Rukeyser on Oedipus<p>Muriel Rukeyser, Myth<p>Writing a Critical Analysis<p>Critical Analysis of Glaspell&rsquo;s Trifles<p>A Playwright in Depth&#58; Sophocles<p>Theater in Sophocles&rsquo; Time<p>Literary Locale&#58; The Greek Theater<p>Ritual and Religion in Greek Drama<p>video locale&#58; Joseph Campbell and The Power of Myth<p>Tragedy in Greek Drama<p>Performance Notes on Greek Drama<p>Modern Setting and Dress<p>Major Alterations<p>Language<p>The Greek Canon<p>Greek Drama on the American Stage<p>Sophocles Timeline<p>Plays by Sophocles<p>Oedipus The King (translated by Robert Fagles)<p>Commentary&#58; Aristotle on Tragedy and Oedipus Rex<p>Commentary&#58; Other Critical Responses to Oedipus&mdash;Freud, Dodds, and Artaud<p>Sigmund Freud, On the Oedipus Complex<p>E.R. Dodds, disagreeing with Freud, from &ldquo;On Misunderstanding the Oedipus Rex&rdquo;<p>Antonin Artaud, from The Theater and its Double<p>INSPIRATION&#58; The Oedipal Complex on Film<p>Antigone (translated by Dudley Fitts and Robert Fitzgerald)<p>Antigone on the American Stage<p>Audio Locale&#58; Antigone and Modern-Day Current Events<p>Inspiration&#58; Antigone Abroad<p>23. A Playwright in Depth&#58; William Shakespeare <p>Literary Locale&#58; The Globe Theater, London<p>William Shakespeare Timeline<p>Video Locale&#58; Will the Real Will Please Stand Up?&mdash;The Shakespeare Debate<p>Performance Notes on Shakespearean Drama<p>To Cut or Not to Cut?<p>Radical Changes<p>Modern Dress<p>Casting the Play<p>Inspiration&#58; Shakespeare in the Modern Movies<p>Plays by Shakespeare<p>Reading The Tempest<p>The Tempest (edited by David Bevington)<p>Inspiration&#58; The Tempest in Film and Verse<p>The Tempest in Performance<p>Cultural Context for The Tempest&#58; O Brave New World<p>AUDIO LOCALE&#58; Songs from Shakespeare&rsquo;s Plays<p>Inspiration&#58; Retelling The Tempest&mdash;On Film and In Verse<p>Commentary&#58; Aime Cesaire, A Tempest (translated by Richard Miller)<p>Hamlet, Prince of Denmark (edited by David Bevington)<p>Inspiration&#58; Stoppard&rsquo;s Rosencrantz and Guildenstern are Dead<p>Commentary&#58; Danitra Vance, Flotilda Williams as Juliet<p>Othello, The Moor of Venice (edited by David Bevington)<p>Virtual Locale&#58; Shakespeare on the Web<p>Drama Becomes Modern<p>LITERARY LOCALE&#58; The Ibsen Museum in Oslo, Norway<p>Henrik Ibsen, A Doll House (translated by Rolf Fjelde)<p>Inspiration&#58; A &ldquo;Little&rdquo; Doll&rsquo;s House<p>Virtual Locale&#58; Ibsen on the Net<p>Performance Notes on Modern Theater<p>New Plays, New Audiences<p>Changing the Stage<p>Psychology, "The Method," and Politics<p>Tennessee Williams, The Glass Menagerie<p>Literary Locale&#58; The Tennessee Williams/New Orleans Literary Festival<p>Arthur Miller, Death of a Salesman<p>Audio Locale&#58; Retrospective of a Master Playwright<p>INSPIRATION&#58; Bright Futures in Sales<p>Audio Locale&#58; 50th Anniversary of Death of a Salesman<p>Commentary&#58; Arthur Miller on Trial<p>25. Sweet Home Chicago&#58; From Renaissance to A Raisin in the Sun <p>VIDEO LOCALE&#58; George King&rsquo;s Goin&rsquo; to Chicago<p>Chicago Renaissance Timeline<p>St. Clair Drake and Horace R. Cayton, from Bronzeville<p>LITERARY LOCALE&#58; Parkway Community House&mdash;Bronzeville, Chicago<p>Poetry of the Chicago Renaissance<p>Gwendolyn Brooks, We Real Cool<p>The Lovers of the Poor<p>LITERARY LOCALE&#58; Chicago&rsquo;s South Side Community Art Center<p>Frank Marshall Davis, I Sing No New Songs<p>Robert Whitmore<p>Margaret Walker, I Want to Write<p>For My People<p>Margaret Danner, Far From Africa&#58; Four Poems<p>AUDIO LOCALE&#58; Hughes and Danner&rsquo;s "Writers of the Revolution" Discussion<p>The Blues<p>VIDEO, AUDIO, and VIRTUAL LOCALE&#58; Martin Scorsese&rsquo;s The Blues<p>Robert Johnson, Sweet Home Chicago<p>McKinley Morganfield (Muddy Waters), Rolling Stone<p>Willie Dixon, Spoonful<p>LITERARY AND AUDIO LOCALE&#58; The Chicago Blues&mdash;Chess Records<p>Commentary on the Blues<p>LITERARY AND VIRTUAL LOCALE&#58; Chicago Blues Archive<p>Gospel<p>Thomas A. Dorsey, Precious Lord Take My Hand<p>Sam Cooke, If I Could Just Touch the Hem of His Garment<p>A Change Is Gonna Come<p>VIRTUAL LOCALE&#58; Encyclopedia of Chicago Website<p>Stories of the Chicago Renaissance<p>Gwendolyn Brooks, &ldquo;Home&rdquo; from Maud Martha<p>Richard Wright, The Man Who Lived Underground (in fiction)<p>Commentary&#58; On Richard Wright<p>Margaret Walker, Richard Wright and the Writer&rsquo;s Art from Daemonic Genius<p>INSPIRATION&#58; Literature on the Newsstands of Chicago<p>Langston Hughes, In the Dark<p>Commentary&#58; A Literary Correspondence&#58; Langston Hughes-Arna Bontemps<p>Cyrus Colter, Mary&rsquo;s Convert<p>Plays in the Chicago Renaissance<p>Lorraine Hansberry, A Raisin in the Sun<p>Inspiration&#58; Hughes and Hansberry&#58; What Happens to a Dream Deferred?<p>26. From Avant-Garde to Contemporary Theater<p>Performance Notes on Contemporary Theater<p>Pushing Boundaries<p>Designer Theater<p>Breaking the Fourth Wall<p>Samuel Beckett, Not I<p>Commentary&#58; Beckett&rsquo;s Legacy in the Drama World<p>Luis Valdez, Los Vendidos<p>Literary Locale&#58; El Teatro Campesinoin California<p>Philip Kan Gotanda, The Wash<p>Virtual Locale&#58; Philip Kan Gotanda&rsquo;s Website<p>August Wilson, The Piano Lesson<p>VIDEO LOCALE&#58; The Piano Lesson on Screen<p>Inspiration&#58; August Wilson and the Blues<p>Anna Deavere Smith, From Twilight, Los Angeles 1992 (selections)<p>Video Locale&#58; Twilight&#58; Los Angeles, 1992, From Stage to Screen<p>Inspiration&#58;A New Generation of One-Woman Acts on Stage<p>Part IV&#58; LITERARY RESEARCH <p>The Literature Research Project<p>Understanding Literary Research<p>Entering the Cultural Conversation about Literature<p>Choosing a Topic<p>Narrowing Your Topic and Developing a Research Question<p>Determining Your Purpose&#58; Types of Literary Research Projects<p>Distinguishing Between Expository Essays and Literary Arguments<p>The Research Process&#58; A Step-By Step Summary<p>Finding and Evaluating Sources<p>Finding Sources<p>Annotated References for Literary Research<p>Annotated Library Subscription Databases for Literary Research<p>Evaluating Sources<p>Print Sources<p>Internet Sources<p>Taking Adequate Notes<p>The Actual Writing Process<p>Drafting a Thesis<p>Creating an Outline<p>Writing a First Draft<p>Revising and Editing<p>Avoiding Plagiarism<p>Academic Honesty<p>Unintentional Plagiarism<p>An Example of Plagiarism and How to Prevent It<p>Documenting Sources<p>Using Parenthetical Citations in Your Text<p>Integrating Quotations<p>Formatting Literary Quotations from Stories, Plays, and Stories<p>Creating the Works Cited Page<p>Sample Literary Research Project&#58; From Question to Finished Paper<p>Class Assignment Sheet for Research Project<p>Sample Student Prospectus<p>Sample Student Thesis and Outline<p>Sample Student Research Paper<p>Glossary of Literary Terms<p>Credits<p>Index of Authors and Titles<p>Index of First Lines of Poetry<p>
206Women of the Beat Generation: The Writers, Artists and Muses at the Heart of a RevolutionBrenda Knight0Brenda Knight (Editor), Ann Charters (Afterword), Anne Waldmanwomen-of-the-beat-generationbrenda-knight97815732413801573241385$16.63PaperbackRed Wheel/WeiserOctober 19982American & Canadian Literature, American Literature Anthologies, Women's Biography, Anthologies, US & Canadian Literary Biography, Artists, Architects & Photographers - Biography, Literary Figures - Women's Biography, Women's Biography, General & Miscella3666.90 (w) x 7.90 (h) x 1.20 (d)With fascinating biographies, over 40 rare photos, and never-before-published writing, <i>Women of the Beat Generation</i> captures the life and work of 40 women who broke with tradition during the uptight 50s.<p>With fascinating biographies, over 40 rare photos, and never-before-published writing, <i>Women of the Beat Generation</i> captures the life and work of 40 women who broke with tradition during the uptight 50s.</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sisters, Saints and Sibyls: Women and the Beat</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Precursors</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Helen Adam: Bardic Matriarch</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jane Bowles: A Life at the End of the World</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ilse Klapper</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Madeline Gleason: True Born Poet</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Josephine Miles: Mentor to a Revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Muses</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Joan Vollmer Adams Burroughs: Calypso Stranded</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vickie Russell</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Helen Hinkle</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carolyn Cassady: Karmic Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">LuAnne Henderson</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Anne Murphy</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Edie Parker Kerouac: First Mate</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stella Sampas</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Joan Haverty Kerouac: Nobody's Wife</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gabrielle "Memere" Kerouac</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eileen Kaufman: Keeper of the Flame</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Writers</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mary Fabilli: Farmer's Daughter</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Diane di Prima: Poet Priestess</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Barbara Guest</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elise Cowen: Beat Alice</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Joyce Johnson: A True Good Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hettie Jones: Mother Jones</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Billie Holiday</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Joanne Kyger: Dharma Sister</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Denise Levertov: Fortune's Favorite</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Joanna McClure: West Coast Villager</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Janine Pommy Vega: Lyric Adventurer</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elsie John</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ruth Weiss: The Survivor</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aya Tarlow</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mary Norbert Korte: Redwood Mama Activist</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brenda Frazer: Transformed Genius</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lenore Kandel: Word Alchemist</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Anne Waldman: Fast Speaking Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jan Kerouac: The Next Generation</TD><TD WIDTH="10%" ALIGN="RIGHT">309</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Natalie Jackson</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Artists</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jay DeFeo: The Rose</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Joan Brown: Painter and Prodigy</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gui de Angulo</TD><TD WIDTH="10%" ALIGN="RIGHT">328</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Worthy Beat Women: Recollection</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Afterword</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Appendix: Lists of Collected Works</TD><TD WIDTH="10%" ALIGN="RIGHT">343</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">353</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD></table>
207La Llorona on the Longfellow Bridge: Poetry Y Otras MovidasAlicia Gaspar De Alba0Alicia Gaspar De Albala-llorona-on-the-longfellow-bridgealicia-gaspar-de-alba97815588539971558853995$7.54PaperbackArte Publico PressJanuary 2003Peoples & Cultures - American Anthologies1285.50 (w) x 8.30 (h) x 0.40 (d)<p>Cultural Writing. Poetry. Essays. As a leading interpreter of border life and culture, Allicia Gaspar Alba, a lesbian chicana poet, storyteller, and essayist explores the borders and limits of place, body, and language through a painful series of moves and losses. In sections divided into each of the places she visited in her travels, Alba incorporates the Mexican archetypal wailing woman who wanders in search of her lost children. LA LLORONA proves to be more than an archetype: it is a tour guide through the constant presence of the poet's voice. Alicia Gapar de Alba is also the co- editor of AZTLAN: A JOURNAL OF CHICANO STUDIES and the author of the acclaimed novel Sor Juana's Second Dream (University of New Mexico Press, 1999), and The Mystery of Survival and Other Stories (Bilingual Review Press, 1993). She is a professor of Chicano/a Studies and English at the University of California Los Angeles.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tracking La Llorona</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crooked Foot Speaks/Habla Pata Chueca</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Shadow of Greater Things</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After 21 Years, A Postcard from My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dust to Dust</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Holy Ground</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Philosophy of Frijoles</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gardenias for El Gran Guru</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">70 Moons</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bamba Basilica</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Caldo de Pollo</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Confessions</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pilgrim's Progress</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sor Juana's Litany in the Subjunctive</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Listening to Our Bones</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Karmic Revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Galloping</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Literary Wetback</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adirondack Park</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Swimming in Limekiln Lake</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Waking Up in Ontario: Reward</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Niagara River Speaks Three Languages</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rainstorm: The Gorge</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Piseco Lake</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Point Comfort: Coming Home</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autumn Equinox in the Sandias, 1990</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bluebirds</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chamizal</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Name that Border</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Waters of Grief</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Huitlacoche Crepes</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Neighbors</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Descarada/No Shame: A[bridged] Politics of Location</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carmen's Song</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blackjack</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Culto a la Muerte</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Witch Museum</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kyrie Eleison for La Llorona</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eclipse (September 11th)</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Encuentro</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD></TABLE>
208To the Shore Once More: A Portrait Of The Jersey Shore; Prose, Poetry, and Works of ArtFrank Finale0Frank Finale, Finale Franto-the-shore-once-morefrank-finale97809632906180963290614$44.00HardcoverJersey Shore PublicationsJuly 1999Literary Criticism, General<p>"Standing on the shore at night, listening to the hollow boom and hiss of the waves, I stared at the legion of stars processioning the sky. Absorbed by the immensity of space and time, I was struck by the preciousness of life in all its varied forms and exalted in being part of that procession." -from <i>To The Shore Once More: Point Pleasant Beach</i> <p> Jersey Shore Publications is pleased to bring you <i>To The Shore Once More,</i> a coffee table book of prose, poetry, and works of art about the Jersey Shore.<p> Oversized (12 " x12 "), with 168 pages of text, including 97 full-color paintings by area artists, this is one of the most enchanting and beautiful books about the Jersey Shore ever published. It is sure to bring many nights of reading and viewing pleasure.<p> The essays and poetry by acclaimed, local poet and writer, Frank Finale, elicit an emotional response and lingering memory. These graceful personal essays and poems capture the essence of the Jersey Shore while exploring universal themes of life and nature. <p> The book is divided into six chapters, four by season-Winter, Spring, Summer, and Autumn-plus chapters on Christmas and Poetry. These seasonal stories and poems are perfect for reading aloud throughout the year and may even become a family tradition in years to come!<p> Also inside, you'll find stunning, full color paintings of some of the loveliest landmarks and locations at the Jersey Shore. Each have been painted by area artists including Paula Kolojeski, Dick LaBonté, Theresa Troise Heidel, Ludlow Thorston, Margaret Tourison Berndt, Sara Eyestone, Sheila Mickle, Virginia Perle, Muriel Rogers, Dawn Hotaling, and Stephen Harrington.<p> This book will bring you closer to the places you love at the Shore-you, your family, and friends will treasure it for years to come.</p><h3>The Ocean County Observer - Melissa Depp</h3><p>Frank Finale is somewhat of a Jersey Shore celebrity..Finale's graceful personal words capture the essence of the Jersey Shore.the book promises to evoke fond memories of much loved Shore spots and lifestyles.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contents: Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contents: Works of Art</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How This Book Came To Be</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About The Artists</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About The Essays And Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Winter Still Lifes</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Journal From A Snowy Winter: Morning, Noon, And Night</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Kiss</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Fragile Beauty</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Winter's Walk Along The Shore</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spring</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Peepers</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Connection</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Class Trip (A Walk Along The Beach)</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Salad Days</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To The Shore Once More: Point Pleasant Beach</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer Job</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Boardwalk: Spring Lake</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Tour Of Spring Lake, Spring Lake Heights, And Sea Girt</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To The Sea Once More</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer Lot</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tales Of Wildlife Along The Jersey Shore</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Telltale Phrase</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Flight Of The Gulls</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dinner Party</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Geese</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Bit Of Summer Snow</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature Versus Man</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autumn</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Falling Back</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Apple Farm</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Legend Of A Tree: Toms River</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Legacy</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Assembling The Toys</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gift Of A Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sally</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Gray</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Jersey Shore</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autumn</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Winter And Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">People</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">School</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Labor</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Appendix</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stories And Essays</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poems</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Other Books And Periodicals</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Biographies</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Artists</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Frank Finale</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD></TABLE>
209Witnessing Lynching: American Writers RespondAnne P. Rice0Anne P. Rice (Editor), Michele Wallacewitnessing-lynchinganne-p-rice97808135333080813533309$22.77PaperbackRutgers University PressOctober 2003New EditionAmerican Literature Anthologies, Criminology, Discrimination & Prejudice3607.00 (w) x 9.90 (h) x 0.80 (d)Witnessing Lynching: American Writers Respond is the first anthology to gather poetry, essays, drama, and fiction from the height of the lynching era (1889-1935). During this time, the torture of a black person drew thousands of local onlookers and was replayed throughout the nation in lurid newspaper reports. The selections gathered here represent the courageous efforts of American writers to witness the trauma of lynching and to expose the truth about this uniquely American atrocity. Included are well-known authors and activists such as Frederick Douglass, W. E. B. Du Bois, Langston Hughes, Ida B. Wells, and Theodore Dreiser, as well as many others. These writers responded to lynching in many different ways, using literature to protest and educate, to create a space of mourning in which to commemorate and rehumanize the dead, and as a cathartic release for personal and collective trauma. Their words provide today's reader with a chance to witness lynching and better understand the current state of race relations in America.<p>In a unique anthology that collects essays, fiction, drama, and poetry from the main period of lynching in the US (1889-1935), Rice (black studies, Lehman College) provides sociohistorical context on 39 selections by Frederick Douglass, Langston Hughes, Ida B. Wells, Carl Sandburg, and other authors/activists. Michele Wallace (City College of New York) provides further commentary on this horrific backdrop to current race relations. Annotation &copy;2004 Book News, Inc., Portland, OR</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Illustrations</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword: Passing, Lynching, and Jim Crow</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: The Contest over Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1889-1900</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sheriff's Children (1889)</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lynch Law in the South (1892)</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Appeal to My Countrywomen (1896)</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from Mob Rule in New Orleans (1900)</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Will Smith's Defense of His Race, from Contending Forces (1900)</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1901-1910</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thoughts on the Present Conditions, from Reminiscences of My Life in Camp with the 33rd United States Colored Troops Late 1st S.C. Volunteers (1902)</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beyond the Limit (1903)</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Haunted Oak (1903) and The Lynching of Jube Benson (1904)</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from Lynching from a Negro's Point of View (1904)</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blaze, from The Hindered Hand; or, The Reign of the Repressionist (1905)</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Litany at Atlanta (1906)</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jim Crow Cars (1907)</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1911-1920</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Met a Little Blue-Eyed Girl (1912)</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from The Autobiography of an Ex-Colored Man (1912) and Brothers (1916)</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jimmy (1914)</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Supplement to the Crisis, July 1916</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nigger Jeff (1918)</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpts from The Chicago Race Riots, July 1919 (1919) and Man, the Man-Hunter (1920)</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aftermath (1919)</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If We Must Die (1919) and The Lynching (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Goldie (1920)</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1921-1930</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from Lynching and Debt Slavery (1921)</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">So Quietly (1921)</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Draftee from Dixie (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christ Recrucified (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The South (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Portrait in Georgia and Blood-Burning Moon (1923)</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Things (1923)</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Present South (1923)</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Unquenchable Fire (1924)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Morning Ride (1927)</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tenebris (1927)</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Investigate Lynchings (1929)</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1931-1935</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Was a Man (1932) and Let Us Suppose (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christ in Alabama (1932)</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from Scottsboro - and Other Scottsboros (1934)</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Flag Salute (1934)</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kneel to the Rising Sun (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Between the World and Me (1935)</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD></TABLE>
210Longman Anthology of Women's LiteratureMary K. DeShazer0Mary K. DeShazer, Deshazerlongman-anthology-of-womens-literaturemary-k-deshazer9780321010063032101006X$100.00PaperbackLongmanDecember 20001st EditionFiction, American Literature Anthologies, Anthologies15206.30 (w) x 9.00 (h) x 1.50 (d)<p> Offering readers key women's writings from the eighth century to the present, this global and multicultural anthology includes selections written in English by women from Great Britain and the U.S. as well as Australia, Canada, the Caribbean, Croatia, Ghana, India, New Zealand, Nigeria, South Africa. Organized thematically, the anthology emphasizes five important topics for women writers finding a voice, writing the body, rethinking the maternal, identity and difference, and resistance and transformation. Pivotal works of feminist theory by Woolf, Cixous, Showalter, hooks, Trinh, and others are also included. For those interested in women's literature.</p><p><P>Offering readers key women's writings from the eighth century to the present, this global and multicultural anthology includes selections written in English by women from Great Britain and the U.S. as well as Australia, Canada, the Caribbean, Croatia, Ghana, India, New Zealand, Nigeria, South Africa.<p>Organized thematically, the anthology emphasizes five important topics for women writers finding a voice, writing the body, rethinking the maternal, identity and difference, and resistance and transformation. Pivotal works of feminist theory by Woolf, Cixous, Showalter, hooks, Trinh, and others are also included.<p>For those interested in women's literature.</p><h3>Booknews</h3><p>Presents essays, fiction, and poetry written by women from the 8th to the 20th century, organized by five themes: finding a voice; writing the body; rethinking the maternal; identity and difference; and resistance and transformation. Selections are in English by writers from Australia, Canada, the Caribbean, Croatia, Ghana, India, New Zealand, Nigeria, South Africa, Great Britain, and the US. The editor (Wake Forest U.) provides introductory essays, case studies containing feminist criticism, and a historical appendix covering six periods for context. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><P><b>Alternate Tables of Contents.</b><p><b>Preface and Acknowledgments.</b><p><b>SECTION I&#58; ENGENDERING LANGUAGE, SILENCE, AND VOICE.</b><p><b>Introduction.</b><p><b>Annotated Bibliography.</b><p><b>Virginia Woolf (1882-1941).</b><p><i>A Room of One's Own</i>.<p><b>bell hooks (1955-).</b><p>Talking Back.<p><b>Leoba of England and Germany (700?-780).</b><p>Letter to Lord Boniface.<p><b>Matilda, Queen of England (1080-1118).</b><p>Letter to Archbishop Anselm.<p>Letter to Pope Pascal.<p><b>Anne Lock (fl.1556-1590).</b><p><i>from</i> A Meditation of a penitent sinner, upon the 51 psalm.<p><b>Isabella Whitney (fl. 1567-1573?).</b><p>The Author. . .Maketh Her Will and Testament.<p><i>from</i> The Manner of Her Will.<p><b>Margaret Cavendish, Duchess of Newcastle (1623-1673).</b><p>The Poetess's Hasty Resolution.<p>The Poetess's Petition.<p>An Excuse for So Much Writ upon My Verses.<p>Nature's Cook.<p><i>from</i> To All Writing Ladies.<p><b>Anne Killigrew (1660-1685).</b><p>Upon the Saying that My Verses Were Made by Another.<p>On a Picture Painted by Herself.<p><b>Anne Finch, Countess of Winchilsea (1661-1720).</b><p>The Introduction.<p>A Nocturnal Reverie.<p>Ardelia to Melancholy.<p>Friendship between Ephelia and Ardelia.<p>The Answer.<p><b>Frances Burney (1752-1840).</b><p><i>from</i> The Diary of Frances Burney.<p><b>Maria Edgeworth (1768-1849).</b><p><i>from</i> Letters for Literary Ladies.<p><b>Jane Austen (1775-1817).</b><p>Northanger Abbey.<p><b>Mary Shelley (1797-1851).</b><p>Introduction to <i>Frankenstein</i>.<p><b>Charlotte Bront&euml; (1816-1855).</b><p>Letter from Robert Southey.<p>Letter to Robert Southey .<p>Letter to George Henry Lewes.<p><b>Emily Bront&euml; (1818-1848).</b><p>[Alone I sat; the summer day].<p>To Imagination.<p>The Night Wind.<p>R. Alcona to J. Brenzaida.<p>[No coward soul is mine].<p>Stanzas.<p><b>George Eliot (1819-1880).</b><p>Silly Novels by Lady Novelists.<p><b>Charlotte Perkins Gilman (1860-1935).</b><p>The Yellow Wallpaper.<p><b>Edith Wharton (1862-1937).</b><p>A Journey.<p><b>Gertrude Stein (1874-1946).</b><p><i>from</i> Patriarchal Poetry.<p><b>Zora Neale Hurston (1891-1960).</b><p><i>from</i> Dust Tracks on a Road.<p><b>Stevie Smith (1902-1971).</b><p>My Muse Sits Forlorn.<p>A Dream of Comparison.<p>Thoughts about the Person from Porlock.<p><b>May Sarton (1912-95).</b><p>Journey Toward Poetry.<p>The Muse as Medusa.<p>Of the Muse.<p><b>Hisaye Yamamoto (1921-).</b><p>Seventeen Syllables.<p><b>Maxine Hong Kingston (1940-).</b><p>No Name Woman.<p><b>Gloria Anzald&uacute;a (1942-).</b><p>Speaking in Tongues&#58; A Letter to Third World Women Writers.<p><b>Alice Walker (1944-).</b><p>In Search of Our Mothers' Gardens.<p><b>Medbh McGuckian (1950-).</b><p>To My Grandmother.<p>From the Dressing Room.<p>Turning the Moon into a Verb.<p><b>Carol Ann Duffy (1955-).</b><p>Standing Female Nude.<p>Litany.<p>Mrs. Aesop.<p><b>Gcina Mhlophe (1959-).</b><p>The Toilet.<p>Sometimes When It Rains.<p>The Dancer.<p>Say No.<p><b> <i>Intertextualities</i>.</b><p><b>Topics for Discussion, Journals, and Essays.</b><p><b>Group Writing and Performance Exercise.</b><p><b>Barbara Christian (1943-).</b><p>The Highs and Lows of Black Feminist Criticism.<p><b>Elaine Showalter (1941-).</b><p>Feminist Criticism in the Wilderness.<p><b>SECTION II&#58; WRITING BODIES/BODIES WRITING.</b><p><b>Introduction.</b><p><b>Annotated Bibliography.</b><p><b>H&eacute;l&egrave;ne Cixous (1937-).</b><p>The Laugh of the Medusa.<p><b>Nancy Mairs (1943-).</b><p>Reading Houses, Writing Lives&#58; The French Connection.<p><b>Anonymous.</b><p>The Wife's Lament (8th century?).<p><b>Anonymous.</b><p>Wulf and Eadwacer (8th century?).<p><b>Margery Kempe (1373?-1438).</b><p><i>from</i> The Book of Margery Kempe.<p><b>Margery Brews Paston (1457?-1495).</b><p>Letters to her Valentine/fiance.<p>Letter to her husband, John Paston.<p><b>Elizabeth I (1533-1603).</b><p>On Monsieur's Departure.<p>When I Was Fair and Young.<p><b>Mary Wroth (1587?-1653?).</b><p><i>from</i> Pamphilia to Amphilanthus.<p><b>Aphra Behn (1640-1689).</b><p><i>The Lucky Chance</i>.<p><b>Jane Barker (1652-1727).</b><p>A Virgin Life.<p><b>Delarivier Manley (1663-1724).</b><p><i>from</i> The New Atalantis.<p><b>Eliza Haywood (1693?-1756).</b><p><i>from</i> The Female Spectator.<p><b>Harriet Jacobs (1813?-1897).</b><p><i>from</i> Incidents in the Life of a Slave Girl.<p><b>Christina Rossetti (1830-1894).</b><p><i>Monna Innominata</i>.<p><b>Djuna Barnes (1892-1982).</b><p><i>from</i> Ladies Almanack.<p><i>To the Dogs</i>.<p><b>Edna St. Vincent Millay (1892-1950),.</b><p><i>from</i> Fatal Interview.<p><b>Anne Sexton (1928-1974).</b><p>The Abortion.<p>In Celebration of My Uterus.<p>For My Lover, Returning to His Wife.<p><b>Audre Lorde (1934-1992).</b><p>Uses of the Erotic&#58; The Erotic as Power.<p>Love Poem.<p>Chain.<p>Restoration-A Memorial.<p><b>Bharati Mukherjee (1938-).</b><p>A Wife's Story.<p><b>Toni Cade Bambara (1939-1996).</b><p>My Man Bovanne.<p><b>Sharon Olds (1942-).</b><p>That Year.<p>The Language of the Brag.<p>The Girl.<p>Sex Without Love.<p><b>Slavenka Drakulic (1949-).</b><p>Makeup and Other Crucial Questions.<p><b>Joy Harjo (1951-).</b><p>Fire.<p>Deer Ghost.<p>City of Fire.<p>Heartshed.<p><b>Dionne Brand (1953-).</b><p>Madame Alaird's Breasts.<p><b>Sandra Cisneros (1955-).</b><p>I the Woman.<p>Love Poem #1.<p><b>Jackie Kay (1961-).</b><p>Close Shave.<p>Other Lovers.<p><b> <i>Intertextualities</i>.</b><p><b>Topics for Discussion, Journals, and Essays.</b><p><b>Group Writing and Performance Exercise.</b><p><b>Catherine Gallagher (1945-).</b><p>Who Was That Masked Woman? The Prostitute and the Playwright in the Comedies of Aphra Behn.<p><b>Shari Benstock (1944-).</b><p>The Lesbian Other.<p><b>SECTION III&#58; RE-THINKING THE MATERNAL.</b><p><b>Introduction.</b><p><b>Annotated Bibliography.</b><p><b>Susan Rubin Suleiman (1939-).</b><p>Writing and Motherhood.<p><b>Patricia Hill Collins (1948-).</b><p>Shifting the Center&#58; Race, Class, and Feminist Theorizing About Motherhood.<p><b>Julian of Norwich (1343?-1416?).</b><p><i>from</i> Showing.<p><b>Juliana Berners (fl. 1486-?).</b><p><i>from</i> The Book of Hunting.<p><b>Dorothy Leigh (?-1616).</b><p><i>from</i> The Mother's Blessing.<p><b>Elizabeth Clinton, Countess of Lincoln (1574?-?).</b><p><i>from</i> The Countess of Lincoln's Nursery.<p><b>Anne Bradstreet (1612-1672).</b><p>The Author to her Book.<p>Before the Birth of One of her Children.<p>In Reference to her Children.<p><b>Lady Mary Wortley Montagu (1689-1762).</b><p>Letters to her daughter, Lady Bute.<p><b>Mary Barber (1690-1757).</b><p>Written for My Son, at His First Putting on Breeches.<p>The Conclusion of a Letter to the Rev. Mr. C-.<p><b>Charlotte Smith (1749-1806).</b><p>The Glow Worm.<p>Verses Intended to Have Been Prefixed to the Novel of <i>Emmeline</i>, but then Suppressed.<p><b>Mary Tighe (1772-1810).</b><p>Sonnet Addressed to her Mother.<p><b>Lydia Sigourney (1791-1865).</b><p>Death of an Infant.<p>The Last Word of the Dying.<p>Dream of the Dead.<p><b>Felicia Hemans (1793-1835).</b><p>Casabianca.<p>The Hebrew Mother.<p><b>Grace Aguilar (1816-1847).</b><p>from The Exodus-Laws for the Mothers of Israel.<p><b>Kate Chopin (1851-1904).</b><p><i>The Awakening</i>.<p><b>Tillie Olsen (1913-).</b><p>Tell Me A Riddle.<p><b>Judith Wright (1915-).</b><p>Stillborn.<p>Letter.<p><b>Gwendolyn Brooks (1917-).</b><p>the mother.<p>A Bronzeville Mother Loiters in Mississippi. Meanwhile, A Mississippi Mother Burns Bacon.<p>The Last Quatrain of the Ballad of Emmett Till.<p><b>Sylvia Plath (1932-1963).</b><p>The Disquieting Muses.<p>Medusa.<p>Nick and the Candlestick.<p>Childless Woman.<p>Edge.<p><b>Clifton, Lucille (1936-).</b><p>june 20.<p>daughters.<p>sarah's promise.<p>naomi watches as ruth sleeps.<p><b>Bessie Head (1937-1986).</b><p>The Village Saint.<p><b>Margaret Atwood (1939-).</b><p>Giving Birth.<p><b>Rosellen Brown (1939-).</b><p>Good Housekeeping.<p><b>Beth Brant (1941-).</b><p>A Long Story.<p><b>Ama Ata Aidoo (1942-).</b><p>A Gift from Somewhere.<p><b>Minnie Bruce Pratt (1944-).</b><p>Poem for My Sons.<p><b>Keri Hulme (1947-).</b><p>One Whale, Singing.<p><b>Rita Dove (1952-).</b><p>Demeter Mourning.<p>Demeter Waiting.<p>Mother Love.<p><b>Cherri&eacute; Moraga (1952-).</b><p>La Guera.<p>For the Color of My Mother.<p><b>Kate Daniels (1953-).</b><p>Genesis.<p>Love Pig.<p>In My Office at Bennington.<p>After Reading Reznikoff.<p>Prayer for My Children.<p><i>Intertextualities</i>.<p><b>Topics for Discussion, Journals, and Essays.</b><p><b>Creative Writing Exercise.</b><p><b>Oral History Project.</b><p><b>Margit Stange (1949-).</b><p>Personal Property&#58; Exchange Value and the Female Self in <i>The Awakening</i>.<p><b>Paula Gunn Allen (1939-).</b><p>Who Is Your Mother? Red Roots of White Feminism.<p><b>SECTION IV&#58; IDENTITY AND DIFFERENCE.</b><p><b>Introduction.</b><p><b>Annotated Bibliography.</b><p><b>Michelle Cliff (1946-).</b><p>If I Could Write This in Fire, I Would Write This in Fire.<p><b>Trinh T. Minh-ha (1952-).</b><p>Not You/Like You&#58; Postcolonial Women and the Interlocking.<p>Questions of Identity and Difference.<p><b>Mary Sidney Herbert (1561-1621).</b><p>The Doleful Lay of Clorinda.<p><b>Aemilia Lanyer (1569-1645).</b><p><i>from</i> Salve Deus Rex Judaeorum.<p><b>Katherine Philips (1632-1664).</b><p>To the Excellent Mrs. A.O. upon her receiving the name of Lucasia.<p>Friendship's Mysteries, to my dearest Lucasia.<p>On Rosania's Apostasy, and Lucasia's Friendship.<p>Lucasia, Rosania, and Orinda, parting at a Fountain.<p><b>Mary Rowlandson (1636?-1710?).</b><p><i>from</i> The Sovereignty and Goodness of God, Together with the Faithfulness of His Promises Displayed, Being a Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson.<p><b>Hannah More (1745-1833).</b><p><i>from</i> The Black Slave Trade.<p><b>Phillis Wheatley (1753?-1784).</b><p>On Being Brought from Africa to America.<p>To S.M., A Young African Painter, On Seeing His Works.<p>To the Right Honorable William, Earl of Dartmouth.<p><b>Dorothy Wordsworth (1771-1855).</b><p><i>from</i> The Grasmere Journals.<p><b>Margaret Fuller (1810-1850).</b><p><i>from</i> Woman in the Nineteenth Century.<p><b>Emily Dickinson (1830-1886).</b><p>258 (There's a certain Slant of Light).<p>280 (I felt a Funeral, in my Brain).<p>303 (The Soul Selects her Own Society).<p>341 (After great pain, a formal feeling comes-).<p>365 (Dare you See a Soul <i>at the White Heat?</i>).<p>508 (I'm ceded-I've stopped being Theirs-).<p>512 (The Soul has Bandaged moments-).<p>709 (Publication-is the Auction).<p>754 ((My Life Had Stood-a Loaded Gun).<p>1072 (Title divine-is mine!).<p><b>Alice Dunbar-Nelson (1875-1935).</b><p>I Sit and Sew.<p>The Proletariat Speaks.<p><b>Zitkala-S&auml; (Gertrude Bonnin) (1876-1938).</b><p>The Tree-Bound.<p><b>Susan Glaspell (1882-1948).</b><p><i>Trifles</i>.<p><b>Marianne Moore (1887-1972).</b><p>The Fish.<p>The Paper Nautilus.<p>The Mind Is an Enchanting Thing.<p>In Distrust of Merits.<p>Like a Bulwark.<p><b>Katherine Mansfield (1888-1923).</b><p>The Doll's House.<p><b>Eudora Welty (1909-).</b><p>Why I Live at the P.O..<p><b>Doris Lessing (1919-).</b><p>An Old Woman and Her Cat.<p><b>Oodgeroo of the tribe Noonuccal (1920-1993).</b><p>We Are Going.<p><b>Anita Desai (1937-).</b><p>Surface Textures.<p><b>Paula Gunn Allen (1939-).</b><p>Molly Brant, Iroquois Matron, Speaks.<p>Taku Skansken.<p><b>Angela Carter (1940-1992).</b><p>Wolf-Alice.<p><b>Buchi Emecheta (1944-).</b><p><i>from</i> Second Class Citizen.<p><b>Jamaica Kincaid (1949-).</b><p>Xuela.<p><b>Ingrid de Kok (1951-).</b><p>Our Sharpeville.<p>Small Passing.<p>Transfer.<p><b> <i>Intertextualities</i>.</b><p><b>Topics for Discussion, Journals, Essays.</b><p><b>Creative Writing Exercise.</b><p><b>June Jordan (1936-).</b><p>The Difficult Miracle of Black Poetry in America or Something Like a Sonnet for Phillis Wheatley.<p><b>Joanne Feit Diehl ( 1947-).</b><p>Selfish Desires&#58; Dickinson's Poetic Ego and the Rites of Subjectivity.<p><b>SECTION V&#58; RESISTANCE AND TRANSFORMATION.</b><p><b>Introduction.</b><p><b>Annotated Bibliography.</b><p><b>Adrienne Rich (1929-).</b><p>Notes Toward a Politics of Location.<p>Diving into the Wreck.<p>Inscriptions.<p>One&#58; Comrade.<p>Two&#58; Movement.<p>Three&#58; Origins.<p>Four&#58; History.<p><b>Ellen Kuzwayo (1914-).</b><p>Nkosi Sikelel'i Afrika (God Bless Africa).<p><b>Rachel Speght (1597?-1630?).</b><p><i>from</i> A Muzzle for Melastomus.<p><b>Mary Astell (1666-1731).<b> <i></i> </b> </b><p><i>from</i> A Serious Proposal to the Ladies.<p><b>Sarah Fyge (1670-1723).</b><p>The Liberty.<p><b>Mary Wollstonecraft (1759-1797).</b><p><i>from</i> A Vindication of the Rights of Woman.<p><b>Mary Hays (1760-1843).</b><p><i>from</i> Appeal to the Men of Great Britain in Behalf of Women.<p><b>Sojourner Truth (1797?-1883).</b><p>Ain't I A Woman?<p>Keeping the Thing Going While Things are Stirring.<p><b>Harriet Martineau (1802-1876).</b><p><i>from</i> Society in America.<p>Citizenship of People of Colour.<p>Political Nonexistence of Women.<p><b>Elizabeth Barrett Browning (1806-1861).</b><p>The Runaway Slave at Pilgrim's Point.<p>A Curse for a Nation.<p><b>Frances Ellen Watkins Harper (1825-1911).</b><p>The Slave Mother.<p>Free Labor.<p>An Appeal to My Country Women.<p>Learning to Read.<p><b>Rebecca Harding Davis (1831-1910).</b><p><i>Life in the Iron Mills</i>.<p>Anzia Yezierska (1881?-1970).<p>Soap and Water.<p><b>H.D. (1886-1961).</b><p>Eurydice.<p>Oread.<p><i>from</i> The Walls Do Not Fall (I-IV).<p><b>Muriel Rukeyser (1913-1980).</b><p>Bubble of Air.<p>Letter to the Front (VII).<p>Kathe Kollwitz.<p>Despisals.<p><b>Nadine Gordimer (1923-).</b><p>Amnesty.<p><b>Janet Frame (1924-).</b><p>The Chosen Image.<p><b>Maya Angelou (1928-).</b><p>Still I Rise.<p><b>Toni Morrison (1931-).</b><p>Recitatif.<p><b>Caryl Churchill (1938-).</b><p><i>Vinegar Tom</i>.<p><b>Irena Klepfisz (1941-).</b><p><i>from</i> Bashert.<p>death camp.<p>A Few Words in the Mother Tongue.<p><b>Eavan Boland (1944-).</b><p>Inscriptions.<p>Writing In a Time of Violence.<p><b>Zo&euml; Wicomb (1948-).</b><p>Bowl Like Hole.<p><b>Carolyn Forch&eacute; (1950-).</b><p>The Colonel.<p>Message.<p>Ourselves or Nothing.<p>The Garden Shukkei-en.<p>The Testimony of Light.<p><b>Louise Erdrich (1954-).</b><p><b>Fleur.</b><p><b> <i>Intertextualities</i>.</b><p><b>Topics for Discussion, Journals, and Essays.</b><p><b>Group Research Assignment.</b><p><b>Ann Parry (1949?-).</b><p>Sexual Exploitation and Freedom&#58; Religion, Race, and Gender in Elizabeth Barrett Browning's <i>The Runaway Slave at Pilgrim's Point</i>.<p><b>Nell Irvin Painter (1942-).</b><p>"Ar'n't I a Woman?".<p><b>Historical Appendix&#58; Old English and Middle English Literature-449-1485.</b><p><b>Historical Appendix&#58; Renaissance and Early Seventeenth-Century Literature-1485-1650.</b><p><b>Historical Appendix&#58; Late Seventeenth and Eighteenth-Century Literature-1650-1800.</b><p><b>Historical Appendix&#58; Nineteenth-Century Literature-1800-1900.</b><p><b>Historical Appendix&#58; Modernist Literature-1900-1945.</b><p><b>Historical Appendix&#58; Contemporary Literature-1945-2000.</b><article> <h4>Booknews</h4>Presents essays, fiction, and poetry written by women from the 8th to the 20th century, organized by five themes: finding a voice; writing the body; rethinking the maternal; identity and difference; and resistance and transformation. Selections are in English by writers from Australia, Canada, the Caribbean, Croatia, Ghana, India, New Zealand, Nigeria, South Africa, Great Britain, and the US. The editor (Wake Forest U.) provides introductory essays, case studies containing feminist criticism, and a historical appendix covering six periods for context. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
211Elements of Evolutionary GeneticsBrian Charlesworth0<p>Brian and Deborah Charlesworth obtained PhDs in genetics at Cambridge, and have subsequently worked at the Universities of Liverpool, Sussex, Chicago and Edinburgh, and are co-authors of a book about evolution for the general public. Brian is a Fellow of the Royal Society and Honorary Fellow of the American Academy of Arts and Sciences, and Deborah is a Fellow of the Royal Society. Both currently work on questions in population genetics, molecular evolution and genome evolution, and also on mating system evolution, including the evolution of sex chromosomes.<p></p>Brian Charlesworth, Deborah Charlesworthelements-of-evolutionary-geneticsbrian-charlesworth97809815194250981519423$73.92HardcoverRoberts & Company PublishersJanuary 2010Organic Chemistry, Regional American Anthologies, Microscopes & Microscopy - General & Miscellaneous, Folklore - General & Miscellaneous, Fiction - General & Miscellaneous, Genetics - Variations and Mutations, American Literature Anthologies, Cognitive Ps7687.30 (w) x 10.20 (h) x 1.80 (d)<p>Evolutionary genetics considers the causes of evolutionary change and the nature of variability in evolution. The methods of evolutionary genetics are critically important for the analysis and interpretation of the massive datasets on DNA sequence variation and evolution that are becoming available, as well for our understanding of evolution in general. This book shows readers how models of the genetic processes involved in evolution are made (including natural selection, migration, mutation, and genetic drift in finite populations), and how the models are used to interpret classical and molecular genetic data. The material is intended for advanced level undergraduate courses in genetics and evolutionary biology, graduate students in evolutionary biology and human genetics, and researchers in related fields who wish to learn evolutionary genetics. The topics covered include genetic variation, DNA sequence variability and its measurement, the different types of natural selection and their effects (e.g. the maintenance of variation, directional selection, and adaptation), the interactions between selection and mutation or migration, the description and analysis of variation at multiple sites in the genome, genetic drift, and the effects of spatial structure. The final two chapters demonstrate how the theory illuminates our understanding of the evolution of breeding systems, sex ratios and life histories, and some aspects of genome evolution.</p><p>Evolutionary genetics considers the causes of evolutionary change and the nature of variability in evolution. The methods of evolutionary genetics are critically important for the analysis and interpretation of the massive datasets on DNA sequence variation and evolution that are becoming available, as well for our understanding of evolution in general. This book shows readers how models of the genetic processes involved in evolution are made (including natural selection, migration, mutation, and genetic drift in finite populations), and how the models are used to interpret classical and molecular genetic data.<br></p><p>1. Variability and its measurement<br> 2. Basic selection theory and the maintenance of variation<br> 3. Directional selection and adaptation<br> 4. Migration, mutation and selection<br> 5. The evolutionary effects of finite population size: basic theory<br> 6. Molecular evolution and variation<br> 7. Genetic effects of spatial structure<br> 8. Multiple sites and loci<br> 9. The evolution of breeding systems, sex ratios and life histories<br> 10. Some Topics in Genome Evolution Mathematical and Statistical Appendix</p>
212The Best American Short Stories 2001Barbara Kingsolver24<p>Equally at home with poetry, novels, and nonfiction narratives, Barbara Kingsolver credits her careers in scientific writing and journalism with instilling in her a love of nature, a writer's discipline, and a strong sense of social justice.</p>Barbara Kingsolver, Katrina Kenisonthe-best-american-short-stories-2001barbara-kingsolver97803959268880395926882$20.35PaperbackHoughton Mifflin HarcourtOctober 2001~American Fiction, Short Story Collections (Single Author), Short Story Anthologies, American Literature Anthologies4025.50 (w) x 8.50 (h) x 0.89 (d)<p>This year’s Best American Short Stories is edited by the critically acclaimed and best-selling author Barbara Kingsolver, whose latest book is Prodigal Summer. Kingsolver’s selections for The Best American Short Stories 2001 showcase a wide variety of new voices and masters, such as Alice Munro, Rick Moody, Dorothy West, and John Updike. “Reading these stories was both a distraction from and an anchor to the complexities of my life—my pleasure, my companionship, my salvation. I hope they will be yours.”—Barbara Kingsolver</p><p>Foreword</p> <p>IN THE 1942 VOLUME of The Best American Short Stories, the anthology’s new annual editor, Martha Foley, attempted to define the form. “A good short story,” she wrote, “is a story which is not too long and which gives the reader the feeling he has undergone a memorable experience.” Over the past eleven years, during my own tenure as annual editor of this eighty-six-year-old series, I’ve run across numerous other writers’ attempts to come up with some sort of standard by which to measure the short story. Few have managed to add much to Ms. Foley’s democratic and rather obvious criteria.<br> At symposiums and writers’ conferences, I’ve learned to duck and weave around the inevitable question “What do you look for in a short story?” I wish I knew! Heart? Soul? Truth? Voice? Integrity of intention and skill in execution? The answer is all of the above, and none of the above. For I don’t really “look” for anything; when a story works, I know it in my gut, not in my head, and only then—after laughing, after brushing away a tear, after taking a moment to catch my breath and return to the here and now—do I set about analyzing the successes and failures of a writer’s effort. It would certainly be nice to have a checklist, a foolproof grading system, a tally sheet of pluses and minuses. But reading is a subjective activity, even for those of us who are fortunate enough to read for a living. We editors may read more pages than the average American, and we may read faster, but when it comes right down to it, I believe we all read for the same reason: in order to test our own knowledge of life and to enlarge on it.<br> Out of the three thousand or so short stories I read in any given year, I may file two hundred away. And I always marvel at how precious this stash of chosen fiction seems to me; these are the stories that, for one reason or another, exerted some kind of hold on the priorities of my heart. Even now, I have boxes of old stories, going back a decade and more, stacked up in the basement; I’ve saved every file card I’ve filled out since 1990 as well—a treasure trove of stories, a king’s ransom of human wisdom caught and held on those hundreds of moldering pages. When it comes to cleaning closets, I’m ruthless. But those stories . . . well, how could I throw them away? Who knows when a particular bit of fiction will prove useful? Someday, I think, someone will need that story about the emotional roller coaster of new motherhood; or this one, which reminds us what sixteen years old really feels like; or that one, which could help a friend prepare for death . . .<br> Toward year’s end, I sift through the current piles and begin to ship batches of tales off to the guest editor, always wondering whether he or she will share my tastes and predilections and curious to know whether the narrative voice that whispered so urgently in my ear will speak with as much power to another. Truth be told, it is an anxious time. Just as, when I was a teenager, I wanted my parents to agree that my boyfriend was indeed Prince Charming, I can’t help but hope that the guest editor will share my passion for the year’s collection of short story suitors.<br> I have no clue about Barbara Kingsolver’s taste in men, but I discovered right away that she and I could fall in love with the same short stories. And when her introduction to this volume came spooling through my fax machine, I stood there reading it page by page, nodding in agreement with her discoveries and full of gratitude for the pickiness (her word) and devotion she brought to this task of reading, judging, and finally choosing. And then, as the next-to-last page emerged into my waiting hands, I saw it: a new definition for the short story, at last. To Martha Foley’s sixty-year-old criteria we can now add Barbara Kingsolver’s useful dictum: “A good short story cannot simply be Lit Lite, but the successful execution of large truths delivered in tight spaces.” Writers take heed!<br> In choosing this year’s collection of The Best American Short Stories, Kingsolver has done writers and readers a great service, for her own love for the form and her exacting standards have resulted in a volume that is as varied in subject matter, style, voice, and intent as even the most eclectic reader could wish for. Collectively, these stories hum with the energy of twenty disparate voices raised under one roof. They are a testament to our contemporary writers’ vigorous engagement with the world and to the robust good health of American short fiction.<br> Some years ago, John Updike revealed, “Writing fiction, as those of us who do it know, is, beneath the anxious travail of it, a bliss, a healing, an elicitationn of order from disorder, a praise of what is, a salvaging of otherwise overlookable truths from the ruthless sweep of generalization, a beating offfff daily dross into something shimmering and absolute.” Mr. Updike, who made his first appearance in The Best American Short Stories in 1959, returns this year for the twelfth time as a contributor. (He also served as guest editor in 1984 and coedited The Best American Short Stories of the Century, published in 1999.) He is the only writer in the history of the series to appear in these pages for six consecutive decades—an achievement that we feel is worth noting. May he continue to beat the daily dross into such shimmering and absolute works as “Personal Archeology,” which begins on page 326.</p> <p>The stories chosen for this anthology were originally published between January 2000 and January 2001. The qualifications for selection are (1) original publication in nationally distributed American or Canadian periodicals; (2) publication in English by writers who are American or Canadian, or who have made the United States or Canada their home; (3) original publication as short stories (excerpts of novels are not knowingly considered). A list of magazines consulted for this volume appears at the back of the book. Editors who wish their short fiction to be considered for next year’s edition should send their publications to Katrina Kenison, c/o The Best American Short Stories, Houghton Mifflin Company, 222 Berkeley Street, Boston, MA 02116.<br> K.K.</p> <p>Introduction</p> <p>I HAVE ALWAYS WONDERED why short stories aren’t more popular in this country. We Americans are such busy people you’d think we’d jump at the chance to have our literary wisdom served in doses that fit handily between taking the trash to the curb and waiting for the carpool. We should favor the short story and adore the poem. But we don’t. Short story collections rarely sell half as well as novels; they are never blockbusters. They are hardly ever even block-denters. From what I gather, most Americans would sooner read a five-hundred- page book about southern France or a boy attending wizard school or how to make home decor from roadside trash or anything than pick up a book offering them a dozen tales of the world complete in twenty pages apiece. And I won’t even discuss what they will do to avoid reading poetry.<br> Why on earth should this be? I enjoy the form so much myself that when I was invited to be the guest editor for this collection, forewarned that it would involve reading thousands of pages of short fiction in a tight three-month period, I decided to do it. This trial by fire, I thought, would disclose to me the heart of the form and all its mysteries. Also, it would nicely fill the space that lay ahead of me at the end of the year 2000, just after my planned completion of a novel and before its publication the following spring. The creative dead space between galley proofs and a book’s first review is a dreaded time in an author’s life, comparable to the tenth month of a pregnancy. (I’ve had two post-term babies, so I know what I’m talking about.) I look at the prepublication epoch as a Great Sargasso Sea and always try to fill it with satisfying short- term projects. I reexamined the previous editions of this series on my shelf and considered the assignment. Amy Tan, who edited The Best American Short Stories 1999, described the organized pleasure of reading one story a day for three months. That sounded like a tidy plan to put on my calendar. Editing a story collection, plus a short family vacation to Mexico and a week-long stint lecturing on a ship in the Caribbean, would fill those months perfectly, providing just enough distraction from my prepublication doldrums.<br> If you ever want to know what it sounds like when the universe goes “Ha! Ha!” just put a tidy plan on your calendar.<br> My months of anticipated quiet at the end of 2000 turned out to be the most eventful of my life, in which I was called upon to attend to an astonishing number of unexpected duties, celebrations, and crises. I weathered a tour and publicity storm with the release of my new novel, eight months ahead of schedule. While handling this plus the lectures at sea, I learned of a family member’s catastrophic illness, I was invited to have dinner with President and Mrs. Clinton, and I took my eighth-grader to the funeral of her beloved friend—not to mention the normal background noise of family urgencies. These two months of our lives were stitched together by trains, automobiles, the M.S. Ryndam, and thirty-two separate airplane flights. (A perverse impulse caused me to save my boarding passes and count them.) Naturally this would be the year when I also experienced a true airplane emergency, and I don’t mean the garden- variety altitude plunge. I mean that I finally got to see what those yellow masks look like.<br> Through it all, as best I could, I read stories. On a cold Iowa afternoon with the white light of snowfall flooding the windows, sitting quietly with a loved one enduring his new regime of chemotherapy, I read about a nineteenth-century explorer losing his grasp on life in the Himalayas. On another day, when I found myself wide-eyed long after midnight on a ship so racked by storms that the books were diving off the shelves of my cabin, I amused myself with a droll fable about two feuding widows in the Pyrenees. I read my way through a long afternoon sitting on the dirty carpet of Gate B-22 at O’Hare, successfully tuning out all the mayhem and canceled-flight refugees around me, except for one young woman who kept shouting into her cell phone, “I’m almost out of minutes!” (This was not the same day my airplane would lose its oxygen; the screenwriter of my life isn’t that corny.) I read through a Saturday while my four-year-old dozed in my lap with a mysterious fever that plastered her curls to her forehead and burned my skin through her pajamas; I read in the early mornings in Mexico while parrots chattered outside our window. Some days I was able to read no stories at all—when my youngest was not asleep on my lap, for instance—and on other days I read many. Eighteen stories got lost in my luggage and took a trip of their very own, but returned to me in time.<br> My ideas about what I would gain from this experience collapsed as I began to wrestle instead with what I would be able to give to it. How could I read 125 stories amid all this craziness and compare them fairly? In the beginning I marked each one with a ranking of minus, plus, or double-plus. That lasted for exactly three stories. It soon became clear that what looks like double-plus on an ordinary day can be a whole different thing when the oxygen masks are dangling from the overhead compartment. I despaired of my wildly uncontrolled circumstances, thinking constantly, If this were my story, would I want some editor reading it under these conditions?<br> Maybe not. But the problem is, life is like that. Editors, readers, all of us, have to work reading into our busy lives. The best of it can stand up to the challenge—and if anything can do it, it should be the genre of short fiction, with its economy of language and revving plot-driven engine. We catch our reading on the fly, and that is probably the whole point anyway. If we lived in silent white rooms with no emergencies beyond the wilting of the single red rose in the vase, we probably wouldn’t need fiction to help us explain the inexplicable things, the storms at sea and deaths of too-young friends. If we lived in a room like that, we would probably just smile and take naps.<br> What makes writing good? That’s easy: the lyrical description, the arresting metaphor, the dialogue that falls so true on the ear it breaks the heart, the plot that winds up exactly where it should. But these stories I was to choose among had been culled from thousands of others, so all were beautifully written. I couldn’t favor (or disfavor) the ones by my favorite writers, because their authorship was concealed from me. I knew only that they had been published in magazines in the last year and preselected by the series editor, Katrina Kenison, who had done for me the heroic service of separating distinguished stories from the run-of-the-mill. My task was to choose, among the good, the truly great. How was I supposed to do it?<br> With a pile of stories on my lap, I sat with this question early on and tried to divine why it is that I love a short story when I do, and the answer came to me quite clearly: I love it for what it tells me about life. If it tells me something I didn’t already know, or that I maybe suspected but never framed quite that way, or that never before socked me divinely in the solar plexus, then the story is worth the read.<br> From that moment my task became simple. I relaxed and read for the pleasure of it, and when I finished each story, I wrote a single sentence on the first page underneath the title, in the space conveniently opened up for me where the author’s name had been masked out. Just one sentence of pure truth, if I’d found it, which generally I did. No bumpy air or fevers or chattering parrots could change this one true thing the story had meant to tell me. This is how I began to see the heart of the form. While nearly all the stories were expertly written, and most were pleasant to read, they varied enormously in the weight and value of what they carried—in whether it was sand or gemstones I held in my palm when the words had trickled away. Some beautifully written stories gave me truths so self-evident that when I wrote them down, I was embarrassed. “Young love is mostly selfish,” some told me, and others were practically lining up to declare, “Alcoholism ruins lives and devastates children!” In the privacy of my reading, I probably made that special face teenagers make when forced to attend to the obvious. Of all the days of my life, these were the ones in which I was perhaps most acutely aware that time is precious. So please, tell me something I don’t already know. Sometimes I couldn’t find anything at all to write in that little space under the story’s title, but most were clear enough in their intent, and many were interesting enough to give me pause. And then came one that rang like a bell. “An orphaned child needs to find her own peculiar way to her mother’s ghost, but then will need an adult to verify it.” As soon as I’d jotted that down, I knew this story had given me something I would keep. I slipped it into a pocket of my suitcase, and when I got home I set it on the deep windowsill beside my desk where the sun would fall on it in the morning, and over two months it would grow, I hoped, into a pile of stories. Words that might help me be a better mother, a wiser friend. I felt I’d begun a shrine to new truths, the gifts I was about to receive in a difficult time.<br> Slowly that pile did grow. Too slowly, I feared at first, for when I’d conquered nearly half my assigned reading, it still seemed very small. I am too picky, I thought. I should relax my standards. But how? You don’t lower the bar on enlightenment. I couldn’t change my heart, so I didn’t count the stories in my shrine, I just let them be what they were. Cautiously, though, I made another pile called “Almost, maybe.” If push came to shove, I would reread these later and try to be more moved by them.<br> If it sounds as if I’m a terribly demanding reader, I am. I make no apologies. Long before I ever heard the words (and I swear this happened; this pilot should go to charm school) “We’re going to try an emergency landing at the nearest airport that can read our black box,” it had already dawned on me that I’m not going to live forever. This means I may never get through the list of the great books I want to read. Forget about bad ones, or even moderately good ones. With Middlemarch and A Pilgrim at Tinker Creek in the world, a person should squander her reading time on fashionably ironic books about nothing much? I’m almost out of minutes! I’m patient with most corners of my life, but put a book in my hands and suddenly I remind myself of a harrowing dating-game shark, long in the tooth and looking for love right now, thank you, get out of my way if you’re just going to waste my time and don’t really want kids or the long- term commitment. I give a novel thirty pages, and if it’s not by that point talking to me of till-death-do-us-part, sorry, buster, this date’s over. I’ve chucked many half-finished books into the donation box. You might be thinking right now that you’re glad I was never your writing instructor, and a few former students of mine would agree with you. Once in a workshop after I’d already explained repeatedly that brevity is the soul of everything, writing-wise, and I was still getting fifty-page stories that should have been twenty- page stories, I announced: “Starting tomorrow, I will read twenty- five pages of any story you give me, and then I’ll stop. If you think you have the dazzling skill to keep me hanging on for pages twenty- six-plus because my life won’t be complete without them, just go ahead and try.” I’m sorry to admit I was such a harpy, but this is a critical lesson for writers. We are nothing if we can’t respect our readers. It’s audacious enough to send a piece of writing out into the world (which already contains Middlemarch), asking readers to sit down, shut up, ignore kids or work or whatever important things they have going, and listen to me. Not for just a minute but for hours, days. It had better be important. The stories in this collection earned every minute I gave them, with interest. A few of them are long, but they dazzled me to the end. Most are short—some only three or four pages—and while they weren’t chosen for that reason, I admire them for it. Probably the greatest challenge of the form is to get a story launched and landed efficiently with a whole worthwhile journey in between. The launch is apparently easier than the landing, because I’ve been entranced by many a first paragraph of a tale that ended with such an unfulfilling thud that I scrambled around for a next page that simply wasn’t. It may be that most Americans don’t read short stories because they don’t like this kind of a ride. A good short story cannot simply be Lit Lite; it is the successful execution of large truths delivered in tight spaces. If all short fiction did it perfectly, more readers would surely sign up.<br> The stories in this book have survived my harpy eye on all accounts: they’ve told me something remarkable, they are beautifully executed, and they are nested in truth. The last I mean literally. I can’t abide fiction that’s too lazy to get its facts straight. People learn from what they read, they trust in words, and this is not a responsibility to take lightly. I’ve stopped reading books in which birds sang on the wrong continents or full moons appeared two weeks apart (it wasn’t set on Jupiter). I’ve tossed aside fiction because of botched Spanish or French phrases uttered by putative native speakers who were not supposed to be toddlers or illiterates. When faced with a mountain of stories to eliminate, my tools were sharp and unforgiving. One fascinating story was headed for my “Yes!” shrine until its physician narrator informed me authoritatively, “The opposable thumb is the only thing that separates us from lemurs and baboons.” Hooey—lemurs and baboons have opposable thumbs; that’s part of what defines them (and us) as primates. Biological illiteracy is a problem I care about, and I believe fiction should inform as well as enlighten, and first, do no harm.<br> For a story to make the cut, I asked a lot from it—asked of it, in fact, what I ask of myself when I sit down to write, and that is to get straight down to it and carve something hugely important into a small enough amulet to fit inside a reader’s most sacred psychic pocket. I don’t care what it’s about, as long as it’s not trivial. I once heard a writer declare from a lectern, “I write about the mysteries of the human heart, which is the only thing a fiction writer has any business addressing.” And I thought to myself, Excuse me? I had recently begun thinking of myself as a fiction writer and was laboring under the illusion that I could address any mystery that piqued me, including but not limited to the human heart, human risk factors, human rights, and why some people practically have to scrape flesh from their bones to pay the rent while others have it paid for them all their merry days, and how frequently the former are women raising children by themselves even though that wasn’t the original plan. The business of fiction is to probe the tender spots of an imperfect world, which is where I live, write, and read. I want to know about the real price of fast food in China, who’s paying it, and why. I want to know what it’s like in Chernobyl all these years later. Do you? This book will tell you.<br> Last week in my own living room I finished the last of the stories Katrina had sent me, including several batches of “very last ones.” After that final page I took a deep breath and went to my office to count the stories in my pile on the windowsill. There were twenty, exactly. I counted again. Unbelievable. I’d been asked to select twenty plus one extra “just in case,” but I couldn’t bear to go back through the “maybes” and pick an alternate. When life performs acts of grace for you, you don’t mess with the program.<br> I thank these twenty authors and offer their stories to you as pieces of truth that moved me to a new understanding of the world. When I look back now on the process, I understand that editing this collection was not a chore piled onto an already overscheduled piece of my life, but rather a kind of life raft through it. While the people around me in Gate B-22 swore irritably into their cell phones, I was learning how a man in an Iranian prison survived isolation by weaving a rug in his mind. The night after my teenager and I returned from her friend’s funeral and she asked me how life could be so unfair, I lay down on my bed to read of the pain and healing of a child from Harlem in 1938. These stories were, for me, both a distraction and an anchor. They were my pleasure, my companionship, my salvation. I hope they will be yours.<br> BARBARA KINGSOLVER</p> <p>Copyright © 2001 by Houghton Mifflin Company Introduction copyright © 2001 by Barbara Kingsolver</p><p><p>This year&#8217;s Best American Short Stories is edited by the critically acclaimed and best-selling author Barbara Kingsolver, whose latest book is Prodigal Summer. Kingsolver&#8217;s selections for The Best American Short Stories 2001 showcase a wide variety of new voices and masters, such as Alice Munro, Rick Moody, Dorothy West, and John Updike. &#147;Reading these stories was both a distraction from and an anchor to the complexities of my life &#151; my pleasure, my companionship, my salvation. I hope they will be yours.&#8221; &#151; Barbara Kingsolver <p></p><h3>Publishers Weekly</h3><p>If the 20 stories in this year's collection have any one thing in common, it is their substance and seriousness of purpose. This is mostly a good thing entries by veteran writers like Alice Munro, John Updike and Annette Sanford, and by relative newcomers like Andrea Barrett, Barbara Klein Moss and Peter Orner are intellectually stimulating and satisfying but the inclusion of a few lighter selections might have leavened the mix. Munro is her usual magical self in "Post and Beam," in which a young Vancouver wife comes to terms with the immutability of married life. Ha Jin, in "After Cowboy Chicken Came to Town," tells of the impact an American fast food franchise in China has on both employees and customers, imparting a number of reasons why East and West will never see eye to eye. "Servants of the Map," the extraordinary novella- length story by Barrett, tells the tale of an English mapmaker in 1860s India struggling with his demanding job, loneliness and, most of all, his unquenchable desire to be a botanist. In Orner's brief tale, "The Raft," a grandfather ushers his grandson into a closet to tell him an old WWII story in a new way. Sanford's contribution short, too tells how a 16-year-old girl seemingly doing nothing for the summer is preparing for adult life. The careful character development, subtle drama and pristine prose of these selections should once again thoroughly satisfy fans of quality short fiction. $200,000 marketing campaign; sweepstakes promotion. (Oct.) Copyright 2001 Cahners Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">ix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">xiii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Servants of the Map - from Salmagundi</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fireman - from The Kenyon Review</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Think of England - from Ploughshares</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Labors of the Heart - from Ploughshares</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mourning Door - from Ploughshares</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After Cowboy Chicken Came to Town - from TriQuarterly</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brothers and Sisters Around the World - from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boys - from Elle</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rug Weaver - from The Georgia Review</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Post and Beam - from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Raft - from The Atlantic Monthly</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Betty Hutton - from Five Points</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Illumination - from Tim House</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Secrets of Bats - from Ploughshares</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nobody Listens When I Talk - from Descant</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mother's Garden - from Tin House</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What I Saw from Where I Stood - from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Apple Tree - from The Antioch Review</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Personal Archeology - from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">326</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Baby ... from Connecticut Review</TD><TD WIDTH="10%" ALIGN="RIGHT">334</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors' Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">100 Other Distinguished Stories of 2000</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editorial Addresses of American and Canadian Magazines Publishing Short Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">363</TD></TABLE><article> <h4>Publishers Weekly</h4>If the 20 stories in this year's collection have any one thing in common, it is their substance and seriousness of purpose. This is mostly a good thing entries by veteran writers like Alice Munro, John Updike and Annette Sanford, and by relative newcomers like Andrea Barrett, Barbara Klein Moss and Peter Orner are intellectually stimulating and satisfying but the inclusion of a few lighter selections might have leavened the mix. Munro is her usual magical self in "Post and Beam," in which a young Vancouver wife comes to terms with the immutability of married life. Ha Jin, in "After Cowboy Chicken Came to Town," tells of the impact an American fast food franchise in China has on both employees and customers, imparting a number of reasons why East and West will never see eye to eye. "Servants of the Map," the extraordinary novella- length story by Barrett, tells the tale of an English mapmaker in 1860s India struggling with his demanding job, loneliness and, most of all, his unquenchable desire to be a botanist. In Orner's brief tale, "The Raft," a grandfather ushers his grandson into a closet to tell him an old WWII story in a new way. Sanford's contribution short, too tells how a 16-year-old girl seemingly doing nothing for the summer is preparing for adult life. The careful character development, subtle drama and pristine prose of these selections should once again thoroughly satisfy fans of quality short fiction. $200,000 marketing campaign; sweepstakes promotion. (Oct.) Copyright 2001 Cahners Business Information. </article> <article> <h4>Library Journal</h4>In his introduction to Prize Stories 2001, editor Dark notes an increase in the number of longer stories, or novellas, being published in literary journals. To reflect this trend, Dark chose to publish three longer pieces, bringing the total number of stories in this year's volume to 17 rather than the usual 20. One of these, Mary Swan's "The Deep," an absorbing account of twin sisters in the World War I era, was chosen as the best story of the year. Runners up were Dan Chaon's "Big Me" and Alice Munro's "Floating Bridge." Munro also receives a special citation for her continued notable work in the short story form. Dark writes that he was torn between Munro's above-mentioned story and her equally fine "Post and Beam;" happily, the latter appears in Best American Short Stories 2001. Kingsolver narrowed her selections by opting for only those that "tell me something I don't already know." So we get funny and intriguing views of other cultures, such as Ha Jin's "After Cowboy Chicken Came to Town," which is about the workers in an American fast-food restaurant in China; Katherine Shonk's "My Mother's Garden," set near post-disaster Chernobyl; and Trevanian's sly Basque fable, "The Apple Tree." Two well-deserving stories, Elizabeth Graver's "The Mourning Door" and Andrea Barrett's "Servants of the Map," appear in both volumes. Both volumes are valuable additions to academic and larger public libraries. Christine DeZelar-Tiedman, Univ. of Minnesota Libs., Minneapolis Copyright 2001 Cahners Business Information. </article><article> <h4>Kirkus Reviews</h4>An excellent new edition of this popular anthology. As might be expected from the author of several carefully researched novels (Prodigal Summer, 2000, etc.), guest editor Kingsolver suggests a predilection for stories with extraordinary content. In a lively introduction, she lays out three criteria for her selections: "They've told me something remarkable, they are beautifully executed, and they are nested in truth." And most of the stories here do have "something remarkable" to tell. Rather than depicting the subtleties of "everyday American life," these tales usually opt for more exotic subjects. Ha Jin's "After Cowboy Chicken Came to Town" depicts what it's like to work at an American fast food restaurant in China, while Peter Ho Davies's "Think of England" takes place in and around a Welsh countryside pub on the night after the D-day landing. Katherine Shonk's "My Mother's Garden" presents life near Chernobyl's contaminated zone, while Andrea Barrett's "Servants of the Map" centers on a British surveyor in the Himalayas during the 1860s. The stories not set in far-flung locations are often about unusual perspectives, like that of the morbidly obese man in Claire Davis's "Labors of the Heart" or of the character in Rick Bass's ultra-factual "The Fireman." Such tales can leave one with the feeling of having read nonfiction as much as fiction. Kingsolver allows quotidian subject matter only if it's in the hands of an Alice Munro ("Post and Beam") or a John Updike ("Personal Archeology"). Younger writers-a generous number are here-have to earn their way by writing about Hong Kong, Madagascar, or Buffalo in the1930s. Also of interest is a posthumously published story by the HarlemRenaissance writer Dorothy West (1907-98). A vibrant, diverse collection. </article>
213The Classic Hundred Poems: All-Time FavoritesWilliam Harmon0<p>WILLIAM HARMON is James Gordon Hanes Professor of the Humanities at the University of North Carolina at Chapel Hill, author of five books of poetry and editor of <i>A Handbook to Literature</i>. His most recent poetry has appeared in <i>Blink</i> and <i>Light</i>.</p>William Harmon (Editor), William Harmonthe-classic-hundred-poemswilliam-harmon97802311125980231112599$16.40PaperbackColumbia University PressMarch 1998Second EditionPoetry, American Literature Anthologies, Anthologies, English, Irish, & Scottish Poetry2886.31 (w) x 9.01 (h) x 0.82 (d)<p>Here in one volume are the top one hundred poems, as determined by a survey of more than 1,000 anthologies -- the poems in English most frequently anthologized, the poems with the broadest, most enduring appeal. From Shakespeare to Dickinson to Frost, from sonnets to odes to villanelles, William Harmon's <i>Classic Hundred Poems</i> offers a feast for poetry lovers.</p> <p>This book updates the first edition by presenting the new top one hundred poems, nineteen of which were not in the first edition. The revised edition is arranged chronologically, and features new commentary and notes on verse form, as well as an index of the poems in order of popularity, notes on words and proper names, and a bibliography for each poet and each poem. A glossary of terms, author index, and index of titles and first lines are also included.</p> <p>From Keats' "To Autumn," now ranked as the number-one poem in this collection, to George Herbert's "Virtue," in the hundredth spot, every poem is illuminated by Harmon's informative notes. With insights into the historical period in which each poem was written, the verse form used, and connections among poems, this is the ideal introduction to poetry, as well as a treasury for the dedicated reader.</p> <p> Columbia University Press</p><p><P>Imagine if Billboard compiled a list of the top 100 poems, chosen not by critics or professors but by the people themselves. That's the concept behind The Classic Hundred, and it works brilliantly. William Harmon found the 100 most anthologized poems in English, based on the ninth edition of The Columbia Granger's Index to Poetry&#151;the most objective measurement of greatness available, representing consensus among the editors of some 400 anthologies. Then he put them in order and prefaced each one with concise, erudite, often humorous commentary. The range of poets, subjects, and forms&#151;from Shakespeare to Frost, from love and death to crime and punishment, from sonnets to odes&#151;makes this an entertaining, enlightening, and indispensable aural guide to the finest verse in the English language.</p><h3>New York Times Book Review</h3><p>"Why did no one think of this before?"</p><p>PrefaceAnonymousSir Thomas WyattSir Walter RaleghSir Philip SidneyChristopher MarloweWilliam ShakespeareJohn DonneBen JonsonRobert HerrickGeorge HerbertThomas CarewEdmund WallerJohn MiltonSir John SucklingRichard LovelaceAndrew MarvellHenry VaughanThomas GrayWilliam BlakeRobert BurnsWilliam WordsworthSamuel Taylor ColeridgeGeorge Gordon Byron, 6th Baron ByronPercy Bysshe ShelleyJohn KeatsElizabeth Barrett BrowningEdgar Allan PoeAlfred, Lord TennysonRobert BrowningArthur Hugh CloughJulia Ward HoweMatthew ArnoldEmily DickinsonLewis CarrollThomas HardyGerard Manley HopkinsWilliam Butler YeatsErnest DowsonEdwin Arlington RobinsonWalter de la MareRobert FrostT.S. ElliotWilfred OwenW. H. AudenTheodore RoethkeRandall JarrellDylan ThomasNotes on the PoemsGlossary of Technical TermsFurther ReadingThe Poems in Order of PopularityIndex of PoetsIndex of Titles and First LinesAcknowledgments</p> <p> Columbia University Press</p><article> <h4>Robert Creeley</h4><p><i>The Classic Hundred</i> is fascinating, and I have much enjoyed just turning pages.... [The poems are] charmingly presented by a very perspicacious host and poet, William Harmon.</p> </article> <article> <h4>Richard Wilbur</h4><p>"It's fascinating to open this book and discover which... poems have been favored over the years.... William Harmon's comments on the poems are just right: bright, brief, and appreciative."</p> </article><article> <h4>New York Times Book Review</h4>"Why did no one think of this before?" </article> <article> <h4>The New York Times</h4>Why did no one think of this before?"<br> —<i>The New York Times Review of Books</i> </article> <article> <h4>From the Publisher</h4>What a great idea. . . . First of all it's interesting to see which poems make it, and then . . . you've got all those great poems. </article> <article> <h4>Roy Blount</h4>“What a great idea. . . . First of all it's interesting to see which poems make it, and then . . . you've got all those great poems.”<br> —<i>Roy Blount, Jr.</i> </article>
214The Best American Nonrequired Reading 2007Dave Eggers0<p><P>Dave Eggers is the editor of McSweeney's and a cofounder of 826 National, a network of nonprofit writing and tutoring centers for youth, located in seven cities across the United States. He is the author of four books, including What Is the What and How We Are Hungry.</p>Dave Eggers (Editor), Sufjan Stevensthe-best-american-nonrequired-reading-2007dave-eggers97806189028110618902813$30.95PaperbackHoughton Mifflin HarcourtOctober 2007American Essays3860.86 (w) x 5.50 (h) x 8.50 (d)Pulled once again from the hip to the mainstream, this collection of fiction, nonfiction, alternative comics, and "anything else that defies categorization"(USA Today)is as fresh and bold as ever. Compiled by Dave Eggers and students from his San Francisco writing center, it's a "bouillabaisse of non-required reading that should be required"(Publishers Weekly). Contributors include Jhumpa Lahiri, George Saunders, William Langewiesche, Stephen Elliott, and others.<p>Introduction Dead Men Talking</p> <p>For young readers and young writers, here are half a dozen commonplaces concerning the act of reading, required or otherwise:</p> <p>1. Dr. Johnson: “A man ought to read just as inclination leads him; for what he reads as a task will do him little good.” In principle I agree with this—but I’m not quite this sort of reader. Not confident enough to be this reader. “Inclination” is all very well if you are born into taste or are in full possession of your own, but for those of us born into families who were not quite sure what was required and what was not—well, we fear our inclinations. For myself, I grew up believing in the Western literary canon in a depressing, absolutist way: I placed all my faith in its hierarchies, its innate quality and requiredness. The lower-middleclass, aspirational reader is a very strong part of me, and the only books I wanted to read as a teenager were those sanctified by my elders and betters. I was certainly curious about the nonrequired reading of the day (back then, in London, these were young, edgy men like Mr. Self and Mr. Kureishi and Mr. Amis), but I didn’t dare read them until my required reading was done. I didn’t realize then that required reading is never done.<br> My adult reading has continued along this fiercely traditional and cautiously autodidactic path. To this day, if I am in a bookshop, browsing the new fiction, and Robert Musil’s A Man Without Qualities happens to catch my eye from across the room, I am shamed out of the store and must go home to try to read that monster again before I can allow myself to read new books by young people. Of course, the required nature of The Faerie Queene, books 3 through 10 of Paradise Lost, or the Phaedrus exists mostly in my head, a rigid idea planted by a very English education. An education of that kind has many advantages for the aspiring writer, but in my case it also played straight and true to the creeping conservatism in my soul. Requiredness lingers over me. When deciding which book of a significant author to read, I pick the one that appears on reading lists across the country. When flicking through a poetry anthology, I begin with the verse that got repeated in the .lm that took the Oscar. I met an Englishwoman recently, also lower middle class, who believed she was required to read a book by every single Nobel laureate, and when I asked her how that was working out for her, she told me it was the most bloody miserable reading experience she’d ever had in her life. Then she smiled and explained that she had no intention of stopping. I am not that bad, but I’m pretty bad. It is only recently, and in America, that the hold required reading has had on me has loosened a little.<br> Tradition is a formative and immense part of a writer’s world, of the creation of the individual talent—but experiment is essential. I have been very slow to realize this. Reading this collection made me feel the literary equivalent of “Zadie, honey, you need to get out more”; I began to see that interesting things are going on, more and more things, and that I can’t keep up with them, and that many of them cause revolt in the required-reading part of my brain (I get very concerned by the disappearance of some of the more expressive punctuations: the semicolon, the difference between long and short dashes, the potential comic artfulness of the parentheses), and yet, I so enjoyed myself that even if what I have read in this book is the clarion call of my own obsolescence, it seems essential to defend experiment and nonrequiredness from those who would attack it.<br> Thing is, the very young and very talented are not beholden. Nor are the readers who would approach them. The great joy of nonrequiredness seems to me that as a young reader, you have this opportunity to hold opinions that are not weighed down by the opinions that came before. It is up to you to measure the worth of the writers in your hand, for you are young and they are young and actually I am still young and we are all in this thing together. And I feel pride when I see that, collectively, we are not only writing and reading weird stories, but also writing and reading serious journalistic nonfiction and comics and satire and histories, and we are doing all these things with the sort of rigor and attention that no one expected of us, and we are managing this rigor and attention in a style entirely different from our predecessors’. We are so good, in fact, that we cannot hope to stay nonrequired very long. We, too, will soon become required, which comes with its own set of problems.</p> <p>2. Logan Pearsall Smith: “People say that life is the thing, but I prefer reading.” How important is the “touch of the real”? Should the young man hankering after a literary life read through his massive dictionaries or stand upon a pile of thhhhhem to reach the high shelf where the whiskey is kept? When I was in my teens, making a few stabs at writing, I had a very low opinion of experience. It did not seem to me that trekking to the cobwebbed corners of the world for six months and returning with a pair of ethnic trousers made anybody a more interesting fellow than when they left. Weary, stale, .at, and unprofitable were all the uses of the world to me—which meant, of course, that I was not much good at anything and had no friends. No matter what anybody says, it is a mixture of perversity and stomach-sadness that makes a young person fashion a cocoon of other people’s words. If the sun was out, I stayed in; if there was a barbecue, I was in the library; while the rest of my generation embraced the sociality of Ecstasy, I was encased in marijuana, the drug of the solitary. It was suggested to me by a teacher that I might “write about what you know, where you live, people you see,” and in response I wrote straight pastiche: Agatha Christie stories, Wodehouse vignettes, Plath poems—all signed by their putative authors and kept in a drawer. I spent my last free summer before college reading, among other things, Journal of the Plague Year, Middlemarch, and the Old Testament. By the time I arrived at college I had been in no countries, had no jobs, participated in no political groups, had no lovers, and put myself in no physical danger apart from an entirely accidental incident whereupon I fell fifty feet from my bedroom window while trying to reach for a cigarette I’d dropped in the guttering. In short, I was perfectly equipped to go on to write the kind of fiction I did write: saturated by other books; touched by the world, but only very vicariously. Welcome to the house that books built: my large rooms wallpapered with other people’s words, through which one moves like a tourist through an English country manor—somewhat impressed, but uncertain whether anyone really lives there.<br> These days, given the choice between a week in the Caribbean and a week reading A High Wind in Jamaica, I would probably still choose the book and the sofa. But this is no longer a proud rejection, only a stiffened habit. To read many of the pieces in this collection is to discover the uses of the world, of experience, is to be shown how life can indeed be the thing, if only you let it. I am impressed by this strong, noble, journalistic trend in American writing, to be found in this very book, dispassionately exercising itself over Saddam’s daily existence, or what it is like to live in South Central L.A. I had never met with this kind of journalism until I came to America. It has since been explained to me that most Americans read In Cold Blood when they are fifteen, but I read it only two years ago, and not since Journal of the Plague Year had I felt writing like that, and I mean felt it; writing that gets up inside you, physically, giving you back the meaning of the word unnerve. When you read too many novels, and then when you happen to write them as well, you develop a sort of hypersensitivity to the self- consciously “literary” as it manifests itself in fictional prose—it’s a totally irrational, violent, and self-defeating sensitivity, and you know that, but still, every time you see it, including in your own stuff, it makes you want to scream. So to read what purports to be the truth—no matter how decorated—feels to me like the palate-cleansing green tea that follows a busy meal of monosodium glutamate.<br> The point is, my mind has changed about experience. I thought I didn’t like memoirs, I thought I didn’t like travelogues, I thought I didn’t like autobiographical books written by people under forty, but the past three years of American writing have proved me wrong on all these counts. It is never too late to change your mind about what you require. I see now that I am required, and more than this, that I require, I need, to do something else with my life than solely to read fiction and write it. I’ve got to get out there, abroad and up close; I’ve got to smell things, eat them, throw them across a park, sail them, dig them up, and see how long I can survive without them, or with them.</p> <p>As I write this, I am at a college with a novelist younger than me, and at a recent lunch he put before me a hypothetical choice. Should a young man stay the university distance for those four long years? Or should he drop out and seek the experiences that are owed him? Which decision makes the better writer? I argued the case for college, listing the writers on my side of the Atlantic who stayed the course even while indulging in such various activities as storing a bear in their room (Byron), ditching class to walk up hills (Wordsworth), spending most of the time having suits made (Wilde), stopping soccer balls at the goal’s mouth (Nabokov), or scribbling obscenities in library books (Larkin). He naturally countered with all the Americans who quit while they were ahead, or earlier (Mark Twain, William Faulkner, Herman Melville, Walt Whitman, Jack London). He won the argument because I had no experience with which to argue against it. By definition Emersonian experience cannot be rejected without any experience of it; it must be passed through and felt and only then compared to the Miltonic experience: the dark room, a book, the smell of the lamp. I’m not qualified to make the judgment, no, not yet—although I intend to be. I want to travel properly next year. See some stuff. In the meantime, maybe we should heed the advice of the Web site www.education- reform.net/dropouts.htm and Shaun Kerry, M.D. (diplomate, American Board of Psychiatry and Neurology), who comes down firmly on the side of life:</p> <p>Ultimately, what distinguishes the aforementioned individuals from the rest of us is their passion for learning that transcends the structured environment of the classroom. Instead of limiting their education to formal schooling, they were curious about the world around them. With their fearless spirit of exploration and their desire to experiment, these individuals discovered their true passions and strengths, which they built upon to achieve success later in life.<br> Imagine what a loss for the world it would have been if Walt Disney had confined his learning to the requirements of his school’s curriculum, and followed only the guidance of his teachers, rather than his own internal motivation. His extraordinary animated features may have never been created.</p> <p>Imagine.</p> <p>3. Laurence Sterne: “Digressions, incontestably, are the sunshine; they are the life, the soul of reading.” Yet, somehow, digressions have gone and got themselves a bad name. The name might be indulgence. Digressions, supposedly, are for writers who cannot control themselves, or else writers who seek to waste the hard-earned time of the no-bullshit reader who has little patience for frippery. The attitude: Writer, do not take me down this strange alley when I mean to get from A to B, and don’t think that, just because I am from the Midwest or Surrey, I’ll allow some New York or London wiseass to take me on an unnecessary, circuitous journey and charge me too much while they’re at it. And less of the chat—I don’t need a tour guide—Christ, I know this city like the back of my hand. And please note that I’m man enough to use honest language like “back of my hand,” which is more than you can say for these namby-pamby writers.<br> And then on the other side of the street, you’ve got your folks who care only for digression. They don’t feel they’ve got their money’s worth unless, while trying to get from Williamsburg to the Upper East Side, the writer takes them by way of Nairobi, a grandparent’s first romance, the Guadeloupean independence struggle of the 1970s, through the stink of the Moscow sewer system and up through the bud-mouth of an unborn child. But these folks are few.<br> Among the majority, digression has fallen from favor, along with many of the great digressors, of which Sterne was the mighty progenitor. Maybe “digression” has been confused and twinned with “complexity,” but if that’s so, then someone should explain that a path off a main road needn’t be busy or populated—it can be plain, flat, straight, almost silent. But for all digressions to be of this kind would seem to me a shame. To be so strict about it, I mean. I do like a sunny, busy lane. And I like a memory-saturated, melancholic one as well. I think of W. G. Sebald’s The Emigrants, that ode to digression, structured like a labyrinth of lanes leading away from a historical monument that is itself too painful to be looked at directly. This might be a model. Things are so painful again just now.<br> Maybe I worry too much about these things, but like a silent minority of transvestite schoolboys and wannabe drag kings, I imagine a whole generation of not-yet-here writers who feel great shame when contemplating their closet full of adjectival phrases, cone-shaped flashbacks, multiple voices, scraps of many media, syzygy, footnotes, pantoums. I worry that they will never wear them out for fear of looking the fool.<br> Look: Wear your black some days, and wear your purple others. There is no other rule besides pulling it off. If you can pull off, for example, blocks of red and yellow in horizontal stripes, feathers, tassels, lace, toweling, or all-over suede, then for God’s sake, girl, wear it.<br> Here is a beautiful digression from a master digressor. He is meant to be discussing his sixteen-year-old cousin, Yuri:</p> <p>He was boiling with anger over Tolstoy’s dismissal of the art of war, and burning with admiration for Prince Andrey Bolkonski—for he had just discovered War and Peace which I had read for the first time when I was eleven (in Berlin, on a Turkish sofa, in our somberly rococo Privatstrasse flat giving on a dark, damp back garden with larches and gnomes that have remained in that book, like an old postcard, forever).</p> <p>4. James Joyce: “That ideal reader suffering from an ideal insomnia” The ideal reader cannot sleep when holding the writer he was meant to be with.<br> Sometimes you meet someone who is the ideal reader for a writer they have not yet heard of. I met a boy from Tennessee at a college dinner who wore badly chipped black nail polish and a lip ring, had perfect manners, and ended any disagreement or confusion with the sentence “Well, I’m from Tennessee.” He was the ideal reader for J. T. Leroy and did not know it, having never heard of him. This was a very frustrating experience. Multiple recommendations did not seem sufficient—I wanted to take him at that moment, in the middle of the dinner, to the bookstore so he might meet the two novels he was going to spend the rest of his life with.<br> A cult book, of course, is one that induces the feeling of “being chosen as ideal” in every one of its readers. This is a rare, mysterious quality. The difference between, for example, a fine book like Philip Roth’s The Human Stain and a cult book like J. D. Salinger’s Raise High the Roof Beam, Carpenters is that no one is in any doubt that Roth’s book was written for the general reader, whereas a Salinger reader must fight the irrational sensation that the book was written for her alone. It happens more often in music: Prince fans thought Prince their own private mirage; all the boys who liked Morrissey thought he sang for each of them; I had the same feeling with the initial album of Marshall Mathers, and also the .rst time I heard Mozart’s Requiem. It is all of it delusional, probably, like simultaneous orgasm, but to think of oneself as the perfect receptacle for an artwork is one of the few wholly benign human vanities.</p> <p>Ideal reading is aspirational, like dating. It happens that I am E. M. Forster’s ideal reader, but I would much prefer to be Gustave Flaubert’s or William Gaddis’s or Franz Kafka’s or Borges’s. But early on Forster and I saw how we suited, how we fit, how we felt comfortable (too much so?) in each other’s company. I am Forster’s ideal reader because, I think, nothing that he left on the page escapes me. Rightly or wrongly, I feel I get all his jokes and appreciate his nuances, that I am as hurt by his flaws as I am by my own, and as pleased when he is great as I would be if I did something great. I know Morgan. I know what he is going to say before he says it, as if we had been married thirty years. But at the same time, I am never bored by him. You might know three or four writers like this in your life, and likely as not, you will meet them when you are very young. Understand: They are not the writers you most respect, most envy, or even most enjoy. They are the ones you know. So my advice is, choose them carefully so that people don’t roll their eyes at you at parties (this happens to me a lot).<br> The definition of a genius might be the reader who is ideal for multiple writers, each of them as dazzling and distant from each other as religions.<br> Maybe you are the ideal reader for a writer in this collection.</p> <p>5. Sir Francis Bacon: “Reading maketh a full man; conference a ready man; and writing an exact man.” I’ve tried to deal a little with how full reading can make you, and how empty also. “Conference” we can file alongside “experience”—it is the main portion of experience. Otherwise known as the necessary habit of rubbing up against people in the world, other people and their variousness. The central significance of such rubbing, or frotting, being that it plays a key part in forming the kind of human being who might one day write a book that isn’t utterly phony and doesn’t make you feel sick when you read it.<br> “If fiction isn’t people it is nothing, and so any fiction writer is obligated to be to some degree a lover of his fellowmen, though he may, like the Mormon preacher, love some of them a damn sight better than others.” Wallace Stegner said that, and though Wallace Stegner is not the reason I wake up in the morning, if you don’t believe that sentence in some small part then you have no business writing fiction at all. You don’t know what it is. And you’re probably right, the medium is beneath you, it is dying, it is intellectually defunct—so why don’t you just leave it alone, go on, move along now. It’s a silly business—leave it to fools.<br> But if you are going to continue with it, then meet some people, won’t you? Care for them, conference with them. It will make you ready. Nobody contains within themselves multitudes, no, not Shakespeare, not Dickens, not Tom Wolfe, not nobody. You need to get some conference. Ready—this is absolutely the right word. I am not ready. Are you?<br> On Sir Francis’s last point: It is a commonplace to say that writing is a kind of exactitude, and it feels natural enough (to the writer) to speak of writing as the act of striving for precision, of making the artwork on the page a replica of the ideal artwork in one’s mind. Particularly if the writer is on a festival panel and cornered suddenly by a question regarding “process,” then she will most likely answer along these broadly Platonic lines, while retaining a guilty sense that the truth is more ambivalent, and too liquid to grasp in your hand and throw to the questioner with the microphone at the back of the hall.<br> When I write, the kind of exactitude that most concerns me is a bit tricky to explain. I’ll try, quickly. So you know the rhythm and speed of reading? Okay, keep that in mind. Now remember the rhythm and speed of writing—the jaggedy, retentive, tortured, unnatural lack of flow. Okay. Now to me, the mystery of exactitude lies in finding the perfect fit between what you know it is to write and what you know it is to read. If you are writing, and have forgotten the rhythm and speed and, actually, the texture, of what it is to read, you’re in trouble. But at the same time, to keep the idea of reading in mind too strongly while you’re writing is to grow fearful at the keyboard, dreading all that you might write that would be complex, awkward, resistant (to the ear, to the brain), intimate, and seemingly unshareable.<br> Mr. Stegner called writing the “dramatization of belief.” I find it useful to think of that phrase as pertinent not simply to what appears on the page in terms of narrative content but to the relation between two opposite, but umbilically connected, acts: reading and writing. To me, each writer’s prose style dramatizes their belief regarding what reading may demand of writing and vice versa. Hemingway, for example, believed in the primacy of reading; he thought that there should be no artificial interruption in its natural smoothness and speed. He subjugated the vanities of writing to the realities of reading. Nabokov, on the other hand, thought Hemingway was a Philistine. Nabokov thought reading should equal the performative act of writing, that it should be a reenaction of the act of writing (although no reader, except possibly his wife, proved equal, in Nabokov’s mind, to the task).<br> Somewhere between the writing that has forgotten entirely what reading is and the writing that is a slave to what reading is—that’s where I try to be.<br> (N.B. I guess you know how Sir Francis Bacon died.)</p> <p>6. Vladimir Nabokov: “A work of art has no importance whatever to society. It is only important to the individual, and only the individual reader is important to me.” Role models—individuals endowed with wide-ranging sociosymbolic significance—have no place in fiction. Role models are bullshit. People who move through the world playing roles, attending to roles, aspiring to roles, looking for models to help them find new roles—these people are not partaking fully in this whole existence-thing, which is about doing it for real. We would rather not read that way (leaning over a pond, waiting for the water to settle, and all so our own mirrored faces might rise toward us like Plath’s “terrible fish”), no, nor write that way either. To this some folks will object. Oh, I see. So you’re not political. No! Don’t believe it! You are political! You are the most political fucking person in the world because when you read, when you write, you won’t let a single human being be obscured behind the dread symbolic bulk of somebody or something else. Every time you open a novel or put pen to paper you dramatize your belief in the miraculous, incommensurable existence of a society of six billion individuals. One of whom died three hundred and seventy-seven years ago while attempting to freeze a chicken.</p> <p>—Zadie Smith</p> <p>Copyright © 2003 by Houghton Mifflin Company. Introduction copyright © 2003 by Zadie Smith. Reprinted by permission of Houghton Mifflin Company.</p><p>This lively latest volume of The Best American Nonrequired Reading boasts the best in fiction, nonfiction, alternative comics, screenplays, blogs, and anything else, compiled by Dave Eggers and students from his San Francisco writing center. Contributors include Alison Bechdel, Stephen Colbert, Scott Carrier, Lee Klein, Matt Klam, and others.</p><P>Introduction by Sufjan Stevens xi Q & A by Dave Eggers xix<P>I<P>Best American Names for Horses Expected to Have Undistinguished Careers 3 from Yankee Pot Roast, written by Mike Richardson-Bryan<P>Best American Beginnings of Ten Stories about Ponies 4 from Monkey Bicycle, written by Wendy Molyneux<P>Best American First Sentences of Novels Published in 2006 6<P>Best American New Words of 2006 8 from The Concise Oxford English Dictionary and Merriam-Webster's Dictionary, new edition<P>Best American New Band Names 11<P>Best American Six-Word Memoirs 12 from Smith<P>Best American Personals from Around the World 14 from Tin House<P>Best American Article Titles from the Best American Trade Magazines 17<P>Best American Creationist Explanations for the World's Natural Wonders 21 from Answers in Genesis<P>Best American New Animal Plagues 23 from Earthweek, written by Steve Newman<P>Best American Failed Television Pilots 25 from Channel 101<P>Best American Names of Television Programs Taken to Their Logical Conclusions 28 from Opium, written by Joe O'Neill<P>Best American Police Blotter Items 29 from Looptard<P>II<P>Jonathan Ames. Middle-American Gothic 33 from Spin<P>Alison Bechdel. A Happy Death 41 from Fun Home<P>D. Winston Brown. Ghost Children 70 from Creative Nonfiction<P>Scott Carrier. Rock the Junta 84 from Mother Jones<P>Joshua Clark. American 99 from New Orleans Review<P>Edge Foundation. What Is Your Dangerous Idea? 107<P>Jennifer Egan. Selling the General 131 from Five Chapters<P>Stephen Elliott. Where I Slept 153 from Tin House<P>Kevin A. Gonz&#225;lez. Loter&#237;a 162 from Indiana Review<P>Miranda July. How to Tell Stories to Children 187 from Zoetrope&#58; All-Story<P>Matthew Klam. Adina, Astrid, Chipewee, Jasmine 204 from The New Yorker<P>Lee Klein. All Aboard the Bloated Boat&#58; Arguments in Favor of Barry Bonds 227 from Barrelhouse<P>Nam Le. Love and Honor and Pity and Pride and Compassion and Sacrifice 237 from Zoetrope&#58; All-Story<P>Jen Marlowe, Aisha Bain, and Adam Shapiro. Darfur Diaries 259<P>David J. Morris. The Big Suck&#58; Notes from the Jarhead Underground 274 from The Virginia Quarterly Review<P>Conan O'Brien. Stuyvesant High School Commencement Speech 299<P>Mattox Roesch. Humpies 305 from Agni Online<P>Patrick Somerville. So Long, Anyway 317 from Epoch<P>Joy Williams. Literature Unnatured 330 from American Short Fiction<P>Contributors' Notes 341 The Best American Nonrequired Reading Committee 345 Notable Nonrequired Reading of 2006 349<article> <h4>Library Journal</h4>Short stories are not meant for short attention spans; the best are as dense and nuanced as a good chocolate truffle. Selected by writer Eggers and his 826 Valencia workshop students, many of the 24 stories in this fourth volume of the "Best American Nonrequired Reading" series are delights. In the best short story tradition, they provoke interest quickly and linger in the memory long after. Cartoon, nonfiction, and quirky short pieces are included among the predominantly traditional short stories, and there's a nice mix of established and lesser-known writers whose offerings range from the mordant wit of Douglas Trevor's "Girls I Know" to Jhumpa Lahiri's beautifully crafted "Hell-Heaven" to Amber Dermont's moving and funny "Lyndon." George Saunders's and Molly McNett's pieces also stand out. Noteworthy among the nonfiction pieces is William Vollmann's "They Came Out Like Ants," about Chinese immigrants living in Mexacali tunnels. The eclectic mix in this anthology shares some recurring motifs: troubled childhoods, a feeling for the woes of American outsiders, and a sort of melancholic irony about the world. A representative and worthwhile holding for public and academic libraries.-Laurie Sullivan, Sage Group Int'l., Nashville Copyright 2005 Reed Business Information. </article> <article> <h4>Kirkus Reviews</h4>Fiction and nonfiction pulled from the main- and side-stream by McSweeney's editor Eggers, founder of a San Francisco writing lab for city youth, is the latest in Houghton Mifflin's Great American Series. Even with forewords from inaugural guest editor Eggers (A Heartbreaking Work of Staggering Genius, 2000) and series editor Michael Cart, a well-known YA author, the new category "nonrequired" is less than clear. Even so, there are pieces from old standbys Esquire, Atlantic Monthly, the New York Times Magazine, and, yes, the New Yorker, cheek by jowl with bits from the Onion, Optic Nerve, Spin, and ZYZZYVA. Though aimed at younger-than-boomer readers, the pieces are not necessarily by or about the less-than-middle-aged. Eric Schlosser's "Why McDonald's French Fries Taste So Good" is a fascinating but almost geekily well-researched piece about the flavor enhancement biz; it educates even though it was probably chosen to appeal to vegan terrorists and their supporters. Adrian Tomine's "Bomb Scare," from Optic Nerve, is a gloomy and graphic high-school-life-sucks-so-bad piece that goes on nearly as long as high school. Karl Taro Greenfield's "Speed Demons," from Time, clearly explains the appeal of meth and other uppers. While a number of pieces have been included as comic relief, only David Sedaris (unsurprisingly) and the Onion bits ("Local Hipster Overexplaining Why He Was At The Mall" and "Marilyn Manson Now Going Door To Door Trying To Shock People") are likely to crack anybody up. Perhaps the truly cool don't want to be caught guffawing. Rodney Rothman's almost-nonfiction "My Fake Job," disowned by the New Yorker, is amusing but so dryly that there's no danger of snorting or snotflying. The sentimental favorite is a long, wonderful piece from Sports Illustrated, of all places, by Gary Smith, about a black coach who brings magic to an Amish community in Ohio. Readers who aren't reduced to blubbering should seek medical attention. An alternative to the Banana Republic gift certificate for that difficult nephew with a birthday. </article><article> <h4>From the Publisher</h4>"An excellent literary compilation . . . Eggers deserves credit for another first-rate collection." Publishers Weekly </article>
215The Best New Playwrights 2009Lawrence Harbison0Lawrence Harbison (Editor), Gina Gionfriddothe-best-new-playwrights-2009lawrence-harbison97815752576241575257629$19.95PaperbackSmith & Kraus, Inc.December 2009Drama Anthologies, American Drama, American Literature Anthologies3565.30 (w) x 8.40 (h) x 0.80 (d)<p>Editor Lawrence Harbison handpicks some of the finest plays by new American Playwrights from the 2008-2009 theatrical season<br> <br> The selection includes Animals Out of Paper by Rajiv Joseph whose play Bengal Tiger at the Baghdad Zoo has been nominated for a 2010 Pulitzer Prize<br> <br> AMERICAN HWANGAP—Lloyd Suh<br> It's dear old Dad's 60th birthday. Although he deserted his family years ago, they are holding a traditional Korean 60th birthday celebration (a hwangap) anyway<br> He comes back to the U.S. for his hwangap, and what ensues is funny and often quite poignant<br> "Suh strikes just the right balance between humor and deeply felt emotion"—Theatremania<br> <br> ANIMALS OUT OF PAPER—Rajiv Joseph<br> A high school teacher and Origami enthusiast is a big fan of the work of an origami artist. He asks her to tutor a gifted young student of his, who might just be the Tiger Woods of Origami!<br> <br> BEACHWOOD DRIVE—Steven Leigh Morris<br> This compelling drama centers on a Ukrainian woman working as a prostitute in Los Angeles and a LAPD detective determined to bust the gangsters with whom she is involved<br> "A police case study that is a truly chilling cautionary tale"—Backstage<br> <br> CROOKED—Catherine Trieschmann<br> Laney, a teenaged girl with a crooked spine, has moved to a new town with her mother. There, she meets another girl named Maribel, who changes her life<br> "The themes - mother-daughter tensions, adolescence itself and religion as a refuge - emerge naturally from the fluent, often funny and sometimes fearlessly cruel dialogue"—NY Times<br> <br> END DAYS—Deborah Zoe Laufer<br> The Steins are one strange American Family ...<br> Dad, Arthur, a World Trade Center survivor, suffers from terminal depression<br> Their daughter, Rachel, is an alienated goth chick, and Mom, Sylvia, thinks the Rapture is imminent. Neighbor Nelson, who dresses in Elvis' white jumpsuit, is an incorrigible optimist who loves Rachel and physics, and slowly but surely he straightens out the Stein family<br> And two of the characters, are none other than Jesus Christ and Stephen Hawking!<br> "Enormously funny, warm and uplifting"—Curtain Up<br> <br> FARRAGUT NORTH—Beau Willimon<br> This compelling drama is about skullduggery on the campaign trail<br> "Beau Willimon's juicy and timely drama is a potent reminder that, like Hollywood, politics is a high-stakes game where one wrong liaison can finish you off. It's a place where friendships and loyalties are only as deep as the next cocktail or quick jump in the sack"—NY Daily News<br> <br> JESUS HATES ME—Wayne Lemon<br> This hilarious comedy premiered at the Denver Center and has gone on to several other productions around the country<br> Set in W. Texas, it takes place at a run-down mini-golf track with a religious theme. It's called "Blood of the Lamb" and its trademark is a crucified Christ<br> "It disarms the audience with pointed one-liners and thoughtful existential observations. The audience laughs and hoots"—Variety</p><p><P>Editor Lawrence Harbison handpicks some of the finest plays by new American Playwrights from the 2008-2009 theatrical season <br><br>The selection includes Animals Out of Paper by Rajiv Joseph whose play Bengal Tiger at the Baghdad Zoo has been nominated for a 2010 Pulitzer Prize <br><br>AMERICAN HWANGAP&#151;Lloyd Suh <br>It's dear old Dad's 60th birthday. Although he deserted his family years ago, they are holding a traditional Korean 60th birthday celebration (a hwangap) anyway <br>He comes back to the U.S. for his hwangap, and what ensues is funny and often quite poignant <br>"Suh strikes just the right balance between humor and deeply felt emotion"&#151;Theatremania <br><br>ANIMALS OUT OF PAPER&#151;Rajiv Joseph <br>A high school teacher and Origami enthusiast is a big fan of the work of an origami artist. He asks her to tutor a gifted young student of his, who might just be the Tiger Woods of Origami! <br><br>BEACHWOOD DRIVE&#151;Steven Leigh Morris <br>This compelling drama centers on a Ukrainian woman working as a prostitute in Los Angeles and a LAPD detective determined to bust the gangsters with whom she is involved <br>"A police case study that is a truly chilling cautionary tale"&#151;Backstage <br><br>CROOKED&#151;Catherine Trieschmann <br>Laney, a teenaged girl with a crooked spine, has moved to a new town with her mother. There, she meets another girl named Maribel, who changes her life <br>"The themes - mother-daughter tensions, adolescence itself and religion as a refuge - emerge naturally from the fluent, often funny and sometimes fearlessly cruel dialogue"&#151;NY Times <br><br>END DAYS&#151;Deborah Zoe Laufer <br>The Steins are one strange American Family ... <br>Dad, Arthur, a World Trade Center survivor, suffers from terminal depression <br>Their daughter, Rachel, is an alienated goth chick, and Mom, Sylvia, thinks the Rapture is imminent. Neighbor Nelson, who dresses in Elvis' white jumpsuit, is an incorrigible optimist who loves Rachel and physics, and slowly but surely he straightens out the Stein family <br>And two of the characters, are none other than Jesus Christ and Stephen Hawking! <br>"Enormously funny, warm and uplifting"&#151;Curtain Up <br><br>FARRAGUT NORTH&#151;Beau Willimon <br>This compelling drama is about skullduggery on the campaign trail <br>"Beau Willimon's juicy and timely drama is a potent reminder that, like Hollywood, politics is a high-stakes game where one wrong liaison can finish you off. It's a place where friendships and loyalties are only as deep as the next cocktail or quick jump in the sack"&#151;NY Daily News <br><br>JESUS HATES ME&#151;Wayne Lemon <br>This hilarious comedy premiered at the Denver Center and has gone on to several other productions around the country <br>Set in W. Texas, it takes place at a run-down mini-golf track with a religious theme. It's called "Blood of the Lamb" and its trademark is a crucified Christ <br>"It disarms the audience with pointed one-liners and thoughtful existential observations. The audience laughs and hoots"&#151;Variety</p>
216The Vintage Book of African American PoetryMichael S. Harper0<p><P>Michael S. Harper has twice been nominated for the National Book Award.&#160;&#160;He is University Professor, Brown University, and lives in Providence, Rhode Island.<P>Anthony Walton is the recipient of a 1998 Whiting Writer's Award.&#160;&#160;He lives in Brunswick, Maine.</p>Michael S. Harper (Editor), Anthony Waltonthe-vintage-book-of-african-american-poetrymichael-s-harper97803757030030375703004$16.32PaperbackKnopf Doubleday Publishing GroupFebruary 20001Poetry Anthologies, American Poetry, American Literature Anthologies4485.19 (w) x 7.98 (h) x 0.94 (d)In <b>The Vintage Book of African American Poetry</b>, editors Michael S. Harper and Anthony Walton present the definitive collection of black verse in the United States--200 years of vision, struggle, power, beauty, and triumph from 52 outstanding poets. <p>From the neoclassical stylings of slave-born Phillis Wheatley to the wistful lyricism of Paul Lawrence Dunbar . . . the rigorous wisdom of Gwendolyn Brooks...the chiseled modernism of Robert Hayden...the extraordinary prosody of Sterling A. Brown...the breathtaking, expansive narratives of Rita Dove...the plaintive rhapsodies of an imprisoned Elderidge Knight . . . The postmodern artistry of Yusef Komunyaka.&nbsp;&nbsp;Here, too, is a landmark exploration of lesser-known artists whose efforts birthed the Harlem Renaissance and the Black Arts movements--and changed forever our national literature and the course of America itself.</p> <p>Meticulously researched, thoughtfully structured, <b>The Vintage Book of African-American Poetry</b> is a collection of inestimable value to students, educators, and all those interested in the ever-evolving tradition that is American poetry.</p><b>"The Slave's Complaint"<br> by George Moses Horton (1797?-1883?)</b> <p>Am I sadly cast aside,<br> On misfortune's rugged tide?<br> Will the world my pains deride<br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Forever?</p> <p>Must I dwell in Slavery's night,<br> And all pleasure take its flight,<br> Far beyond my feeble sight,<br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Forever?</p> <p>Worst of all, must hope grow dim,<br> And withhold her cheering beam?<br> Rather let me sleep and dream<br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Forever!</p> <p>Something still my heart surveys,<br> Groping through this dreary maze;<br> Is it Hope?--they burn and blaze<br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Forever!</p> <p>Leave me not a wretch confined,<br> Altogether lame and blind--<br> Unto gross despair consigned,<br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Forever!</p> <p>Heaven! in whom can I confide?<br> Canst thou not for all provide?<br> Condescend to be my guide<br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Forever:</p> <p>And when this transient life shall end,<br> Oh, may some kind, eternal friend Bid me from servitude ascend,<br> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Forever!</p> <p class="null1">"Learning to Read"<br> by Frances E.W. Harper (1825-1911)</p> <p>Very soon the Yankee teachers<br> &nbsp;&nbsp;&nbsp;Came down and set up school;<br> But, oh! how the Rebs did hate it,--<br> &nbsp;&nbsp;&nbsp;It was agin' their rule.</p> <p>Our masters always tried to hide<br> &nbsp;&nbsp;&nbsp;Book learning from our eyes;<br> Knowledge didn't agree with slavery--<br> &nbsp;&nbsp;&nbsp;'Twould make us all too wise.</p> <p>But some of us would try to steal<br> &nbsp;&nbsp;&nbsp;A little from the book,<br> And put the words together,<br> &nbsp;&nbsp;&nbsp;And learn by hook or crook.</p> <p>I remember Uncle Caldwell,<br> &nbsp;&nbsp;&nbsp;Who took pot-liquor fat And greased the pages of his book,<br> &nbsp;&nbsp;&nbsp;And hid it in his hat.</p> <p>And had his master ever seen<br> &nbsp;&nbsp;&nbsp;The leaves upon his head,<br> He'd have thought them greasy papers,<br> &nbsp;&nbsp;&nbsp;But nothing to be read.</p> <p>And there was Mr. Turner's Ben,<br> &nbsp;&nbsp;&nbsp;Who heard the children spell,<br> And picked the words right up by heart,<br> &nbsp;&nbsp;&nbsp;And learned to read 'em well.</p> <p>Well, the Northern folks kept sending<br> &nbsp;&nbsp;&nbsp;The Yankee teachers down;<br> And they stood right up and helped us,<br> &nbsp;&nbsp;&nbsp;Though Rebs did sneer and frown.</p> <p>And, I longed to read my Bible,<br> &nbsp;&nbsp;&nbsp;For precious words it said;<br> But when I begun to learn it,<br> &nbsp;&nbsp;&nbsp;Folks just shook their heads,</p> <p>And said there is no use trying,<br> &nbsp;&nbsp;&nbsp;Oh! Chloe, you're too late;<br> But as I was rising sixty,<br> &nbsp;&nbsp;&nbsp;I had no time to wait.</p> <p>So I got a pair of glasses,<br> &nbsp;&nbsp;&nbsp;And straight to work I went,<br> And never stopped till I could read<br> &nbsp;&nbsp;&nbsp;The hymns and Testament.</p> <p>Then I got a little cabin--<br> &nbsp;&nbsp;&nbsp;A place to call my own--<br> And I felt as independent<br> &nbsp;&nbsp;&nbsp;As the queen upon her throne.</p> <p><b>George Moses Horton</b> (1797?-1883?), author of "The Slave's Complaint"</p> <p>George Moses Horton, at his best, was a poet of daring intensity and vast ambition. Born about 1797 in Northhampton County, North Carolina, he was a slave for most of his life, until Emancipation in 1865. Horton, who taught himself to read, found his way into the hearts of many unwitting belles of North Carolina through his selling of personalized love lyrics to students at nearby Chapel Hill. He furthered his education by borrowing what books he could from these students.</p> <p>Many of Horton's best poems concern the topic of slavery. His "On Hearing of the Intention of a Gentleman to Purchase the Poet's Freedom," "On Liberty and Slavery," and "The Slave's Complaint" examine the slave's position in clean and learned verses. "George Moses Horton, Myself" captures in its paced, cool contemplativeness and terse lyrics some of the unresolved strivings of the poet.</p> <p>Horton had hoped to purchase his freedom with the sales of his first book of poems, <i>The Hope of Liberty</i> (published in Raleigh in 1829), the first full volume of verse published by an African American since Phillis Wheatley's some thirty years before. But he fell short of this goal, living instead through three generations of Horton ownership.</p> <p><i>The Hope of Liberty</i> was reissued in 1837 in Philadelphia under the title <i>Poems by a Slave</i>. Horton's second volume, <i>Naked Genius,</i> came to print in 1865, the year in which he escaped to the Northern infantry then occupying Raleigh. Little was heard of Horton after this point, and it is generally assumed that he lived the remainder of his life in Philadelphia, where he died in about 1883.</p> <p><b>Frances E. W. Harper</b> (1825-1911), author of "Learning to Read"</p> <p>Frances Ellen Watkins Harper was born free in Baltimore in 1825. By the time of her death in 1911, she had become almost an institution in both literary and political circles. Harper used what seems to have been a tireless energy to publish countless poems, articles, essays, and novels examining both racial and gender division among Americans. Often thought of as the inaugural "protest poet," she presented her themes in graceful rhetoric, skillful metaphor, allusion, and allegory, embracing the demands of her craft along with the exigencies of the social moment.</p> <p>Harper worked ably and extensively in her lifetime with the Underground Railroad, the Maine Anti-Slavery Society, the Women's Christian Temperance movement, the African Methodist Episcopal Church, the American Equal Rights Association, the Universal Peace Union, the National Council of Women, and the National Association of Colored Women. Her <i>Poems on Miscellaneous Subjects</i> was published in 1854, with a preface by William Lloyd Garrison. This volume proved so popular that it went through over twenty reprints in the author's lifetime.</p> <p>Harper was also the author of <i>Moses: A Story of the Nile,</i> published in 1869, <i>Poems</i> in 1871, and <i>Sketches of Southern Life</i> in 1873. <i>Iola Leroy,</i> one of the more widely read novels written by an African American of the nineteenth century, was published in 1893.</p><p><P>In <b>The Vintage Book of African American Poetry</b>, editors Michael S. Harper and Anthony Walton present the definitive collection of black verse in the United States&#151;200 years of vision, struggle, power, beauty, and triumph from 52 outstanding poets.<P>From the neoclassical stylings of slave-born Phillis Wheatley to the wistful lyricism of Paul Lawrence Dunbar . . . the rigorous wisdom of Gwendolyn Brooks...the chiseled modernism of Robert Hayden...the extraordinary prosody of Sterling A. Brown...the breathtaking, expansive narratives of Rita Dove...the plaintive rhapsodies of an imprisoned Elderidge Knight . . . The postmodern artistry of Yusef Komunyaka.&#160;&#160;Here, too, is a landmark exploration of lesser-known artists whose efforts birthed the Harlem Renaissance and the Black Arts movements&#151;and changed forever our national literature and the course of America itself.<P>Meticulously researched, thoughtfully structured, <b>The Vintage Book of African-American Poetry</b> is a collection of inestimable value to students, educators, and all those interested in the ever-evolving tradition that is American poetry.</p><h3>KLIATT</h3><p>This collection does a fine job of surveying the broad and diverse history of African American poetry. Major names are well represented, and new voices are also included, which many teachers and students may not have heard of yet, but will appreciate. There is a good balance of men and women, and I was especially impressed with the inclusion of many poets producing work before 1900. What makes special this collection special is the general introduction, along with the biographies that introduce the work of each poet. The introduction articulates clearly the history of African American poetry, and emphasizes the political and historical context of the poems. The editors then use the work of Sterling A. Brown as a model for investigating and understanding the work of each individual poet. Each biography provides basic facts and summary of the work, and also some evaluation of style, topic and form, which will help both students and teachers study and appreciate the poetry. There is no index, but there is an accessible, chronologically arranged table of contents at the beginning and a Selected Bibliographies section at the end. This is a valuable and inexpensive addition to all libraries, which will likely pique the interest of YA poets and non-poets alike. KLIATT Codes&#58; JSA&#151;Recommended for junior and senior high school students, advanced students, and adults. 2000, Random House/Vintage, 403p, 21cm, 99-39428, $14.00. Ages 13 to adult. Reviewer&#58; Sarah Applegate; Libn., River Ridge H.S., Lacey, WA, July 2000 (Vol. 34 No. 4)</p><article> <h4>KLIATT</h4>This collection does a fine job of surveying the broad and diverse history of African American poetry. Major names are well represented, and new voices are also included, which many teachers and students may not have heard of yet, but will appreciate. There is a good balance of men and women, and I was especially impressed with the inclusion of many poets producing work before 1900. What makes special this collection special is the general introduction, along with the biographies that introduce the work of each poet. The introduction articulates clearly the history of African American poetry, and emphasizes the political and historical context of the poems. The editors then use the work of Sterling A. Brown as a model for investigating and understanding the work of each individual poet. Each biography provides basic facts and summary of the work, and also some evaluation of style, topic and form, which will help both students and teachers study and appreciate the poetry. There is no index, but there is an accessible, chronologically arranged table of contents at the beginning and a Selected Bibliographies section at the end. This is a valuable and inexpensive addition to all libraries, which will likely pique the interest of YA poets and non-poets alike. KLIATT Codes: JSA—Recommended for junior and senior high school students, advanced students, and adults. 2000, Random House/Vintage, 403p, 21cm, 99-39428, $14.00. Ages 13 to adult. Reviewer: Sarah Applegate; Libn., River Ridge H.S., Lacey, WA, July 2000 (Vol. 34 No. 4) </article>
217Crossing the Danger Water: Three Hundred Years of African-American WritingDeirdre Mullane0Deirdre Mullane (Editor), Deirdre Mullanecrossing-the-danger-waterdeirdre-mullane97803854224370385422431$19.74PaperbackKnopf Doubleday Publishing GroupSeptember 19931Peoples & Cultures - American Anthologies, General & Miscellaneous African American History8006.10 (w) x 9.20 (h) x 1.70 (d)The history of African-American life and thought presented in this anthology represents a far-reaching written and oral tradition, which is thought-provoking, inspiring, and impressive in its breadth. It includes poetry and prose by today's best and most well-known writers. <p>Here is the most comprehensive collection of African-American writing to date and includes poetry, prose, speeches, songs, documents, and letters from the pre-Colonial era through today's best and most well-known writers. An anthology that anyone interested in the full scope of African-American history should not be without. </p><p><P>The history of African-American life and thought presented in this anthology represents a far-reaching written and oral tradition, which is thought-provoking, inspiring, and impressive in its breadth. It includes poetry and prose by today's best and most well-known writers.</p><h3>Library Journal</h3><p>This is an unusual array of writings by African Americans. Beginning with Olaudah Equiano's 1789 slave narrative and ending with Congresswoman Maxine Waters's testimony before the Senate Banking Committee in 1992 on the Los Angeles riots, this welcome anthology brings together a diversity of voices. It includes fiction, autobiography, poetry, songs, and letters by such writers as Frederick Douglass, Sojourner Truth, W.E.B. Du Bois, Zora Neale Hurston, and Richard Wright. Many topics are covered, from slavery, education, the Civil War, Reconstruction, and political issues to spirituals, songs of the Civil Rights movement, and rap music. To conclude, there's the surprising addition of Jesse Jackson's 1984 address to the Democratic National Convention. This book supersedes Richard A. Long and Eugenia W. Collier's Afro-American Writing: An Anthology of Prose and Poetry (Pennsylvania State Univ. Pr., 1985). Essential for literary collections.-- Ann Burns, ``Library Journal''</p><P><i>Introduction </i><br><b>&#160;</b><br><b>THE FIRST AFRICANS IN NORTH AMERICA&#160;</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;from <i>They Came Before Columbus</i> <br>&#160;<br><b>OLAUDAH EQUIANO&#160;</b><br><i>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;</i>from<i> The Interesting Narrative of the Life of Olaudah&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Equiano&#160;</i>or<i> Gustarus Vassa, the African </i>(1789)<i> </i><br><i>&#160;</i><br><b>EARLY SLAVE REVOLTS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Report of Governor Hunter on the New York Slave&#160;Conspiracy<i>&#160;<br></i>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;(1712)<i> </i><br><b><i>&#160;</i></b><br><b>LUCY TERRY&#160;</b><br><b>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;</b>Bars Fight<i> </i>(1761)<i> </i><br>&#160;<br><b>JUPITER HAMMON </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; An Evening Thought&#58; Salvation by Christ with Penitential&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Cries (1761) <br>&#160;<br><b>AFRICAN-AMERICANS IN THE AMERICAN REVOLUTION </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Petition of the Africans, Living in Boston (1773)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Declaration of Independence<i> </i>(1776)<br><i>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </i>Emancipation of Slaves for Military Service During the American&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Revolution (1783)<br>&#160;<br><b>PHILLIS WHEATLEY </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; On Being Brought from AFRICA to AMERICA (1773)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; On Imagination (1773)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; To the Right Honourable WILLIAM, Earl of DARTMOUTH, His&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Majesty&rsquo;s Principal Secretary of State for North America (1773)<br><i>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; </i>Letter to Samson Occom (1774)<br>&#160;<br><b>BENJAMIN BANNEKER </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Letter to Thomas Jefferson<i> </i>(1791)<br><b>&#160;</b><br><b>SLAVE REVOLTS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Testimony on Gabriel&rsquo;s Revolt (1800)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Testimony on the Vesey Conspiracy (1822)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Letter from a Slave Rebel (1793)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Letter from a Slave Rebel in Georgia (1810)<br><b>&#160;</b><br><b>THE FOUNDING OF THE AFRICAN-AMERICAN PRESS</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Editorial from the First Edition of <i>Freedom&rsquo;s Journal</i> (1827) <br><b>&#160;</b><br><b>THE COLONIZATION DEBATE </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Argument For (1829)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Argument Against (1827)<br>&#160;<br><b>DAVID WALKER </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from Walker&rsquo;s <i>Appeal in Four Articles </i>. . . (1829)<br>&#160;<br><b>NAT TURNER</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>The Confessions of Nat Turner</i> (1831)<br>&#160;<br><b>GEORGE MOSES HORTON </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; <i>&#160;</i>The Slave&rsquo;s Complaint (1829) <br>&#160;<br><b>THE AMISTAD CASE</b> (1839)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; United States Appallants v. the Libellants and Claimants of the&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Schooner Amistad (1841) <br>&#160;<br><b>THE CONVENTION MOVEMENT</b>, 1830&ndash;1864 <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; An Address to the Colored People of the United States, from&#160;the<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Colored National Convention of 1848 <br>&#160;<br><b>HENRY HIGHLAND GARNET </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; An Address to the Slaves of the United States of America (1843) <br><b>&#160;</b><br><b>MARTIN DELANY </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>The Condition, Elevation, and Destiny of the Colored&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;People of&#160;the United States, Politically Considered</i> (1852)&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Declaration of&#160;the Principles of the National Emigration&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Convention (1854) <br><b>&#160;</b><br><b>THE CASE OF DRED SCOTT </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Dred Scott&rsquo;s Petition for Freedom (1847) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Reaction of the Dred Scott Decision (1857) <br>&#160;<br><b>FREDERICK DOUGLASS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>Narrative of the Life of Frederick Douglass</i> (1845)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Letter to Thomas Auld (1848) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; What to the Slave Is the Fourth of July? (1852)<br>&#160;<br><b>HARRIET JACOBS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Jealous Mistress&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;from <i>Incidents in the Life of a Slave Girl</i> (1861) <br>&#160;<br><b>WILLIAM WELLS BROWN </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; From <i>Clotel&#58; </i>or, <i>The President&rsquo;s Daughter&#58; A Narrative of&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Slave Life&#160;in the United States</i> (1853)<br>&#160;<br><b>HARRIET E. WILSON </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>Our Nig</i> (1859)<br>&#160;<br><b>SOJOURNER TRUTH </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Address to the Ohio Women&rsquo;s Rights Convention (1851)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Address to the First Annual Meeting of the American Equal Rights&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Association (1867)<br><b>&#160;</b><br><b>HARRIET TUBMAN </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>Harriet Tubman&#58; The Moses of Her People</i> (1886)<br>&#160;<br><b>FRANCES ELLEN WATKINS HARPER </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Bury Me in a Free Land (1854)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Slave Mother (1854) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; A Double Standard <br>&#160;<br><b>JOHN BROWN&rsquo;S RAID AT HARPERS FERRY </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Letter from John A. Copeland (1859)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Letter to John Brown for Frances Harper (1860)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; On John Browns&rsquo;s Raid (1859) <br>&#160;<br><b>EMANCIPATION PROCLAMATION </b><br>&#160;<br><b>THE NEW YORK DRAFT RIOTS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; An Eyewitness Account (1863) <br>&#160;<br><b>HENRY HIGHLAND GARNET</b> <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; A Memorial Discourage Delivered in the Hall of the House of&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Representatives (1865) <br><b>&#160;</b><br><b>AFRICAN-AMERICANS IN THE CIVIL WAR </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Men of Color, to the Arms! (1863) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Camp Diary (1863) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Struggle for Pay (1864) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Farewell Address to the Troops (1866) <br>&#160;<br><b>FOLK CULTURE AND LITERATURE </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Slave Song <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Promises of Freedom&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Slave Marriage Ceremony Supplement&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Plantation Proverbs&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Aphorisms&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;All God&rsquo;s Chillen Had Wings&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;John Henry&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;The Signifying Monkey&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Stackalace&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Shine and the Titanic&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Easy Rider&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Joe Turner&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;St. Louis Blues&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Joe Turner Blues&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Beale Street Blues <br>&#160;<br><b>SPIRITUALS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Go Down, Moses<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Who&rsquo;ll Be a Witness for My Lord?<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Joshua Fit de Battle ob Jerico <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; I Got a Home in Dat Rock <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Roll Jordan, Roll <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; My Way&rsquo;s Cloudy <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Steal Away to Jesus <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; I Know Moon-Rise <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Deep River <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Down in the Valley <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Swing Low Sweet Chariot <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Ride In, Kind Savior<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; My Army Cross Over<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Many Thousand Gone <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; We&rsquo;ll Soon Be Free <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; I Thank God I&rsquo;m Free at Las&rsquo; <br>&#160;<br><b>THE CIVIL WAR AMENDENTS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Thirteenth Amendment (1865)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Fourteenth Amendment (1868) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Fifteenth Amendment (1870)<br><b>&#160;</b><br><b>RECONSTRUCTION </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Freedman&rsquo;s Bureau (1865)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; South Carolina Black Code (1864-1865)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Frederick Douglass&rsquo;s Speech to the Thirty-second Annual&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Convention&#160;of the American Anti-Slavery Society (1865)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Blanche K. Bruce&rsquo;s Speech to the United States Senate (1876)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Henry M. Turner&rsquo;s Speech to the Georgia Legislature (1868) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Petition from Kentucky Citizens of Ku Klux Klan (1871)<br>&#160;<br><b>THE EXODUSTERS</b> <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; News Accounts from the Black Press (1879&ndash;1886) <br>&#160;<br><b>CHARLES W. CHESNUTT</b> <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Po&rsquo; Sandy &#160;&#160;&#160;&#160;&#160;&#160; <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Wife of His Youth <br>&#160;<br><b>PAUL LAURANCE DUNBAR</b> <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; We Wear the Mask <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Sympathy <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; A Negro Love Song <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Poet <br>&#160;<br><b>BOOKER T. WASHINGTON </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>Up from Slavery</i> (1901)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Atlanta Exposition Address (1895)<br>&#160;<br><b>W. E. B Du BOIS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>The Souls of Black Folk</i> (1903)&#160; <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Talented Tenth (1903)<br>&#160;<br><b>IDA WELLS-BARNETT </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>A Red Record</i> (1895)<br>&#160;<br><b>MARY CHURCH TERRELL </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; What Role Is the Educated Negro Women to Play in the Uplifting<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;of&#160;Her Race? (1902)<br>&#160;<br><b>ANNA JULIA COPPER </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; &#160;from <i>A Voice in the South</i> (1892) <br>&#160;<br><b>PLESSY V. FERGUSON (1896) </b><br>&#160;<br><b>THE NIAGARA MOVEMENT (1905) </b><br><b>&#160;</b><br><b>THE FOUNDING OF THE NAACP </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Principles of the NAACP (1911)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Crisis (1910) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Agitation (1910) <br>&#160;<br><b>JACK JOHNSON &#160;&#160;&#160; </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Prize Fighter (1941)<br><b>&#160;</b><br><b>JAMES WELDOM JOHNSON </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Lift Ev&rsquo;ry Voice and Sing (1900)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>The Autobiography of an Ex-Coloured Man</i> (1912)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; O Black and Unknown Bards (1917)<br><b>&#160;</b><br><b>THE GREAT MIGRATION, 1910&ndash;1920</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Letters and Articles from <i>The Chicago Defender</i> <br>&#160;<br><b>RED SUMMER OF 1919</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; A Directive of French Troops (1918) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Returning Soldiers (1919)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Three Hundred Years (1919)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Claude McKay, If We Must Die! (1919)<br>&#160;<br><b>MARCUS GARVEY </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Declaration of the Rights of the Negro Peoples of the World&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;(1920)<br>&#160;<br><b>ALAIN LOCKE </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The New Negro (1925)<br>&#160;<br><b>CLAUDE MCKAY </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Harlem Dancer <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Spring in New Hampshire <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Lynching <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Tiger <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The White City <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Tropics in New York <br><b>&#160;</b><br><b>LANGSTON HUGHS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; I, Too (1925) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Negro Speaks of Rivers (1926)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Negro Artists and the Racial Mountain (1926)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Harlem (1951) <br><b>&#160;</b><br><b>JEAN TOOMER </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>Cane</i> <br>&#160;<br><b>COUNTEE CULLEN</b> <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Yet Do I Marvel (1925) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Heritage ( 1925) <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; From the Dark Tower (1925) <br>&#160;<br><b>ZORA NEALE HUSTON </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Sweat (1926) <br><b>&#160;</b><br><b>THE SCOTTSBORO CASES</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Appeal of the Scottsboro Boys (1932)<br>&#160;<br><b>JOE LOUIS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Joe Louis Uncovers Dynamite (1935)<br>&#160;<br><b>STERLING BROWN </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Strong Men (1932)<br><b>&#160;</b><br><b>ROBERT HAYDEN</b> <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Frederick Douglass <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Middle Passage <br>&#160;<br><b>RICHARD WRIGHT </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Ethics of Living Jim Crow&#58; An Autobiographical Sketch&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;(1937) <br>&#160;<br><b>PHILLIP RANDOLPH AND THE MARCH ON WASHINGTON MOVEMENT </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Program of the March on Washington Movement (1942)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Executive Order 8802 (1941)<br>&#160;<br><b>TRUMAN INTEGRATES THE MILITARY </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Executive Order 9981 (1948)<br>&#160;<br><b>PAUL ROBESON </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Statement to the House Un-American Activities Committee (1956) <br><b>&#160;</b><br><b>GWENDOLYN BROOKS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Mother <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; We Real Cool <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The Chicago Defender Sends a Man to Little Rock <br>&#160;<br><b>RALPH ELLISON </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>Invisible Man</i> (1952)<br>&#160;<br><b>JAMES BALDWIN </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Notes of a Native Son (1955) <br>&#160;<br><b>BROWN V. BOARD OF EDUCATION OF TOPEKA </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; NAACP Brief (1953)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; <i>Brown v. Board of Education of Topeka</i> (1954)<br>&#160;<br><b>MARTIN LUTHER KING. JR</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Letter from Birmingham City Jail (1963)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; I Have a Dream (1963)<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; <br><b>SONGS OF THE CIVIL RIGHTS MOVEMENT </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; We Shall Overcome <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; O Freedom <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Keep Your Eyes on the Prize <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Ain&rsquo;t Gonna let Nobody Turn Me &lsquo;Round <br><b>&#160;</b><br><b>KWANZAA</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; <br><b>MALCOM X</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>The Autobiography of Malcom X</i> (1965)<br>&#160;<br><b>ELDRIDGE CLEAVER </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>Soul on Ice <br></i><b>&#160;</b><br><b>THE BLACK PANTHER PARTY </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Black Panther Party Platform (1966)<br>&#160;<br><b>AMIRI BARAKA </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Preface to a Twenty Volume Suicide Note <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; State/ment <br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Ka &rsquo;Ba <br><b>&#160;</b><br><b>THE KERNER COMMISSION </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from The Kerner Commission Report (1968)<br><b>&#160;</b><br><b>AFRICAN AMERICANS IN THE VIETNAM WAR </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Selections from <i>Bloods</i> <br><b>&#160;</b><br><b>MAYA ANGELOU</b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>I Know Why the Caged Bird Sings </i>(1970)<br>&#160;<br><b>ALICE WALKER </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; from <i>In Search of Our Mother&rsquo;s Gardens&#58; Womanist Prose</i>&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;(1974)<br>&#160;<br><b>JESSE JACKSON </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Address to the Democratic National Convention (1984)<br>&#160;<br><b>RAP MUSIC </b><br><b>&#160;</b><br><b>THE CLARENCE THOMAS CONFIRMATION HEARING </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Clarence Thomas&rsquo;s Second Statement to the&#160;Senate Judiciary&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Committee (1991)<br><b>&#160;</b><br><b>THE L.A RIOTS </b><br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; Congresswomen Maxine Waters&rsquo;s Testimony Before the Senate&#160;<br>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;Banking Committee (1992) <br>&#160;<br><i>Selected Bibliography</i><br><i>Acknowledgements </i><br><i>Selected Index </i><article> <h4>Library Journal</h4>This is an unusual array of writings by African Americans. Beginning with Olaudah Equiano's 1789 slave narrative and ending with Congresswoman Maxine Waters's testimony before the Senate Banking Committee in 1992 on the Los Angeles riots, this welcome anthology brings together a diversity of voices. It includes fiction, autobiography, poetry, songs, and letters by such writers as Frederick Douglass, Sojourner Truth, W.E.B. Du Bois, Zora Neale Hurston, and Richard Wright. Many topics are covered, from slavery, education, the Civil War, Reconstruction, and political issues to spirituals, songs of the Civil Rights movement, and rap music. To conclude, there's the surprising addition of Jesse Jackson's 1984 address to the Democratic National Convention. This book supersedes Richard A. Long and Eugenia W. Collier's Afro-American Writing: An Anthology of Prose and Poetry (Pennsylvania State Univ. Pr., 1985). Essential for literary collections.-- Ann Burns, ``Library Journal'' </article>
2182007: The Best Ten-Minute Plays for Two ActorsLawrence Harbison0Lawrence Harbison, D. L. Lepidus2007lawrence-harbison97815752558971575255898$18.76PaperbackSmith & Kraus, Inc.April 2008New EditionDrama Anthologies, American Drama, American Literature Anthologies2565.30 (w) x 8.40 (h) x 0.70 (d)These terrific and richly varied collections of plays were either produced during the 2006 theatrical season or written expressly for these volumes. Some are by well-known playwrights, but most are from "new voices" in the theater. Also, most of these plays feature characters who are 35 or younger, which we know will appeal to both acting students looking for plays to work on in class and young actors looking for plays to do in showcases. <p>A partial list includes:</p> <p><i>ALL IN A DAY'S WORK</i>. M. Lynda Robinson<br> <i>AMERICAN FLAG</i> Sylvia Reed<br> <i>ARMS</i> Bekah Brunstetter<br> <i>CRIMES AGAINST HUMANITY</i> Ross Maxwell<br> <i>EVERYTHING IN BETWEE</i>. Shannon Murdoch<br> <i>FALLOUT</i> Sheldon W. Senek<br> <i>HEARTBREAKER</i> Michael Golamco<br> <i>PIE AND THE SKY</i> Vanessa David<br> <i>PRIZE INSIDE</i> Peter Hanrahan<br> <i>THE REMOTE</i> Mark Harvey Levine<br> <i>RIGHT SENSATION</i> Rich Orloff<br> <i>A RUSH OF WINGS</i> Mrinalini Kanath<br> <i>SOMETIMES ROMEO IS SAD</i> Suzanne Bradbeer<br> <i>SUPERHERO</i> Mark Harvey Levine<br> <i>BE THE HUNTER</i> Tom Coash<br> <i>THE BOX</i> Dan Aibel<br> <i>BRUSHSTROKE</i> John Shanahan<br> <i>CAVE KREWE</i> Kara Lee Corthron<br> <i>COCKTAIL CONVERSATION</i> Andrew Biss<br> <i>NORMAL</i> Jami Brandli<br> <i>THE STREAK</i> Gary Richards<br> <i>THE DRESS REHEARSAL</i> Marisa Smith<br> <i>HANGING ON</i> Claudia Haas<br> <i>MY BOYFRIEND'S WIFE</i> Barbara Lindsay<br> <i>THE PLOT</i> Mark Troy<br> <i>PRIZED BEGONIAS</i> Bara Swain<br> <i>PUMPKIN PATCH</i> Patrick Gabridge<br> <i>STOP, RAIN</i> Patrick Gabridge<br> <i>THE THERAPEUTIC HOUR</i> Guy Fredrick Glass<br> <i>THE VAN BUREN CLOAK ROOM</i> Adam Kraar</p><p>These terrific and richly varied collections of plays were either produced during the 2006 theatrical season or written expressly for these volumes. Some are by well-known playwrights, but most are from "new voices" in the theater. Also, most of these plays feature characters who are 35 or younger, which we know will appeal to both acting students looking for plays to work on in class and young actors looking for plays to do in showcases.<P>A partial list includes&#58;<P><I>ALL IN A DAY'S WORK</I>. M. Lynda Robinson<br><I>AMERICAN FLAG</I> Sylvia Reed<br><I>ARMS</I> Bekah Brunstetter<br><I>CRIMES AGAINST HUMANITY</I> Ross Maxwell<br><I>EVERYTHING IN BETWEE</I>. Shannon Murdoch<br><I>FALLOUT</I> Sheldon W. Senek<br><I>HEARTBREAKER</I> Michael Golamco<br><I>PIE AND THE SKY</I> Vanessa David<br><I>PRIZE INSIDE</I> Peter Hanrahan<br><I>THE REMOTE</I> Mark Harvey Levine<br><I>RIGHT SENSATION</I> Rich Orloff<br><I>A RUSH OF WINGS</I> Mrinalini Kanath<br><I>SOMETIMES ROMEO IS SAD</I> Suzanne Bradbeer<br><I>SUPERHERO</I> Mark Harvey Levine<br><I>BE THE HUNTER</I> Tom Coash<br><I>THE BOX</I> Dan Aibel<br><I>BRUSHSTROKE</I> John Shanahan<br><I>CAVE KREWE</I> Kara Lee Corthron<br><I>COCKTAIL CONVERSATION</I> Andrew Biss<br><I>NORMAL</I> Jami Brandli<br><I>THE STREAK</I> Gary Richards<br><I>THE DRESS REHEARSAL</I> Marisa Smith<br><I>HANGING ON</I> Claudia Haas<br><I>MY BOYFRIEND'S WIFE</I> Barbara Lindsay<br><I>THE PLOT</I> Mark Troy<br><I>PRIZED BEGONIAS</I> Bara Swain<BR><I>PUMPKIN PATCH</I> Patrick Gabridge<br><I>STOP, RAIN</I> Patrick Gabridge<br><I>THE THERAPEUTIC HOUR</I> Guy Fredrick Glass<br><I>THE VAN BUREN CLOAK ROOM</I> Adam Kraar</p></p>Plays for One Man and One Woman<br> ALL IN A DAY'S WORK, M. Lynda Robinson <br> AMERICAN FLAG, Sylvia Reed <br> ARMS, Bekah Brunstetter <br> CRIMES AGAINST HUMANITY, Ross Maxwell <br> EVERYTHING IN BETWEEN, Shannon Murdoch<br> FALLOUT, Sheldon W. Senek <br> HEARTBREAKER, Michael Golamco <br> PIE AND THE SKY, Vanessa David <br> PRIZE INSIDE, Peter Hanrahan <br> THE REMOTE, Mark Harvey Levine <br> RIGHT SENSATION, Rich Orloff <br> A RUSH OF WINGS, Mrinalini Kanath <br> SOMETIMES ROMEO IS SAD, Suzanne Bradbeer<br> SUPERHERO, Mark Harvey Levine <br> <br>Plays for Two Men<br> BE THE HUNTER, Tom Coash <br> THE BOX, Dan Aibel <br> BRUSHSTROKE, John Shanahan <br> CAVE KREWE, Kara Lee Corthron <br> COCKTAIL CONVERSATION, Andrew Biss <br> NORMAL, Jami Brandli <br> THE STREAK, Gary Richards <br> <br>Plays for Two Women<br> THE DRESS REHEARSAL, Marisa Smith<br> HANGING ON, Claudia Haas <br> MY BOYFRIEND'S WIFE, Barbara Lindsay<br> THE PLOT, Mark Troy <br> PRIZED BEGONIAS, Bara Swain<br> PUMPKIN PATCH, Patrick Gabridge <br> STOP, RAIN, Patrick Gabridge <br> THE THERAPEUTIC HOUR, GuyFredrick Glass <br> THE VAN BUREN CLOAK ROOM, Adam Kraar<p>
219The Hudson River Valley ReaderEdward C. Goodman0<p><P>Edward C Goodman is the General&nbsp; Editor of the Avery Index to Architectural Periodicals at Columbia University. He edited Carl Sanburg's <i>Abraham Lincoln&#58; The Illustrated Edition</i> and <i>Fire!&#58; The 100 Most Devastating Fires</i></p>Edward C. Goodmanthe-hudson-river-valley-readeredward-c-goodman97816043303731604330376$19.95HardcoverCider Mill PressMarch 2009History, United States<p><P>2009 marks the 400th Anniversary of the exploration of the Hudson River and it's valley, which was first discovered by Henry Hudson in 1609 while about the ship Half Moon. This literary anthology covers the history and literary heritage of the valley through its many lives.<P>&nbsp;<P>The book begins with a natural history of the valley, from it's creation, carved out my mighty glaciers between the Catskill and Berkshire mountain ranges all the way to its existing geography.<P>&nbsp;<P>The second part is a literary homage to the river and the valley including works by John Burroughs, Washington Irving, James Fennimore Cooper and many others.<br></p>
220Three Centuries of American PoetryAllen Mandelbaum0Allen Mandelbaum (Editor), Robert D. Richardsonthree-centuries-of-american-poetryallen-mandelbaum97805533751830553375180PaperbackRandom House Publishing GroupMarch 1999Poetry, Anthologies (multiple authors)<p>A comprehensive overview of America's vast poetic heritage, <b>Three Centuries of American Poetry</b> features the work of some 150 of our nation's finest writers. It includes selections from Anne Bradstreet, Ralph Waldo Emerson, Henry Wadsworth Longfellow, Emily Dickinson, Edgar Allan Poe, Walt Whitman, T. S. Eliot, Ezra Pound, William Carlos Williams, e. e. cummings, Wallace Stevens, Robert Frost, and Gertrude Stein, as well as significant works of lesser-known American poets.<p>From the Revolutionary and Civil Wars to the Romantic Era and the Gilded and Modern Ages, this unrivaled anthology also presents a memorable array of rare ballads, songs, hymns, spirituals, and carols that echo through our nation's history. Highlights include Native American poems, African American writings, and the works of Quakers, colonists, Huguenots, transcendentalists, scholars, slaves, politicians, journalists, and clergymen.<p>These discerning selections demonstrate that the American canon of poetry is as diverse as the nation itself, and constantly evolving as we pass through time. Most important, this collection strongly reflects the peerless stylings that mark the American poetic experience as unique. Here, in one distinguished volume, are the many voices of the New World.</p><h3>Library Journal</h3><p>In the exceedingly brief, almost offhand introduction to this chunky anthology, the editors assert that "there ain't no canon," and that their aim is to hold out "an invitation to the reader of today and to those poets whose names we do not yet know." Such sloppy vagaries aside, one assumes that their intent is to represent diversity of a sort, but in fact two-thirds of the volume is made up of 19th-century poetry covered far more thoroughly in the Library of America's American Poetry: The Nineteenth Century (LJ 9/1/93), and no rationale is given for the rather strange cut-off date of 1923--unless it has something to do with copyright. There are the usual heavy doses of Whitman, Dickinson, and Stevens, a smattering of spirituals, popular song lyrics, and Native American poems, along with an occasional dash of obscure names such as Ellen Sturgis Hooper and Lucretia Davidson. But given its lack of headnotes or other supporting scholarly materials, this is yet one more hastily contrived, redundant anthology no one has been waiting for. Not recommended.--Fred Muratori, Cornell University Lib., Ithaca, NY</p><P>Acknowledgments vii<P>Introductions&#58;<br>On the Canon of American Poetry xxxi Of Those &quot;Who Live and Speak for Aye&quot; xxxiii<P>I - THE COLONIAL ERA&#58; TO 1775<P>JOHN SMITH The Sea Marke 3<P>ROGER WILLIAMS Of Eating and Entertainment 3<P>ANNE BRADSTREET The Author to Her Book 4<br>To My Dear and Loving Husband 5<br>Some Verses upon the Burning of Our House, July 10th, 1666 5<br>Epitaphs for Queen Elizabeth 6<br>Contemplations 7<br>from The Four Ages of Man Old Age 14<br>The Prologue 14<br>Anagrams 16<P>MICHAEL WIGGLESWORTH from The Day of Doom 16<P>JOHN COTTON OF 'QUEEN'S CREEK'<br>Bacons Epitaph 18<P>EDWARD TAYLOR Prologue 19<br>from Gods Determinations The Preface 20<br>from Preparatory Meditations&#58; First Series The Reflexion 21<br>Meditation 6 22<br>Meditation 8 23<br>from Meditation 22 24<br>from Preparatory Meditations&#58; Second Series from Meditation 7 25<br>from Meditation 35 25<br>from Meditation 36 26<br>from Meditation 43 26<br>from Meditation 77 27<br>The Likenings of Edward Taylor&#58; A Gathering of Tropes from Preparatory Meditations&#58; First Series from Meditation 3 28<br>from Meditation 39 29<br>from Preparatory Meditations&#58; Second Series from Meditation 5 29<br>from Meditation 18 30<br>from Meditation 25 30<br>from Meditation 67B 31<br>from Meditation 75 32<br>from Miscellaneous Poems Upon a Spider Catching a Fly 33<br>Huswifery 34<br>Upon Wedlock, And Death of Children 35<P>RICHARD STEERE from A Monumental Memorial of Marine Mercy 36<P>THOMAS MAULE To Cotton Mather, from a Quaker 37<P>EBENEZER COOKE from The Sot-weed Factor 38<P>BENJAMIN FRANKLIN Epitaph in Bookish Style. 39<P>JANE COLMAN TURELL You Beauteous Dames 40<br>from An Invitation into the Country 41<P>ANONYMOUS The Cameleon Lover (1732) 41<br>The Cameleon's Defence (1732) 42<P>FRANCIS HOPKINSON O'er the Hills 42<P>DANIEL BLISS Epitaph of John Jack 43<P>ANONYMOUS The Country School 43<br>Songs and Hymns&#58; To 1775<br>The Lord to Mee a Shepherd Is (The Bay Psalm Book, 1640) 45<br>A Whaling Song (John Osborn, n.d.) 46<br>Christ the Apple-Tree (Anonymous, 1761) 47<br>Springfield Mountain (Irma Townsend Ireland, 1761) 48<br>Let Tyrants Shake (William Billings, 1770) 49<br>Wak'd by the Gospel's Joyful Sound (Samson Occom, 1774) 50<P>II - REVOLUTION AND THE EARLY REPUBLIC&#58; 1775-1825<P>JOHN TRUMBULL from M'Fingal 55<br>from The Town-Meeting, a.m. 55<P>PHILIP FRENEAU from George the Third's Soliloquy 57<br>from The House of Night&#151;A Vision 58<br>from The British Prison Ship 60<br>The Vanity of Existence&#151;To Thyrsis 61<br>The Hurricane 62<br>The Wild Honey Suckle 63<br>The Indian Burying Ground 63<br>On the Uniformity and Perfection of Nature 64<br>Epitaph for Jonathan Robbins 65<P>PHILLIS WHEATLEY To the University of Cambridge in New England, America 67<br>America 68<P>JOEL BARLOW from The Hasty Pudding 69<br>from The Vision of Columbus 72<br>from The Columbiad 74<P>SONGS AND HYMNS&#58; 1775-1825<br>Yankee Doodle (Anonymous, 1776) 76<br>The Yankee Man-of-War (Anonymous, 1778) 77<br>See! How the Nations Rage Together (Richard Allen, 1801) 78<br>I Love Thy Kingdom, Lord (Timothy Dwight, 1801) 80<br>Poor Wayfaring Stranger (Anonymous, n.d.) 81<br>Walk Softly (Shaker Hymn, n.d.) 81<br>I Will Bow and Be Simple (Shaker Hymn, n.d.) 82<br>Home, Sweet Home (John Howard Payne, 1823) 82<br>Oh Thou, to Whom in Ancient Time (John Pierpont, 1824) 82<P>III - YOUNG AMERICA&#58; THE ROMANTIC ERA&#58; 1826-1859<P>WILLIAM CULLEN BRYANT Thanatopsis 87<br>from The Prairies 89<br>Green River 90<br>To Cole, the Painter, Departing for Europe 91<P>LYDIA H. SIGOURNEY The Indian's Welcome to the Pilgrim Fathers 92<br>from The Stars 93<br>Death of an Infant 94<P>GEORGE MOSES HORTON Early Affection 94<P>EDWARD COOTE PINKNEY On Parting 95<P>RALPH WALDO EMERSON The Sphinx 96<br>Each and All 99<br>Hamatreya 100<br>The Rhodora 102<br>The Snowstorm 102<br>Ode Inscribed to W. H. Channing 103<br>Give All to Love 106<br>Bacchus 107<br>Blight 109<br>Dirge 110<br>Threnody 112<br>Concord Hymn 118<br>Brahma 119<br>Boston Hymn 119<br>Days 122<br>Terminus 122<br>Experience 123<br>from Quatrains Poet [I] 124<br>Poet [II] 124<br>Shakspeare 124<br>Memory 124<br>Climacteric 124<br>Unity 125<br>Circles 125<br>from Life 125<br>from The Exile 125<P>SARAH HELEN WHITMAN from The Past 126<br>To&#151;&#151;&#151; 126<P>ELIZABETH OAKES-SMITH Annihilation 127<P>JOHN GREENLEAF WHITTIER Telling the Bees 127<br>from Snow-Bound&#151;A Winter Idyl 129<br>Ichabod 134<br>The Fruit Gift 135<P>ABRAHAM DAVENPORT The Slave-Ships 137<br>The Christian Slave 141<br>from Yorktown 142<P>HENRY WADSWORTH LONGFELLOW Hymn to the Night 143<br>A Psalm of Life 144<br>The Wreck of the Hesperus 145<br>Excelsior 148<br>The Slave in the Dismal Swamp 149<br>The Warning 150<br>The Arrow and the Song 150<br>Mezzo Cammin 151<br>from Fragments December 18, 1847 151<br>August 4, 1856 151<br>Elegaic Verse XII 151<br>Jugurtha 152<br>The Cross of Snow 152<br>The Sound of the Sea 152<br>Chaucer 153<br>Divina Commedia 153<br>Snow-flakes 155<br>The Children's Hour 156<br>Sandalphon 157<br>My Lost Youth 159<br>Haunted Houses 161<br>from Evangeline 162<br>from The Song of Hiawatha Hiawatha's Fasting 163<br>The Jewish Cemetery at Newport 167<br>from Michael Angelo&#58; A Fragment from Monologue&#58; The Last Judgment 169<br>from In the Coliseum 169<br>from From the Anglo-Saxon The Grave 170<br>from Tales of a Wayside Inn The Landlord's Tale&#58; Paul Revere's Ride 171<br>The Spanish Jew's Tale&#58; The Legend of Rabbi Ben Levi 174<br>The Spanish Jew's Tale&#58; Azrael 176<br>Delia 177<br>Dedication 177<P>LUCRETIA DAVIDSON The Fear of Madness 177<P>EDGAR ALLAN POE Sonnet&#151;to Science 178<br>To Helen 178<br>Israfel 179<br>The City in the Sea 180<br>The Haunted Palace 181<br>Sonnet, Silence 183<br>The Conqueror Worm 183<br>Lenore 184<br>The Raven 185<br>Ulalume&#151;A Ballad 189<br>The Bells 191<br>A Dream Within a Dream 194<br>For Annie 195<br>Eldorado 197<br>Annabel Lee 198<br>Monody on Doctor Olmsted 199<P>OLIVER WENDELL HOLMES from An After-Dinner Poem (Terpsichore) 199<br>Aestivation 201<br>Ballad of the Oysterman 201<br>The Chambered Nautilus 202<br>The Deacon's Masterpiece 203<br>The Last Leaf 206<br>Old Ironsides 207<br>Peau de Chagrin of State Street 208<br>The Poet Grows Old 208<P>THOMAS HOLLEY CHIVERS The Shell 209<P>MARGARET FULLER Let me Gather from the Earth 210<br>Winged Sphinx 210<P>FRANCES S. OSGOOD He Bade me be Happy 211<P>ELLEN STURGIS HOOPER I Slept and Dreamed 211<P>JONES VERY The Dead 212<br>Thy Better Self 212<br>Enoch 212<br>The Latter Rain 213<br>The Eagles 213<br>The New Man 214<P>CHRISTOPHER CRANCH Enosis 214<br>December 215<br>The Autumn Rain 216<P>HENRY DAVID THOREAU Love Equals Swift and Slow 217<br>Light-Winged Smoke 217<br>Though All the Fates 217<br>Salmon Brook 218<br>I Am a Parcel of Vain Strivings 218<br>All Things Are Current Found 219<br>My Life Has Been the Poem 220<br>Any Fool Can Make a Rule 220<br>I Am Bound, I Am Bound 220<br>The Poet's Delay 220<P>WILLIAM ELLERY CHANNING from The Earth Spirit 221<P>AMERICAN INDIAN POEMS&#58; 1826-1859<br>Chant to the Fire-fly 221<br>From the South&#58; I 222<br>From the South&#58; II 222<P>SONGS, HYMNS, CAROLS, AND PARLOR POEMS&#58; 1826-1859<br>The Lament of the Captive (Richard H. Wilde, 1819) 223<br>A Visit from St. Nicholas (Clement Moore, 1823) 223<br>The Old Oaken Bucket (Samuel Woodworth, 1826) 225<br>Mary Had a Little Lamb (Sarah Josepha Hale, 1830) 225<br>America (Samuel Francis Smith, 1831) 226<br>Woodman, Spare That Tree (George Pope Morris, 1837) 227<br>Nearer My God to Thee (Sarah F. Adams, 1841) 228<br>Old Dan Tucker (Daniel Decatur Emmett, 1841) 229<br>The Blue Tail Fly (Daniel Decatur Emmett?, 1846) 230<br>Oh, Susanna! (Stephen Foster, 1848) 231<br>Camptown Races (Stephen Foster, 1850) 232<br>It Came Upon the Midnight Clear (Edmund Hamilton Sears, 1850) 233<br>The E-ri-e (Anonymous, c.1850) 234<br>Turkey in the Straw (Anonymous, 1851) 234<br>Listen to the Mocking Bird (Septimus Winner, 1855) 235<br>Jingle Bells (John Pierpont, 1857) 236<br>The Yellow Rose of Texas (Anonymous, 1858) 237<br>Sweet Betsey from Pike (John A. Stone, 1858) 237<br>Stand Up, Stand Up for Jesus (George Duffield, Jr., 1858) 239<P>IV - THE CIVIL WAR ERA&#58; 1860-1870<P>WALT WHITMAN One's-Self I sing 243<br>To the States 243<br>The Ship Starting 243<br>Song of Myself (1891-1892 ed.) 243<br>In Paths Untrodden 291<br>I Saw in Louisiana a Live-Oak Growing 291<br>On the Beach at Night 292<br>Europe 293<br>As I Ebb'd with the Ocean of Life 294<br>The Dalliance of the Eagles 296<br>Cavalry Crossing a Ford 297<br>Vigil Strange I Kept on the Field One Night 297<br>The Wound-Dresser 298<br>When Lilacs Last in the Dooryard Bloom'd 300<br>O Captain! My Captain! 307<br>A Noiseless Patient Spider 308<br>A Prairie Sunset 308<br>The Dismantled Ship 308<br>Good-Bye My Fancy 308<P>JAMES RUSSELL LOWELL from A Fable for Critics Phoebus 309<br>Emerson 310<br>Channing and Thoreau 310<br>Alcott 311<br>Hawthorne 311<br>Cooper 312<br>Poe 313<br>Longfellow 313<br>Philothea (Lydia Child) 314<br>Holmes 317<br>Lowell 317<br>from The Biglow Papers from Introduction 318<br>The 'Cruetin Sarjunt 318<br>from Under the Willows 319<br>Aladdin 321<br>from Our Own&#151;Progression F 321<P>HERMAN MELVILLE The Portent 322<br>Misgivings 322<br>Shiloh&#58; A Requiem 323<br>The House-Top, a Night Piece 323<br>The Martyr 324<br>The Apparition&#151;A Retrospect 325<br>The Maldive Shark 325<br>To Ned 326<br>The Berg 326<br>Monody 327<br>Fragments of a Lost Gnostic Poem 328<br>The Ravaged Villa 328<br>My Jacket Old 328<br>Pontoosuc 329<br>from Clarel from The Hostel 331<br>from The Inscription 331<br>from Prelusive 332<br>from The Cypriote 333<br>from The Shepherd's Dale 334<br>from A New-Comer 334<br>from Ungar and Rolfe 335<br>Epilogue 335<P>ALICE CARY The Bridal Veil 336<P>ANN PLATO The Natives of America 337<P>JOSHUA MCCARTER SIMPSON from Away to Canada 338<P>FREDERICK GODDARD TUCKERMAN from Sonnets, First Series VI Not sometimes, but to him that heeds 339<br>from Sonnets, Second Series V No! Cover not the fault. The wise revere 340<br>VII His heart was in his garden 340<br>XVIII And change with hurried hand 340<br>from Sonnets, Fourth Series VIII Nor strange it is, to us who walk 341<br>from The Cricket 341<br>The Refrigerium 344<P>F.E.W. HARPER Bury Me in a Free Land 345<br>from Moses, A Story of the Nile The Death of Moses 346<P>LUCY LARCOM They Said 346<br>from November 347<P>CHARLES GODFREY LELAND Ballad 348<P>BAYARD TAYLOR Bedouin Song 349
221Down Time: Great Writers on DivingEd Kittrell0<p><P>Ed Kittrell is a writer and editor and an avid diver. He lives in Glenview, Illinois. Casey Kittrell and Jim Kittrell are writers and licensed scuba instructors. Jim lives in Glenview, Illinois. Casey lives in Austin, Texas.</p>Ed Kittrell, Casey Kittrell (Editor), Jim Kittrell (Editor), Casey Kittrell (Editor), Jim Kittrelldown-timeed-kittrell97809658344450965834441$1.99PaperbackLook Away BooksApril 20012Nautical & Maritime Fiction, Sports Essays, Submarines - Military History, Submarines, Oceanography, Scuba & Snorkeling, Shipwrecks & Underwater Exploration, Natural Terrain - Oceans & Seas, Literary Styles & Movements - Fiction, American Literature Antho2886.00 (w) x 9.00 (h) x 0.73 (d)<p>More than 35 passages from novelists, journalists, poets, playwrights, essayists, and scientists detail an intertwined passion for diving and the written word in this collection. From Robert Stone’s portrayal of a diver who faces the terrorizing prospect of his air running out to Clare Booth Luce's search for the treasures of the underwater realm, every passage reveals a perspective of the world that only divers have known. Humor columnist Dave Barry battles a lobster and explains why staying on the ocean’s surface is like “going to the circus and staring at the outside of a tent.” From Rangiroa to the Red Sea, from deep within caverns to the eerie light under ice, from the lethal silliness of nitrogen narcosis to the elation of soaring over unfathomable depths, every selection, like every dive, is a unique experience.</p><p>To halt and hang attached to nothing, no lines or air pipe to the surface, was a dream. . . . From this day forward we would swim across miles of country no man had known, free and level, with our flesh feeling what the fish scales know.</p> <p>I experimented with all possible maneuvers of the aqualung—loops, somersaults, and barrel rolls.&nbsp; I stood upside down on one finger and burst out laughing, a shrill distorted laugh. Nothing I did altered the automatic rhythm of air.&nbsp; Delivered from gravity and buoyancy I flew around in space."</p><p>Divers often struggle to put their experiences into words, but here are the voices of well-known writers who have ventured into the underwater world. They turn diving into a journey of the mind and spirit.--Jean-Michel Cousteau</p><h3>Magazine Rodales Scuba Diving</h3><p><i>Down Time</i> is by far the best literary collection about scuba diving that we've ever seen. Covers all the bases.</p><article> <h4>(Australia) Scuba Diver Magazine</h4>This is real life experiences and observations by writers who know how to string two words together. A truly remarkable book (that) will no doubt remain a major work in the library of the oceans. </article> <article> <h4>About.com</h4>An eclectic, inspiring collection.providing insight to the underwater world and putting into words the wonderful experience of scuba diving. A refreshing approach indeed. </article><article> <h4>Aqua Magazine</h4>Not only are the authors mindful of the ocean's awesome power, but their voices also ring true with perspectives that come only from having been `down there.' This singular anthology (is) a thorough take on the diver's world. </article> <article> <h4>Deeper Blue (London)</h4>As I turned every page I could feel the underwater world come alive. This is a must-buy for any diver or an excellent present for someone who isn't, and should be. </article> <article> <h4>DIVE Magazine (UK)</h4>There is an overwhelming sense of the sensual and intellectual joys of breathing air underwater. This entertaining book is recommended to anyone who wants to see the world of diving rendered with elegance and originality. </article> <article> <h4>Diver Magazine (UK)</h4>This collection can hardly fail to catch the imagination of any diver. It's full of good writing and, as on an absorbing drift dive, you'll find you've been swept through to the end before you know it. </article> <article> <h4>Jean-Michel Cousteau</h4>With <i>Down Time</i>, the Kittrells have achieved something big and wonderful. Divers often struggle to put their experiences into words, but here are the voices of well-known writers who have ventured into the underwater world. They turn diving into a journey of the mind and spirit. Jean-Michel Cousteau </article> <article> <h4>Magazine Dive New Zealand</h4>An absolutely fascinating collection of diving stories. This book is ideal for new and old divers alike. </article> <article> <h4>Magazine Rodales Scuba Diving</h4><i>Down Time</i> is by far the best literary collection about scuba diving that we've ever seen. Covers all the bases. </article> <article> <h4>Ocean Realm magazine</h4>Down Time offers a wealth of viewpoints and voices, all centering on the experience of being `down there.' Ocean Realm magazine </article> <article> <h4>Onscuba.com</h4>We highly recommend this book to our readers and suggest you buy a copy for your dive buddy as well. </article> <article> <h4>Sport Diver Magazine</h4>Mix the metaphors of a dozen or more great writers with the keen observations of underwater pioneers. and you've got (this) sensational collection. Will surely satisfy every diver's urge to express the beauty of our water world. </article> <article> <h4>Stan Waterman</h4>I found <i>Down Time</i> entertaining, educational (even for this veteran diver) and preeminently worthwhile for the discerning selection of its contributors. It is a bedside table book to browse and enjoy.<br> —Stan Waterman, underwater photographer and author </article> <article> <h4>Undercurrent Magazine</h4><i>Down Time</i> is an anthology of diving adventures, meditations, and yarns by the best writers around. Thrilling, funny, and original, this is terrific writing. </article>
222Blues Poems (Everyman's Library Pocket Poets)Kevin Young0Kevin Young, Kevin Youngblues-poemskevin-young97803754145890375414584$11.82HardcoverKnopf Doubleday Publishing GroupSeptember 2003Poetry Anthologies, American Poetry, Music Lyrics & Texts, African American Music, American Literature Anthologies2564.22 (w) x 6.63 (h) x 0.78 (d)Born in African American work songs, field hollers, and the powerful legacy of the spirituals, the blues traveled the country from the Mississippi delta to “Sweet Home Chicago,” forming the backbone of American music. In this anthology–the first devoted exclusively to blues poems–a wide array of poets pay tribute to the form and offer testimony to its lasting power. <p>The blues have left an indelible mark on the work of a diverse range of poets: from “The Weary Blues” by Langston Hughes and “Funeral Blues” by W. H. Auden, to “Blues on Yellow” by Marilyn Chin and “Reservation Blues” by Sherman Alexie. Here are blues-influenced and blues-inflected poems from, among others, Gwendolyn Brooks, Allen Ginsberg, June Jordan, Richard Wright, Nikki Giovanni, Charles Wright, Yusef Komunyakaa, and Cornelius Eady. And here, too, are classic song lyrics–poems in their own right–from Bessie Smith, Robert Johnson, Ma Rainey, and Muddy Waters.</p> <p>The rich emotional palette of the blues is fully represented here in verse that pays tribute to the heart and humor of the music, and in poems that swing with its history and hard-bitten hope.</p><p><P>Born in African American work songs, field hollers, and the powerful legacy of the spirituals, the blues traveled the country from the Mississippi delta to &#8220;Sweet Home Chicago,&#8221; forming the backbone of American music. In this anthology&#8211;the first devoted exclusively to blues poems&#8211;a wide array of poets pay tribute to the form and offer testimony to its lasting power.<P>The blues have left an indelible mark on the work of a diverse range of poets&#58; from &#8220;The Weary Blues&#8221; by Langston Hughes and &#8220;Funeral Blues&#8221; by W. H. Auden, to &#8220;Blues on Yellow&#8221; by Marilyn Chin and &#8220;Reservation Blues&#8221; by Sherman Alexie. Here are blues-influenced and blues-inflected poems from, among others, Gwendolyn Brooks, Allen Ginsberg, June Jordan, Richard Wright, Nikki Giovanni, Charles Wright, Yusef Komunyakaa, and Cornelius Eady. And here, too, are classic song lyrics&#8211;poems in their own right&#8211;from Bessie Smith, Robert Johnson, Ma Rainey, and Muddy Waters.<P>The rich emotional palette of the blues is fully represented here in verse that pays tribute to the heart and humor of the music, and in poems that swing with its history and hard-bitten hope.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Weary Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Morning After</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beale Street Love</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song for a Dark Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Midwinter Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Too Blue</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Note on Commercial Theatre</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tired</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Harlem Dancer</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memory Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Colored Blues Singer</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ma Rainey</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Choices</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">High Brown</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sootie Joe</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Street-level Jazz</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Funeral Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">George Robinson: Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ndesse, or "Blues"</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Guitar</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues Stanzas</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Red Clay Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The FB Eye Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dicty Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Down-home Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carry Me Back</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Let Me Tell You Blues Singers Something</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Queen of the Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">St. Louis Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crazy Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">See See Rider Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Empty Bed Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Backwater Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gimme a Pigfoot</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wild Women Don't Have the Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trouble in Mind</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jesus Make Up My Dying Bed</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Death Letter Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kindhearted Woman Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hellhound on My Trail</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love in Vain</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sent for You Yesterday</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good Morning Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hoochie Coochie Man</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hound Dog</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You Know</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Look for You Yesterday, Here You Come Today</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues Haikus</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Set. No. 2</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Master Charge Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Inflation Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woke Up Crying the Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter: Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cheating Woman Blues Haiku</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Feeling Fucked/Up</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Married Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lonesome Boy Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Concentration Camp Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Outer Space Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reservation Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bilingual Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues on Yellow</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blue</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Deep Song</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Soledad</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some Pieces</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Broom Song</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sickness Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bad Mother Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rambling</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uncle Bull-boy</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Get Away 1928</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Joe Chappel's Foot Log Bottom Blues 1952</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Swing Shift Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Any Woman's Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm a Fool to Love You</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Muddy Waters & the Chicago Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leadbelly</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Langston Hughes</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song for Langston</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Muddy Waters</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Big Mama Thornton</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem Almost Wholly in My Own Manner</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dream Song [no. 40]</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">John Berryman Listening to Robert Johnson's King of the Delta Blues, January 1972</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arrival</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Not Guilty</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bulosan Listens to a Recording of Robert Johnson</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blues Don't Change</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cinderella</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Annabelle</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For You, Sweetheart, I'll Sell Plutonium Reactors</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman, I Got the Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hard-Luck Resume</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gone Away Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Broken Back Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Narcissus Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Special Pain Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blackbottom</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Listen</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wanda's Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD></TABLE>
223Age Ain't Nothing But a Number: Black Women Explore MidlifeCarleen Brice0<p><P>Carleen Brice is the author of <i>Walk Tall&#58; Affirmations for People of Color</i>, which was a Blackboard Bestseller, and Lead Me Home&#58; An African American Guide Through the Grief Journey, and was a contributing editor for <i>R.I.P.&#58; The Complete Book of Death and Dying.</i> She has written for various publications, including <i>Mademoiselle,</i> the <i>Chicago Tribune,</i> and BET.com, and lives in Denver, Colorado.</p>Carleen Briceage-aint-nothing-but-a-numbercarleen-brice97808070282300807028231$18.95PaperbackBeaconMay 2003Middle Age, Women Authors - Literature Anthologies, Peoples & Cultures - American Anthologies, African Americans - General & Miscellaneous, Aging - General & Miscellaneous, Literature Anthologies - General & Miscellaneous, American Literature Anthologies2565.50 (w) x 8.50 (h) x 0.50 (d)Finally, a collection that celebrates, considers, contemplates, even criticizes'midlife' from a black woman's point of view. <i>Age Ain't Nothing but a Number</i> ranges over every aspect of black women's lives: personal growth, family and friendship, love and sexuality, health, beauty, illness, spirituality, creativity, financial independence, work, and scores of other topics. <p>Midlife today isn't your grandmother's'change of life.' Today, black women call hot flashes 'power surges,' and menopause, the 'pause that refreshes.' These days, middle-aged women may be newlyweds or new mothers, as well as grandmothers or widows. They may experience the empty-nest syndrome and then the 'return-to-the-nest syndrome' as adult children move back home. They may navigate the field of Internet dating, travel the world, teach homeless women, take up pottery, or study international business.</p> <p>This anthology captures all of these aspects of midlife as experienced by some of the finest voices in African-American writing today. Featuring the work of Maya Angelou, J. California Cooper, Pearl Cleage, Nikki Giovanni, Susan L. Taylor, Alice Walker, and dozens of others, Age Ain't Nothing but a Number will make readers think, laugh, and cry and will be the perfect gift book for spring.</p><p><P>Finally, a collection that celebrates, considers, contemplates, even criticizes'midlife' from a black woman's point of view. <i>Age Ain't Nothing but a Number</i> ranges over every aspect of black women's lives&#58; personal growth, family and friendship, love and sexuality, health, beauty, illness, spirituality, creativity, financial independence, work, and scores of other topics.<P>Midlife today isn't your grandmother's'change of life.' Today, black women call hot flashes 'power surges,' and menopause, the 'pause that refreshes.' These days, middle-aged women may be newlyweds or new mothers, as well as grandmothers or widows. They may experience the empty-nest syndrome and then the 'return-to-the-nest syndrome' as adult children move back home. They may navigate the field of Internet dating, travel the world, teach homeless women, take up pottery, or study international business.<P>This anthology captures all of these aspects of midlife as experienced by some of the finest voices in African-American writing today. Featuring the work of Maya Angelou, J. California Cooper, Pearl Cleage, Nikki Giovanni, Susan L. Taylor, Alice Walker, and dozens of others, Age Ain't Nothing but a Number will make readers think, laugh, and cry and will be the perfect gift book for spring.</p><h3>Library Journal</h3><p>In this anthology of essays, plus some fiction and poetry, 41 African American women share their sometimes humorous and sometimes painful experiences with middle age. Divided into four sections-"A New Attitude," "New Bones," "Roots," and "In Search of Satisfaction"-these works focus on relationships, health, spirituality, and other relevant topics. An English professor throws a ball rather than a party in honor of her 50th birthday, a poet says good-bye to her monthly cycle, two doctors discuss menopause myths, a broadcast journalist tells of the joys of adoption, and a woman's health activist comments on safe sex among seniors. Such writers as Nikki Giovanni, Diane Donaldson, Miriam Decosta-Willis, and Maya Angelou speak of the fear of aging, dealing with breast reduction surgery, facing the death of a spouse, and finding romance. Whether these women are celebrating or bemoaning the process of growing old, the result is a wonderful compilation. Recommended for women's collections and for public libraries.-Ann Burns "Library Journal" Copyright 2003 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">A New Attitude: Personal Growth and Spirituality</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Who Says an Older Woman Shouldn't Dance?</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Age</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Affirmation</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Journal (February 12, 1987)</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Unlocking Midlife</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Games</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What I Learned on the Way to Getting Old: Don't Tell Your Age and Other Lessons</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Midlife Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Fly into Fifty (Without a Fear of Flying)</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ball of a Lifetime</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Search of Meaningful Work</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dreaming of Crones</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">New Bones: Health, Beauty, and Self-Image</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New bones</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Choosing Longevity</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Maneuvering through Menopause: A Rite of Passage</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To my last period</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hair Matters at Midlife</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Am I Ugly?</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Banyan Trunk</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from I Left My Back Door Open</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Used</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Cups Used to Runneth Over</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Middle-Age UFO</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Roots: Family and Friendship</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Day Late and a Dollar Short</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homegirl Reunion</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letting Go with Love</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Women of Brewster Place</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Babies??!!</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adoption: A Midlife Love Story</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pathway Home</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dance of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Full Circling</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Heat of Shadow</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Parents, Wives, and Womanhood: The Lessons We Never Learned</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">In Search of Satisfaction: Romance and Sexuality</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Age and Sexuality</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trust Me</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gray Pussy Hair</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Safer Sex (before and) after Fifty</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Plum Jelly in Hot Shiny Jars</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It Might as Well Be Spring</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Company She Keeps</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Do-It-Yourself Rainbows</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love and Other Geometric Shapes</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors' Biographies</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editor's Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Credits</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD></TABLE><article> <h4>Library Journal</h4>In this anthology of essays, plus some fiction and poetry, 41 African American women share their sometimes humorous and sometimes painful experiences with middle age. Divided into four sections-"A New Attitude," "New Bones," "Roots," and "In Search of Satisfaction"-these works focus on relationships, health, spirituality, and other relevant topics. An English professor throws a ball rather than a party in honor of her 50th birthday, a poet says good-bye to her monthly cycle, two doctors discuss menopause myths, a broadcast journalist tells of the joys of adoption, and a woman's health activist comments on safe sex among seniors. Such writers as Nikki Giovanni, Diane Donaldson, Miriam Decosta-Willis, and Maya Angelou speak of the fear of aging, dealing with breast reduction surgery, facing the death of a spouse, and finding romance. Whether these women are celebrating or bemoaning the process of growing old, the result is a wonderful compilation. Recommended for women's collections and for public libraries.-Ann Burns "Library Journal" Copyright 2003 Reed Business Information. </article>
224Literary Nevada: Writings from the Silver StateCheryll Glotfelty0Cheryll Glotfeltyliterary-nevadacheryll-glotfelty97808741775960874177596$23.20PaperbackUniversity of Nevada PressAugust 2008New EditionAmerican Literature Anthologies8966.16 (w) x 10.86 (h) x 2.15 (d)Literary Nevada is the first comprehensive literary anthology of Nevada. It contains over 200 selections ranging from traditional Native American tales, explorers' and emigrants' accounts, and writing from the Comstock Lode and other mining boomtowns, as well as compelling fiction, poetry, and essays from throughout the state's history. There is work by well-known Nevada writers such as Sarah Winnemucca, Mark Twain, and Robert Laxalt, by established and emerging writers from all parts of the state, and by some nonresident authors whose work illuminates important facets of the Nevada experience. The book includes cowboy poetry, travel writing, accounts of nuclear Nevada, narratives about rural life and urban life in Las Vegas and Reno, poetry and fiction from the state's best contemporary writers, and accounts of the special beauty of wild Nevada's mountains and deserts. Editor Cheryll Glotfelty provides insightful introductions to each section and author. The book also includes a photo gallery of selected Nevada writers and a generous list of suggested further readings.<p><br><br>The first comprehensive literature anthology of Nevada with over 200 selections from traditional Native American tales to contemporary writings on contemporary environmental concerns.</p>
225Nickel and DimedJoan Holden0Joan Holden, Barbara Ehrenreichnickel-and-dimedjoan-holden97808222204280822220423$7.20PaperbackDramatists Play Service, IncorporatedNovember 2005Drama Anthologies, American Drama, American Literature Anthologies675.30 (w) x 8.40 (h) x 0.50 (d)Can a middle-aged, middle-class woman survive, when she suddenly has to make beds all day in a hotel and live on $7 an hour? Maybe. But one $7-an-hour job won’t pay the rent: she’ll have to do back-to-back shifts, as a chambermaid and a waitress. This isn’t the first surprise for acclaimed author Barbara, who set out to research low-wage life firsthand, confident she was prepared for the worst. Barbara Ehrenreich’s best-seller about her odyssey is vivid and witty, yet always deeply sobering. Joan Holden’s stage adaptation is a focused comic epic shadowed with tragedy. Barbara is prepared for hard work but not, at 55, for double shifts and nonstop aches and pains; for having to share tiny rooms, live on fast food because she has no place to cook, beg from food pantries, gulp handfuls of Ibuprofen because she can’t afford a doctor; for failing, after all that, to make ends meet; or for constantly having to swallow humiliation. The worst, she learns, is not what happens to the back or the knees: it’s the damage to the heart. The bright glimpses of Barbara’s co-workers that enliven the book become indelible portraits: Gail, the star waitress pushing fifty who can no longer outrun her troubles; Carlie, the hotel maid whose rage has burned down to disgust; Pete, the nursing home cook who retreats into fantasy; Holly, terrified her pregnancy will end her job as Team Leader at Magic Maids, and with it her 50-cent raise. These characters wage their life struggles with a gallantry that humbles Barbara, and the audience. The play shows us the life a third of working Americans now lead, and makes us angry that anyone should have to live it.<p>Can a middle-aged, middle-class woman survive, when she suddenly has to make beds all day in a hotel and live on $7 an hour? Maybe. But one $7-an-hour job won t pay the rent: she ll have to do back-to-back shifts, as a chambermaid and a waitress. This isn t the first surprise for acclaimed author Barbara, who set out to research low-wage life firsthand, confident she was prepared for the worst. Barbara Ehrenreich s best-seller about her odyssey is vivid and witty, yet always deeply sobering. Joan Holden s stage adaptation is a focused comic epic shadowed with tragedy. Barbara is prepared for hard work but not, at 55, for double shifts and nonstop aches and pains; for having to share tiny rooms, live on fast food because she has no place to cook, beg from food pantries, gulp handfuls of Ibuprofen because she can t afford a doctor; for failing, after all that, to make ends meet; or for constantly having to swallow humiliation. The worst, she learns, is not what happens to the back or the knees: it s the damage to the heart. The bright glimpses of Barbara s co-workers that enliven the book become indelible portraits: Gail, the star waitress pushing fifty who can no longer outrun her troubles; Carlie, the hotel maid whose rage has burned down to disgust; Pete, the nursing home cook who retreats into fantasy; Holly, terrified her pregnancy will end her job as Team Leader at Magic Maids, and with it her 50-cent raise. These characters wage their life struggles with a gallantry that humbles Barbara, and the audience. The play shows us the life a third of working Americans now lead, and makes us angry that anyone should have to live it.</p><h3>Philadelphia Inquirer</h3><p>Involving, important and urgently topical.</p><article> <h4>L.A. Times</h4>Daring...attacks the privileges of 90% of the people who will see it...Ehrenreich's irrepressible sense of humor admirably translated from page to stage. </article> <article> <h4>Philadelphia Inquirer</h4>Involving, important and urgently topical. </article><article> <h4>San Francisco Chronicle</h4>Penetrating clarity and sharp, illuminating humor...succeeds beautifully in creating the wearying reality of dead-end jobs and the people trapped in them. </article> <article> <h4>Time</h4>A rare example of theater that tries to open people's eyes to the way life is lived in the real world—and maybe even rouse them to action. </article> <article> <h4>Variety</h4>...undeniably provocative...One can't see this stage version without questioning an economy in which poor people subsidize the lifestyle of the middle and upper classes. </article>
226The Haves and Have Nots: 30 Stories about Money and Class in AmericaBarbara H. Solomon0Barbara H. Solomon (Editor), Variousthe-haves-and-have-notsbarbara-h-solomon97804515274480451527445$7.95Mass Market PaperbackPenguin Group (USA)October 1999ReissueShort Story Anthologies, Conflicts - Fiction, Literary Styles & Movements - Fiction, American Literature Anthologies5284.27 (w) x 6.80 (h) x 1.14 (d)<p>Collected for the first time in one volume. How does money—or the lack of it—affect our lives? What happens when the rich meet the poor, when status comes with a price tag, when personal desires do battle with financial concerns? This unique anthology offers a mosaic of answers, with stories by: <b>* Francine Prose<br> • F. Scott Fitzgerald<br> • Jack London<br> • Kate Chopin<br> • Ethan Canin<br> • Gloria Naylor<br> • Sandra Cisneros<br> • O. Henry<br> • Theodore Dreiser<br> • Stephen Crane<br> • Kate Braverman<br> • James T. Farrell<br> • Charlotte Perkins Gilman *</b> and many others.</p><p>Collected for the first time in one volume.<br><br>How does money--or the lack of it--affect our lives? What happens when the rich meet the poor, when status comes with a price tag, when personal desires do battle with financial concerns? This unique anthology offers a mosaic of answers, with stories by: <br><br>T.C. Boyle * Barbara Kingsolver * Alice Walker * John Cheever * Francine Prose * F. Scott Fitzgerald * Jack London * Kate Chopin * Ethan Canin * Gloria Naylor * Sandra Cisneros * O. Henry * Theodore Dreiser * Stephen Crane * Kate Braverman * James T. Farrell * Charlotte Perkins Gilman * and more.<br><br>* An outstanding lineup of authors both classic and contemporary</p>
227The Best American Short Plays 2003-2004Glenn Young0Glenn Youngthe-best-american-short-plays-2003-2004glenn-young97815578369601557836965$13.25PaperbackApplause Theatre Book PublishersSeptember 20061st EditionDrama, General & Miscellaneous Drama, American Literature Anthologies, Anthologies3125.50 (w) x 8.40 (h) x 0.70 (d)<p>(Best American Short Plays). Applause is proud to continue to publish the series that for over 60 years has been the standard of excellence for one-act plays in America. From its inception, The Best American Short Plays has identified new, cutting edge playwrights who have gone on to establish award-winning careers, including Tennessee Williams, Edward Albee, Wendy Wasserstein, Terrence McNally, and David Mamet. This new volume includes John Guare's Woman at a Threshold, Beckoning ; John Ford Noonan's The Raunchy Dame in the Chinese Raincoat ; Tina Howe's Water Music ; and Joe Pintauro's Ten-Dollar Drinks . The subject matter of this 12-play collection, with half of the plays by women, is up to the minute: In Jules Tasca's The Death of Bliss a young Palestinian wife pleads with her husband not to become a suicide bomber. Melanie Marnich's The Right to Remain was commissioned by Mixed Blood Theatre for its Bill of (W)Rights project, designed to explore the state of the U.S. Constitution's Bill of Rights at the beginning of 2004. Peter Maloney's Leash is set in the Abu Ghraib prison in Iraq. And for variety's sake, Deborah Brevoort's Blue Moon Over Memphis is a Noh Drama about Elvis Presley. Other plays rounding out the collection include Jordan Harrison's Fit for Feet ; Mary Gallagher's Perfect ; and Lavonne Mueller's The Wounded Do Not Cry , the latter inspired by the life of Frances Slanger, forgotten heroine of the Normandy invasion. Susan Miller's The Grand Design was staged in Los Angeles at the Canon Theatre in an evening of original one act plays benefiting Cure Autism Now, starring Lily Tomlin and Eric Stoltz, It was also performed by Marsha Mason and Scott Cohen at Town Hall in New York City for Brave New World, a marathon of plays commemorating 9/11. It was also a finalist for the Actor's Theatre of Louisville's Heideman Award.</p><p>Applause is proud to continue to publish the series that for over 60 years has been the standard of excellence for one-act plays in America. From its inception, The Best American Short Plays has identified new, cutting edge playwrights who have gone on to establish award-winning careers, including Tennessee Williams, Edward Albee, Wendy Wasserstein, Terrence McNally, and David Mamet. This new volume includes John Guare's Woman at a Threshold, Beckoning; John Ford Noonan's The Raunchy Dame in the Chinese Raincoat; Tina Howe's Water Music; and Joe Pintauro's Ten-Dollar Drinks. The subject matter of this 12-play collection, with half of the plays by women, is up to the minute&#58; In Jules Tasca's The Death of Bliss a young Palestinian wife pleads with her husband not to become a suicide bomber. Melanie Marnich's The Right to Remain was commissioned by Mixed Blood Theatre for its Bill of (W)Rights project, designed to explore the state of the U.S. Constitution's Bill of Rights at the beginning of 2004. Peter Maloney's Leash is set in the Abu Ghraib prison in Iraq. And for variety's sake, Deborah Brevoort's Blue Moon Over Memphis is a Noh Drama about Elvis Presley. Other plays rounding out the collection include Jordan Harrison's Fit for Feet; Mary Gallagher's Perfect; and Lavonne Mueller's The Wounded Do Not Cry, the latter inspired by the life of Frances Slanger, forgotten heroine of the Normandy invasion. Susan Miller's The Grand Design was staged in Los Angeles at theCanon Theatre in an evening of original one act plays benefiting Cure Autism Now, starring Lily Tomlin and Eric Stoltz, It was also performed by Marsha Mason and Scott Cohen at Town Hall in New York City for Brave New World, a marathon of plays commemorating 9/11. It was also a finalist for the Actor's Theatre of Louisville's Heideman Award.</p>
228Latino Boom: An Anthology of U. S. Latino LiteratureJohn Christie0John Christielatino-boomjohn-christie97803210938370321093836$75.00PaperbackLongmanJuly 20051st EditionPeoples & Cultures - American Anthologies5926.40 (w) x 9.10 (h) x 1.30 (d)<table> <tbody> <tr> <td> <p><b><i><b>Latino Boom: An Anthology of U.S. Latino Literature</b></i> combines an engaging and diverse selection of Latino/a authors with tools for students to read, think, and write critically about these works.</b></p> <p>The first anthology of Latino literature to offer teachers and students a wide array of scholarly and pedagogical resources for class discussion and analysis, this thematically organized collection of fiction, poetry, drama, and essay presents a rich spectrum of literary styles. Providing complete works of Latino/a literature vs excerpts written originally in English, the anthology juxtaposes well-known writers with emerging voices from diverse Latino communities, inviting students to examine Latino literature through a variety of lenses.</p> </td> </tr> </tbody> </table><p><P>Latino Boom&#58; An Anthology of U.S. Latino Literature combines an engaging and diverse selection of Latino/a authors with tools for students to read, think, and write critically about these works. <p>The first anthology of Latino literature to offer teachers and students a wide array of scholarly and pedagogical resources for class discussion and analysis, this thematically organized collection of fiction, poetry, drama, and essay presents a rich spectrum of literary styles. Providing complete works of Latino/a literature vs excerpts written originally in English, the anthology juxtaposes well-known writers with emerging voices from diverse Latino communities, inviting students to examine Latino literature through a variety of lenses.<p></p><TABLE><TR><TD WIDTH="20%">Pt. I</TD><TD WIDTH="70%">U.S. Latino literature : an overview</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%">Ch. 1</TD><TD WIDTH="70%">Latino narrative</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%">Ch. 2</TD><TD WIDTH="70%">Latino poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%">Ch. 3</TD><TD WIDTH="70%">Latino landscapes</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%">Pt. II</TD><TD WIDTH="70%">Readings in Latino literature</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%">Ch. 4</TD><TD WIDTH="70%">The lost worlds : once upon a Latin moon</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In search of Epifano</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The biggest city in the world</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One holy night</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Red serpent Ceviche</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La Promesa</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Confusing the saints</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roots</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dust bowl memory</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Abuelas</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">African things</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Finding home</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mami</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Curandera</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Latin deli : an Ars Poetica</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Frutas</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The first woman</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">History</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Go north, young man</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%">Ch. 5</TD><TD WIDTH="70%">The working world : sweating under a new sun</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Se me enchina el cuerpo al oir tu cuento ...</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tito's goodbye</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Al, in Phoenix</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Invisible country</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The child</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cariboo cafe</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman's work</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Work we hate and dreams we love</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Who burns for the perfection of paper</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jorge the church janitor finally quits</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Federico's ghost</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When living was a labor camp called Montgomery</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Because no one should say 'Chavez who?'</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blake in the tropics</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hungry</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The elements of San Joaquin</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mexicans begin jogging</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pachucos and the taxi cab brigade</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%">Ch. 6</TD><TD WIDTH="70%">The urban world : weaving through city streets</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bread</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Edison, New Jersey</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love in L.A.</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My life in the city</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Neighbors</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Psalm for Coquito</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Freeway 280</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beneath the shadow of the freeway</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Their poem</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grand Central Station</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflections on the metro north, winter 1990</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puerto Rican obiturary</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La Bodgega sold dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lower East Side poem</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the dark backward</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Real women have curves</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meet the Satanicos</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%">Ch. 7</TD><TD WIDTH="70%">The fringe world : outside looking in, inside looking out</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rage is a fallen angel</TD><TD WIDTH="10%" ALIGN="RIGHT">309</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Somewhere outside Duc Pho</TD><TD WIDTH="10%" ALIGN="RIGHT">322</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The man on Jesus Street - dreaming</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The boy without a flag</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Barbosa Express</TD><TD WIDTH="10%" ALIGN="RIGHT">350</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bilingual Sestina</TD><TD WIDTH="10%" ALIGN="RIGHT">360</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Coqui in Nueva York</TD><TD WIDTH="10%" ALIGN="RIGHT">361</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Here</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autobrownography of a New England Latino</TD><TD WIDTH="10%" ALIGN="RIGHT">363</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Caribbean Fresco in New England</TD><TD WIDTH="10%" ALIGN="RIGHT">366</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">AmeRican</TD><TD WIDTH="10%" ALIGN="RIGHT">367</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Birthday</TD><TD WIDTH="10%" ALIGN="RIGHT">368</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elena</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Legal alien</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The welder</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ending poem</TD><TD WIDTH="10%" ALIGN="RIGHT">372</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sugarcane</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Vietnam Wall</TD><TD WIDTH="10%" ALIGN="RIGHT">375</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to Ti</TD><TD WIDTH="10%" ALIGN="RIGHT">376</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where you from?</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Peruana Perdida</TD><TD WIDTH="10%" ALIGN="RIGHT">379</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cloud tectonics</TD><TD WIDTH="10%" ALIGN="RIGHT">381</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La conciencia de la mestiza : towards a new consciousness</TD><TD WIDTH="10%" ALIGN="RIGHT">413</TD><TR><TD WIDTH="20%">Ch. 8</TD><TD WIDTH="70%">Beyond worlds : beyond the boom</TD><TD WIDTH="10%" ALIGN="RIGHT">431</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Horologist</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fulgencio Llanos : El Fotografo</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Soy la Avon lady</TD><TD WIDTH="10%" ALIGN="RIGHT">459</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The documentary artist</TD><TD WIDTH="10%" ALIGN="RIGHT">475</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After Elian</TD><TD WIDTH="10%" ALIGN="RIGHT">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We came all the way from Cuba so you could dress like this?</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes for a botched suicide</TD><TD WIDTH="10%" ALIGN="RIGHT">510</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Obliterate the night</TD><TD WIDTH="10%" ALIGN="RIGHT">518</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Body bee calling : from the 21st century</TD><TD WIDTH="10%" ALIGN="RIGHT">533</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Women are not roses</TD><TD WIDTH="10%" ALIGN="RIGHT">534</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puerto Rican discovery #11 : samba rumba cha-cha be-bop hip-hop</TD><TD WIDTH="10%" ALIGN="RIGHT">535</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gringolandia</TD><TD WIDTH="10%" ALIGN="RIGHT">536</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The pure preposition</TD><TD WIDTH="10%" ALIGN="RIGHT">537</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Plein air</TD><TD WIDTH="10%" ALIGN="RIGHT">537</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Annie says</TD><TD WIDTH="10%" ALIGN="RIGHT">538</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chisme at Rivera's studio</TD><TD WIDTH="10%" ALIGN="RIGHT">540</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Variation on a theme by William Carlos Williams</TD><TD WIDTH="10%" ALIGN="RIGHT">542</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scene from the movie Giant</TD><TD WIDTH="10%" ALIGN="RIGHT">542</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the holocaust museum : Washington, D.C.</TD><TD WIDTH="10%" ALIGN="RIGHT">543</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The story of my body</TD><TD WIDTH="10%" ALIGN="RIGHT">546</TD></TABLE>
229Up All Night: Adventures in Lesbian SexStacy Bias0<p><P>Rachel Kramer Bussel previously edited the best-selling erotica collection Up All Night. She is the coauthor of The Lesbian Sex Book and a sex columnist for The Village Voice. She lives in New York City. Visit her Web site at www.rachelkramerbussel.com.</p>Stacy Bias (Editor), Stacy M. Biasup-all-nightstacy-bias97815558374711555837476$1.99PaperbackAlyson BooksJanuary 2004Short Story Anthologies, Peoples & Cultures - American Anthologies, Gay & Lesbian Literature Anthologies, Gay & Lesbian Fiction, Erotica2645.40 (w) x 8.50 (h) x 0.60 (d)<p>In the tradition of the erotic bestsellers Skin Deep and Early Embraces, Up All Night presents the uncensored sizzling words of real women describing their hottest, wildest erotic adventures.</p> <p><b>Stacy Bias</b> is the founder of Technodyke.com, the gathering place for the web-savvy dyke. She lives in Portland, Oregon.</p> <p><b>Rachel Kramer Bussel</b> is an editorial assistant at <b>On Our Backs</b> and has contributed writings to <i>Starf*cker</i>, <i>Best Lesbian Erotica 2001</i>, and <i>Hot &amp; Bothered 3</i>. She lives in New York City.</p><p><P>True stories of lesbian eros.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">vii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">ix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sex Test</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Games</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This Is Lesbian Luv</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Electric Shocks/Lesbian Cocks</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kim</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fist First</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Mood</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sailor</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I've Got a Tube in My Pocket</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Insert Three Fingers Here</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Girl on the Stairs</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Ifs</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kitten</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pumpkin Patch</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Watcher</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Insert Tongue, Pump Low; Tap High, Straddle Mule</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Times Square</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Invisible Line</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Family Gathering</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Overtime</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ungentlemanly Behavior</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Date</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Caged</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You Swallowed My Hand, I Followed You Home</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coming Soon to a Theater Near Me</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Made to Order</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dream a Little Dream</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If SpongeBob Could Talk</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What I Remember</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Editors</TD><TD WIDTH="10%" ALIGN="RIGHT">265</TD></TABLE>
230Anthology of Modern American PoetryCary Nelson0<p>University of Illinois at Urbana-Champaign</p>Cary Nelson (Editor), Emory Elliott (Editor), A. Walton Litzanthology-of-modern-american-poetrycary-nelson97801951227180195122712$64.00PaperbackOxford University Press, USAJanuary 20001st EditionPoetry Anthologies, American Poetry, American Literature Anthologies12969.20 (w) x 6.00 (h) x 1.90 (d)<p>Anthology of Modern American Poetry contains more than 750 poems by 161 American poets, including many who have not been anthologized before. Spanning a period from Walt Whitman to Sherman Alexie, this collection is the first to review the twentieth century comprehensively. It presents not only the canonical poetry of the last hundred years but also numerous poems by women, minority, and progressive writers only rediscovered in the past two decades.</p> <p>Uniquely comprehensive, Anthology of Modern American Poetry represents Robert Frost with 23 poems, Wallace Stevens with 22, and Marianne Moore with 14, including her most ambitious long poems. William Carlos Williams is represented not only by his exquisite short lyrics, but also with an experimental combination of poetry and prose. With 29 poems, Langston Hughes is given full treatment for the first time in any comprehensive anthology. Substantial selections by contemporary poets like John Ashbery, Sylvia Plath, Frank O'Hara, Philip Levine, Lucille Clifton, Judy Grahn, Adrian Louis, Yusef Komunyakaa, Martín Espada, and Sherman Alexie are also included.</p> <p>Anthology of Modern American Poetry is the first anthology to give full treatment to American long poems and poem sequences. T.S. Eliot's The Waste Land, Gertrude Stein's "Patriarchal Poetry," William Carlos Williams's The Descent of Winter, Edna St. Vincent Millay's "Sonnets from an Ungrafted Tree," Muriel Rukeyser's "The Book of the Dead," Melvin Tolson's Libretto for the Republic of Liberia, Theodore Roethke's "North American Sequence," Gwendolyn Brooks's "Gay Chaps at the Bar," Kenneth Rexroth's "The Love Poems of Marichiko," both Allen Ginsberg's "Howl" and his "Wichita Vortex Sutra," and both Adrienne Rich's "Shooting Script" and her "Twenty-One Love Poems" are all included in their entirety.</p> <p>Anthology of Modern American Poetry offers the most detailed annotations available in an anthology of this type. Many works benefit from specially commissioned research that provides students with such help as the identification of the inventive references in Melvin Tolson's poetry, translation of all foreign language passages, and illumination of obscure references. This is also the only American poetry anthology to present selected poems in the beautifully illustrated form in which they first appeared. In addition, an accompanying website featuring readings of poems and historical background is available at http://www.english.uiuc.edu/maps.</p> <p>Ideal for courses in modern American poetry, modern American literature, modern or contemporary poetry, creative writing-poetry, and American studies, Anthology of Modern American Poetry introduces students to the last 100 years of our poetic heritage in a uniquely rich and provocative format.</p><p><P><b>Anthology of Modern American Poetry</b> contains more than 750 poems by 161 American poets, including many who have not been anthologized before. Spanning a period from Walt Whitman to Sherman Alexie, this collection is the first to review the twentieth century comprehensively. It presents not only the canonical poetry of the last hundred years but also numerous poems by women, minority, and progressive writers only rediscovered in the past two decades. <P>Uniquely comprehensive, <b>Anthology of Modern American Poetry</b> represents Robert Frost with 23 poems, Wallace Stevens with 22, and Marianne Moore with 14, including her most ambitious long poems. William Carlos Williams is represented not only by his exquisite short lyrics, but also with an experimental combination of poetry and prose. With 29 poems, Langston Hughes is given full treatment for the first time in any comprehensive anthology. Substantial selections by contemporary poets like John Ashbery, Sylvia Plath, Frank O'Hara, Philip Levine, Lucille Clifton, Judy Grahn, Adrian Louis, Yusef Komunyakaa, Mart&iacute;n Espada, and Sherman Alexie are also included. <P><b>Anthology of Modern American Poetry</b> is the first anthology to give full treatment to American long poems and poem sequences. T.S. Eliot's <b>The Waste Land,</b> Gertrude Stein's "Patriarchal Poetry," William Carlos Williams's <b>The Descent of Winter,</b> Edna St. Vincent Millay's "Sonnets from an Ungrafted Tree," Muriel Rukeyser's "The Book of the Dead," Melvin Tolson's <b>Libretto for the Republic of Liberia,</b> Theodore Roethke's "North American Sequence," Gwendolyn Brooks's "Gay Chaps at the Bar," Kenneth Rexroth's "The Love Poems of Marichiko," <b>both</b> Allen Ginsberg's "Howl" and his "Wichita Vortex Sutra," and <b>both</b> Adrienne Rich's "Shooting Script" and her "Twenty-One Love Poems" are all included in their entirety. <P><b>Anthology of Modern American Poetry</b> offers the most detailed annotations available in an anthology of this type. Many works benefit from specially commissioned research that provides students with such help as the identification of the inventive references in Melvin Tolson's poetry, translation of all foreign language passages, and illumination of obscure references. This is also the only American poetry anthology to present selected poems in the beautifully illustrated form in which they first appeared. In addition, an accompanying website featuring readings of poems and historical background is available at <b>http&#58;//www.english.uiuc.edu/maps.</b> <P>Ideal for courses in modern American poetry, modern American literature, modern or contemporary poetry, creative writing-poetry, and American studies, <b>Anthology of Modern American Poetry</b> introduces students to the last 100 years of our poetic heritage in a uniquely rich and provocative format.</p><P><b>WALT WHITMAN (1819-1892) </b><br>One's Self I Sing I Hear America Singing As Adam Early in the Morning For You O Democracy I Hear It Was Charged Against Me A Glimpse Vigil Strange I Kept on the Field One Night Out of the Cradle Endlessly Rocking<br><b>EMILY DICKINSON (1830-1886) </b><br>258 (There's a certain Slant of light,)<br>280 (I felt a Funeral, in my Brain)<br>303 (The Soul selects her own Society)<br>341 (After great pain, a formal feeling comes&#151;)<br>465 (I heard a Fly buzz&#151;when I died&#151;)<br>508 (I'm ceded&#151;I've stopped being Theirs)<br>520 (I started Early&#151;Took my Dog&#151;)<br>585 (I like to see it lap the Miles&#151;)<br>601 (A still&#151;Volcano&#151;Life&#151;)<br>613 (They shut me up in Prose&#151;)<br>657 (I dwell in Possibility&#151;)<br>712 (Because I could not stop for Death)<br>754 (My Life had stood&#151;a Loaded Gun&#151;)<br>1072 (Title divine&#151;is mine!)<br>1129 (Tell all the Truth but tell it slant&#151;)<br>1705 (Volcanoes be in Sicily)<br><b>EDWIN MARKHAM (1852-1940) </b><br>The Man With the Hoe<br><b>SADAKICHI HARTMANN (1867-1944) </b><br>Cyanogen Seas Are Surging Tanka I Tanka III<br><b>EDGAR LEE MASTERS (1868-1950) </b><br>Lucinda Matlock Petit, the Poet Seth Compton Cleanthus Trilling<br><b>EDWIN ARLINGTON ROBINSON (1869-1935) </b><br>The House on the Hill Richard Cory The Clerks Miniver Cheevy The Mill Mr. Flood's Party<br><b>JAMES WELDON JOHNSON (1871-1938) </b><br>O Black and Unknown Bards The Creation The White Witch<br><b>PAUL LAWRENCE DUNBAR (1872-1906) </b><br>We Wear the Mask When Malindy Sings Sympathy The Haunted Oak<br><b>LOLA RIDGE (1871-1941) </b><br>Stone Face<br><b>AMY LOWELL (1874-1925) </b><br>September, 1918<br>The Letter Venus Transiens Madonna of the Evening Flowers The Weather-Cock Points South Opal Wakefulness Grotesque The Sisters New Heavens for Old<br><b>GERTRUDE STEIN (1874-1946) </b><br>Patriarchal Poetry<br><b>ROBERT FROST (1874-1963) </b><br>Mending Wall Home Burial After Apple-Picking The Wood-Pile The Road Not Taken Birches The Oven Bird An Old Man's Winter Night The Hill Wife Fire and Ice Good-By and Keep Cold The Need of Being Versed In Country Things Design The Witch of Co&#58;os Stopping By Woods On A Snowy Evening Gathering Leaves In a Disused Graveyard Nothing Gold Can Stay Desert Places Two Tramps In Mud Time Neither Out Far Nor In Deep Never Again Would Birds' Song Be The Same The Gift Outright<br><b>ALICE DUNBAR-NELSON (1875-1935) </b><br>I Sit and Sew<br><b>CARL SANDBURG (1878-1967) </b><br>Chicago Subway Muckers Child of the Romans Nigger Buttons Planked Whitefish Cool Tombs Grass Fog Elizabeth Upstead Man, The Man-Hunter<br><b>VACHEL LINDSAY (1879-1931) </b><br>The Congo The Child-heart in the Mountains Celestial Flowers of Glacial Park The Virginians Are Coming Again<br><b>WALLACE STEVENS (1879-1955) </b><br>Sea Surface Full of Clouds Thirteen Ways of Looking at a Blackbird Tea at the Palaz of Hoon Floral Decoration for Bananas Anecdote of the Jar Disillusionment of Ten O'clock A High-Toned Old Christian Woman The Snow Man The Emperor of Ice-Cream Peter Quince at the Clavier Sunday Morning The Death of a Soldier The Idea of Order at Key West Mozart, 1935<br>A Postcard from the Volcano Study of Two Pears Of Modern Poetry The Course of a Particular The Plain Sense of Things As You Leave the Room A Clear Day and No Memories Of Mere Being<br><b>ANGELINA WELD GRIMK&Eacute; (1880-1958) </b><br>The Black Finger Tenebris Fragment<br><b>GEORGIA DOUGLAS JOHNSON (1880-1966) </b><br>The Heart of a Woman Common Dust<br><b>MINA LOY (1882-1966) </b><br>Songs to Joannes<br><b>ANNE SPENCER (1882-1975) </b><br>White Things Lady, Lady<br><b>WILLIAM CARLOS WILLIAMS (1883-1963) </b><br>The Young Housewife Portrait of a Lady Queen-Anne's-Lace The Widow's Lament in Springtime The Great Figure Spring and All To Elsie The Red Wheelbarrow Young Sycamore<br><b>The Descent of Winter</b><br>This is Just to Say Proletarian Portrait The Yachts The Descent Asphodel, That Greeny Flower, Book I Landscape with the Fall of Icarus<br><b>EZRA POUND (1885-1972) </b><br>A Pact In a Station of the Metro Portrait d'une Femme The River-Merchant's Wife&#58; A Letter from THE CANTOS&#58;<br> I (And then went down to the ship)<br> IX (One year floods rose)<br> XLV, <b>(With Usura)</b><br> LXXXI (Zeus lies in Ceres' bosom)<br> CXVI (Came Neptunus)<br> Notes for CXVII (I have tried to write paradise)<br><b>H.D. (HILDA DOOLITTLE) (1886-1961) </b><br>Oread Mid-day Sea Rose Garden The Helmsman Eurydice Helen from The Walls Do Not Fall<br> 1<br> 6<br><b>ROBINSON JEFFERS (1887-1962) </b><br>Shine, Perishing Republic Hurt Hawks November Surf The Purse-Seine Fantasy Cassandra Vulture Birds and Fishes<br><b>MARIANNE MOORE (1887-1972) </b><br>Poetry An Egyptian Pulled Glass Bottle in the Shape of a Fish The Fish Sojourn in the Whale A Grave Silence Peter Marriage An Octopus No Swan So Fine The Pangolin Bird-Witted The Paper Nautilus Spenser's Ireland<br><b>T.S. ELIOT (1888-1965) </b><br>The Love Song of J. Alfred Prufrock Gerontion<br><b>The Waste Land</b><br>The Hollow Men Journey of the Magi from Four Quartets&#58;<br> Burnt Norton<br><b>JOHN CROWE RANSOM (1888-1974) </b><br>Bells for John Whiteside's Daughter Dead Boy<br><b>CLAUDE MCKAY (1889-1948) </b><br>The Harlem Dancer To The White Fiends If We Must Die The Lynching The Tropics in New York The White City America Outcast Mulatto The Negro's Tragedy Look Within<br><b>EDNA ST. VINCENT MILLAY (1892-1950) </b><br>First Fig I, Being Born a Woman and Distressed Love is not blind Oh, oh, you will be sorry for that word!<br>Sonnets from an Ungrafted Tree Well, I Have Lost You Love is not all Justice Denied in Massachusetts Say That We Saw Spain Die I Forgot for a Moment<br><b>ARCHIBALD MacLEISH (1892-1982) </b><br>Ars Poetica The End of the World<br><b>DOROTHY PARKER (1893-1967) </b><br>Unfortunate Coincidence R&eacute;sum&eacute;<br>One Perfect Rose<br><b>GENEVIEVE TAGGARD (1894-1948) </b><br>Everyday Alchemy With Child Up State&#151;&#151;Depression Summer Mill Town Ode in Time of Crisis To the Negro People To the Veterans of the Abraham Lincoln Brigade<br><b>E.E. CUMMINGS (1894-1962) </b><br>Thy fingers make early flowers of in Just-<br>O sweet spontaneous Buffalo Bill's Poem, or Beauty Hurts Mr. Vinal<br>"next to of course god america i my sweet old etcetera i sing of Olaf glad and big Space being (don't forget to remember) Curved r-p-o-p-h-e-s-s-a-g-r anyone lived in a pretty how town<br><b>JEAN TOOMER (1894-1967) </b><br>from <b>Cane</b><br> Reapers November Cotton Flower Portrait in Georgia Her Lips Are Copper Wire<br><b>CHARLES REZNIKOFF (1894-1976) </b><br>from <b>Testimony&#58; The United States (1885-1915)</b>&#58;<br> Negroes from <b>Holocaust</b>&#58;<br> Massacres<br><b>HERMAN SPECTOR (1895-1959) </b><br>Wiseguy Type<br><b>V.J. JEROME (1896-1965) </b><br>A Negro Mother to Her Child<br><b>JOHN WHEELWRIGHT (1897-1940) </b><br>Plantation Drouth<br><b>JOSEPH FREEMAN (1897-1965) </b><br>(Our age has Caesars, though they wear silk hats)<br><b>LUCIA TRENT (1897-1977) </b><br>Breed, Women, Breed Black Men Parade the Narrow Turrets<br><b>LOUISE BOGAN (1897-1970) </b><br>Medusa The Crows Women Cassandra The Dragonfly<br><b>HARRY CROSBY (1898-1929) </b><br>Photoheliograph (For Lady A.)<br>Pharmacie Du Soleil from Short Introduction to the Word Tattoo<br><b>HART CRANE (1899-1932) </b><br>October-November Black Tambourine Chaplinesque Episode of Hands Porphyro in Akron Voyages I from <b>The Bridge</b><br> Proem&#58; To Brooklyn Bridge Ave Maria The River Cape Hatteras Atlantis The Mango Tree<br><b>ALLEN TATE (1899-1979) </b><br>Ode to the Confederate Dead<br><b>MELVIN B. TOLSON (1900?-1966) </b><br>Dark Symphony<br><b>Libretto for the Republic of Liberia</b><br><b>YVOR WINTERS (1900-1968) </b><br>Sir Gawain and the Green Knight<br><b>STERLING A. BROWN (1901-1989) </b><br>Scotty Has His Say Memphis Blues Slim in Atlanta Slim in Hell Rent Day Blues Old Lem Sharecroppers Southern Cop Choices<br><b>LAURA (RIDING) JACKSON (1901-1991) </b><br>Helen's Burning The Wind Suffers Elegy in a Spider's Web<br><b>ANGEL ISLAND&#58; POEMS BY CHINESE IMMIGRANTS, 1910-1940 </b><br>(As a traveller in wind and dust)<br>(Instead of remaining a citizen of China)<br>(I am distressed that we Chinese are detained)<br>(America has power, but not justice)<br>(The low builing with three beams)<br>(The dragon out of water is humiliated by ants)<br>(The silvery red shirt is half covered with dust)<br>Poem by One Named Xu, From Xiangshan, Consoling Himself Leaving behind my writing brush<br><b>KENNETH FEARING (1902-1961) </b><br>Dear Beatrice Fairfax<br>$2.50<br>Dirge Denouement LANGSTON HUGHES (1902-1967)<br>Negro The Negro Speaks of Rivers The Weary Blues The Cat and the Saxophone (2 a.m.)<br>To the Dark Mercedes of "El Palacio de Amor"<br>Mulatto Justice Fire White Shadows Christ in Alabama Three Songs About Lynching&#58;<br> Silhouette Flight Lynching Song Come to the Waldorf-Astoria Goodbye Christ Ballad of Roosevelt Park Bench Let America Be America Again Letter from Spain The Bitter River Ku Klux Shakespeare in Harlem Madam and the Phone Bill Ballad of the Landlord Harlem Late Corner Dinner Guest&#58; Me The Backlash Blues Bombings in Dixie<br><b>ARNA BONTEMPS (1902-1973) </b><br>A Black Man Talks of Reaping Southern Mansion<br><b>GWENDOLYN BENNETT (1902-1981) </b><br>To a Dark Girl Heritage<br><b>COUNTEE CULLEN (1903-1946) </b><br>Incident For a Lady I Know Yet Do I Marvel Near White Tableau Heritage From the Dark Tower<br><b>LORINE NIEDECKER (1903-1970) </b><br>Paen to Place<br><b>KAY BOYLE (1903-1993) </b><br>A Communication to Nancy Cunard<br><b>CARL RAKOSI (b. 1903) </b><br>The Menage<br><b>AQUA LALUAH (1904-1950) </b><br>Lullaby<br><b>LOUIS ZUKOFSKY (1904-1978) </b><br>To My Wash Stand Mantis A Song for the Year's End Because Tarzan Triumphs (from Light)<br>Non Ti Fidar<br><b>JOHN BEECHER (1904-1980) </b><br>Report to the Stockholders Beaufort Tides Engagement at the Salt Fork<br><b>KENNETH REXROTH (1905-1982) </b><br>The Love Poems of Marichiko<br><b>ROBERT PENN WARREN (1905-1989) </b><br>Bearded Oaks Evening Hawk Heart of Autumn<br><b>STANLEY KUNITZ (b. 1905) </b><br>The Wellfleet Whale The Snakes of September<br><b>JOSEPH KALAR (1906-1972) </b><br>Papermill<br><b>RICHARD WRIGHT (1908-1960) </b><br>We of the Streets<br><b>THEODORE ROETHKE (1908-1963) </b><br>Cuttings Cuttings (later)<br>Frau Bauman, Frau Schmidt, and Frau Schwartze from The Lost Son&#58;<br> The Flight I Knew a Woman North American Sequence&#58;<br> The Longing Meditation at Oyster River Journey to the Interior The Long Waters The Far Field The Rose<br><b>GEORGE OPPEN (1908-1984) </b><br>Image of the Engine In Alsace Exodus<br><b>EDWIN ROLFE (1909-1954) </b><br>Asbestos Season of Death First Love Elegia After Tu Fu (A.D. 713-770)<br>Now the Fog A Letter to the Denouncers Are You Now or Have You Ever Been A Poem to Delight My Friends Who Laugh at Science-Fiction In Praise Of Little Ballad for Americans&#151;&#151;1954<br><b>CHARLES OLSON (1910-1970) </b><br>Variations Done for Gerald Van De Wiele Cole's Island<br><b>SOL FUNAROFF (1911-1942) </b><br>The Bull in the Olive Field The Man At The Factory Gate Goin Mah Own Road<br><b>ELIZABETH BISHOP (1911-1979) </b><br>The Fish The Man-Moth At the Fishhouses Filling Station Questions of Travel The Armadillo In the Waiting Room Pink Dog Crusoe in England One Art<br><b>WILLIAM EVERSON (1912-1994) </b><br>A Canticle to the Waterbirds<br><b>TILLIE LERNER OLSEN (b. 1912) </b><br>I Want You Women Up North To Know<br><b>MURIEL RUKEYSER (1913-1980) </b><br>The Book of the Dead The Minotaur<br>(To be a Jew in the Twentieth century)<br>Rite The Poem As Mask Poem (I lived in the first century of world wars)<br>Poem White Page/ White Page Poem<br><b>ROBERT HAYDEN (1913-1980) </b><br>Middle Passage Runagate Runagate A Letter from Phillis Wheatley Night, Death, Mississippi Aunt Jemima of the Ocean Waves No. 1 (from Elegies for Paradise Valley)<br>The Dogwood Trees O Daedalus, Fly Away Home<br><b>CHARLES HENRI FORD (b. 1913) </b><br>Plaint Flag of Ecstasy<br><b>WELDON KEES (1914-1955) </b><br>Travels in North America<br><b>RANDALL JARRELL (1914-1965) </b><br>The Death of the Ball Turret Gunner A Front Losses Second Air Force Protocols<br><b>JAPANESE AMERICAN CONCENTRATION CAMP HAIKU, 1942-1944 </b><br>Shiho Okamoto (Being arrested)<br>Sadayo Taniguchi (Hand-cuffed and taken away)<br>Kyotaro Komuro (Lingering summer heat)<br>Komuro (Passed guard tower)<br>Okamoto (In the shade of summer sun)<br>Shonan Suzuki (Withered grass on ground)<br>Hakuro Wada (Young grass red and shriveled)<br>Hyakuissei Okamoto (Dandelion has bloomed)<br>Shizuku Uyemaruko (On certain days)<br>Wada (Released seagull)<br>Ryokuin Matsui (Sprinkling water outside)<br>Komuro (Want to be with children)<br>Wada (Even the croaking of frogs)<br>Hangetsu Tsunekawa (Sentry at main gate)<br>Shokoshi Saga (Thin shadow of tule reed)<br>Tokuji Hirai (Looking at summer moon)<br>Suzuki (Moon shadows on internment camp)<br>Hirai (Early moon has set)<br>Suiko Matsushita (Rain shower from mountain)<br>Neiji Ozawa (Desert rain falling)<br>Senbinshi Takaoka (Frosty morning)<br>Jyosha Yamada (Black clouds instantly shroud)<br>Takaoka (Winter wind)<br>Hekisamei Matsuda (Doll without a head)<br>Sei Sagara (Suddenly awakened)<br>Hyakuissei Okamoto (Jeep patrolling slowly)<br>Shizuku Uyemaruko (Grieving within)<br>Okamoto (In the sage brush)<br>Matsushita (Oh shells&#151;&#151;)<br><b>JOHN BERRYMAN (1914-1972) </b><br>from <b>The Dream Songs</b><br> 1 Huffy Henry<br> 4 Filling her compact & delicious body<br> 5 Henry sats<br> 14 Life, friends<br> 22 <b>Of 1826</b><br> 29 There sat down, once<br> 40 I'm scared a lonely<br> 45 He stared at ruin<br> 46 I am, outside<br> 55 Peter's not friendly.<br> 76 <b>Henry's Confession</b><br> 382 At Henry's bier<br> 384 The marker slants<br><b>WILLIAM STAFFORD (1914-1993) </b><br>Traveling Through the Dark At the Bomb Testing Site The Indian Cave Jerry Ramsey Found<br><b>DUDLEY RANDALL (b. 1914) </b><br>Ballad of Birmingham<br><b>JOY DAVIDMAN (1915-1960) </b><br>This Woman For the Nazis<br><b>MARGARET WALKER (1915-1998) </b><br>For My People<br><b>RUTH STONE (b. 1915) </b><br>In an Iridescent Time I Have Three Daughters Pokeberries American Milk From the Arboretum Drought in the Lower Fields Some Things You'll Need to Know/ Before You Join the Union<br><b>THOMAS MCGRATH (1916-1990) </b><br>Deep South Crash Report First Book of Genesis According to the Diplomats Ars Poetica&#58; Or&#58; Who Lives in the Ivory Tower?<br>A Little Song About Charity Against the False Magicians After the Beat Generation Ode for the American Dead in Asia<br><b>ROBERT LOWELL (1917-1977) </b><br>Inauguration Day&#58; January 1953<br>A Mad Negro Soldier Confined at Munich Commander Lowell<br>"To Speak of Woe That Is in Marriage"<br>Man and Wife Memories of West Street and Lepke Skunk Hour For the Union Dead The Mouth of the Hudson July in Washington The March I The March II Central Park<br><b>GWENDOLYN BROOKS (b. 1917) </b><br>a song in the front yard of De Witt Williams on his way to Lincoln Cemetery Gay Chaps at the Bar We Real Cool The Ballad of Rudolph Reed The Blackstone Rangers To the Diaspora To Those of My Sisters Who Kept Their Naturals The Boy Died in My Alley Young Afrikans<br><b>WILLIAM BRONK (1918-1999) </b><br>At Tikal The Mayan Glyphs Unread I Thought It Was Harry Where It Ends<br><b>ROBERT DUNCAN (1919-1988) </b><br>Often I Am Permitted to Return to a Meadow My Mother Would Be a Falconress The Torso (Passages 18)<br>Up Rising (Passages 25)<br><b>RICHARD WILBUR (b. 1921) </b><br>A Baroque Wall-Fountain in the Villa Sciarra Love Calls Us to the Things of This World Advice to a Prophet<br><b>MONA VAN DUYN (b. 1921) </b><br>Toward a Definition of Marriage<br><b>JAMES DICKEY (1923-1997) </b><br>The Sheep Child Falling<br><b>DENISE LEVERTOV (1923-1997) </b><br>The Ache of Marriage Olga Poems What Were They Like?<br>Life at War<br><b>ANTHONY HECHT (b. 1923) </b><br>A Hill<br>"More Light! More Light!"<br><b>BOB KAUFMAN (1925-1986) </b><br>The Biggest Fisherman Crootey Songo No More Jazz at Alcatraz<br><b>MAXINE KUMIN (b. 1925) </b><br>Voices from Kansas Saga<br><b>PAUL BLACKBURN (1926-1971) </b><br>At the Well<br><b>FRANK O'HARA (1926-1966) </b><br>Poem (The eager note on my door)<br>A Step Away From Them The Day Lady Died Why I Am Not a Painter A True Account of Talking to the Sun at Fire Island On Seeing Larry Rivers' <b>Washington Crossing the Delaware</b> At The Museum of Modern Art Thinking of James Dean<br><b>JAMES MERRILL (1926-1995) </b><br>An Urban Convalescence The Broken Home Willowware Cup Lost in Translation<br><b>ALLEN GINSBERG (1926-1997) </b><br>Love Poem on Theme By Whitman Howl Wichita Vortex Sutra Father Death-Blues<br><b>ROBERT CREELEY (b. 1926) </b><br>After Lorca I Know a Man The Flower For Love America Age<br><b>ROBERT BLY (b. 1926) </b><br>Looking At New-Fallen Snow From a Train Counting Small-Boned Bodies The Dead Seal Near McClure's Beach<br><b>A.R. AMMONS (b. 1926) </b><br>Corsons Inlet Gravelly Run Coon Song<br><b>JAMES WRIGHT (1927-1980) </b><br>Saint Judas Autumn Begins in Martins Ferry, Ohio Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota A Blessing A Centenary Ode&#58; Inscribed to Little Crow, Leader of the Sioux Rebellion in Minnesota, 1862<br><b>JOHN ASHBERY (b. 1927) </b><br>"They Dream Only of America"<br>Farm Implements and Rutabagas in a Landscape Mixed Feelings Hop o' My Thumb Street Musicians Syringa Daffy Duck in Hollywood Paradoxes and Oxymorons<br><b>GALWAY KINNELL (b. 1927) </b><br>The Porcupine The Bear<br><b>W.S. MERWIN (b. 1927) </b><br>The Drunk in the Furnace It Is March Caesar The Room December Among the Vanished For the Anniversary of My Death When The War Is Over The Asians Dying For A Coming Extinction Looking For Mushrooms At Sunrise The Gardens of Zuni Beginning The Horse Sun And Rain Berryman<br><b>ANNE SEXTON (1928-1974) </b><br>Her Kind The Truth The Dead Know And One for My Dame The Room of My Life<br><b>PHILIP LEVINE (b. 1928) </b><br>The Horse Animals Are Passing From Our Lives Belle Isle, 1949<br>They Feed They Lion Francisco, I'll Bring You Red Carnations Fear and Fame On the Meeting of Garc&iacute;a Lorca and Hart Crane<br><b>ADRIENNE RICH (b. 1929) </b><br>Aunt Jennifer's Tigers Shooting Script Trying to Talk With a Man Diving into the Wreck Twenty-One Love Poems Power from An Atlas of the Difficult World XIII. (<b>Dedications</b>) I know you are reading this poem<br><b>GARY SYNDER (b. 1930) </b><br>Riprap Beneath My Hand and Eye the Distant Hills. Your Body I Went Into the Maverick Bar Straight-Creek&#151;&#151;Great Burn Axe Handles<br><b>GREGORY CORSO (b. 1930) </b><br>Marriage Bomb<br><b>ETHERIDGE KNIGHT (1931-1991) </b><br>Haiku Hard Rock Returns to Prison From the Hospital For the Criminal Insane The Idea of Ancestry A Poem For Myself For Malcolm, A Year After Television Speaks For Black Poets Who Think of Suicide<br><b>SYLVIA PLATH (1932-1963) </b><br>Black Rook in Rainy Weather The Colossus Tulips The Bee Meeting The Arrival of the Bee Box Stings The Swarm Wintering Daddy Ariel Lady Lazarus<br><b>HENRY DUMAS (1934-1968) </b><br>Son of Msippi Kef 24<br>Kef 16<br>Fish Knees of a Natural Man Low Down Dog Blues Black Star Line<br><b>AMIRI BARAKA (Leroi Jones) (b. 1934) </b><br>SOS Black Art When We'll Worship Jesus<br><b>N. SCOTT MOMADAY (b. 1934) </b><br>Plainview&#58; 3<br>Buteo Regalis Crows in a Winter Composition Carriers of the Dream Wheel Rings of Bone The Stalker Purple (from The Colors of Night)<br>The Burning December 29, 1980<br>The Shield That Came Back<br><b>MARK STRAND (b. 1934) </b><br>Where Are the Waters of Childhood?<br><b>AUDRE LORDE (1934-1992) </b><br>Coal Sisters in Arms Outlines Call<br><b>CHARLES WRIGHT (b. 1935) </b><br>Homage to Paul C&eacute;zanne<br><b>MARY OLIVER (b. 1935) </b><br>The Lilies Break Open Over the Dark Water Black Snake This Time<br><b>JAYNE CORTEZ (b. 1936) </b><br>I Am New York City Do You Think<br><b>LUCILLE CLIFTON (b. 1936) </b><br>I Am Accused of Tending To the Past at the cemetery, / walnut grove plantation, south carolina, 1989<br>Reply the message of crazy horse poem to my uterus to my last period brothers<br><b>SUSAN HOWE (b. 1937) </b><br>The Falls Fight Hope Atherton's Wanderings<br><b>MICHAEL S. HARPER (b. 1938) </b><br>Song&#58; I Want a Witness Blue Ruth&#58; America Brother John American History We Assume&#58; On the Death of Our Son, Reuben Masai Harper Reuben, Reuben Deathwatch Dear John, Dear Coltrane<br><b>ISHMAEL REED (b. 1938) </b><br>I am a Cowboy in the Boat of Ra<br><b>LAWSON FUSAO INADA (b. 1938) </b><br>from Listening Images<br><b>ROBERT PINSKY (b. 1940) </b><br>The Unseen Shirt<br><b>WELTON SMITH (b. 1940) </b><br>Malcolm<br><b>JUDY GRAHN (b. 1940) </b><br>I have Come to Claim Marilyn Monroe's Body Vietnamese Woman Speaking to an American Soldier Carol Plainsong The Woman Whose Head is On Fire<br><b>ROBERT HASS (b. 1941) </b><br><b>Rusia en 1931</b><br>A Story About the Body<br><b>SHARON OLDS (b. 1942) </b><br>Ideographs Photograph of the Girl Things That Are Worse Than Death The Waiting His Father's Cadaver<br><b>LOUISE GL&#58;UCK (b. 1943) </b><br>Penelope's Song Quiet Evening Parable of the King Parable of the Hostages Circe's Power Circe's Grief Reunion<br><b>MICHAEL PALMER (b. 1943) </b><br>Song of the Round Man All those words I Have Answers to All of Your Questions Fifth Prose Autobiography<br><b>PAUL VIOLI (b. 1944) </b><br>Index<br><b>CAROLYN M. RODGERS (b. 1945) </b><br>how i got ovah and when the revolution came mama's God<br><b>RON SILLIMAN (b. 1946) </b><br>from <b>Ketjak</b><br>from Sunset Debris The Chinese Notebook from <b>Toner</b><br><b>ADRIAN C. LOUIS (b. 1946) </b><br>Dust World Wakinyan Without Words Coyote Night How Verdell and Dr. Zhivago Disassembled the Soviet Union Wanbli Gleska Win Looking for Judas A Colossal American Copulation Petroglyphs of Serena YUSEF KOMUNYAKAA (b. 1947)<br>Tu Do Street Prisoners Communiqu&eacute;<br>The Dog Act The Nazi Doll Fog Galleon Work<br><b>AI (b. 1947) </b><br>Twenty-Year Marriage The German Army, Russia, 1943<br>The Testimony of J. Robert Oppenheimer The Priest's Confession<br><b>WENDY ROSE (b. 1948) </b><br>Truganinny<br><b>C.D. WRIGHT (b. 1949) </b><br>Obedience of the Corpse<br> (OVER EVERYTHING)<br>Song of the Gourd<br><b>JESSICA HAGEDORN (b. 1949) </b><br>Ming the Merciless<br><b>RAY A. YOUNG BEAR (b. 1950) </b><br>In Viewpoint&#58; Poem for 14 Catfish and The Town of Tama, Iowa It is the Fish-faced Boy Who Struggles<br><b>CAROLYN FORCH&Eacute; (b. 1950) </b><br>The Colonel<br><b>GARRETT KAORU HONGO (b. 1951) </b><br>Ancestral Graves, Kahuku<br><b>RITA DOVE (b. 1952) </b><br>Parsley<br><b>JIMMY SANTIAGO BACA (b. 1952) </b><br>Mi Tio Baca El Poeta De Socorro<br><b>ANITA ENDREZZE (b. 1952) </b><br>Birdwatching at Fan Lake Return of the Wolves<br><b>ANA CASTILLO (b. 1953) </b><br>Seduced by Natassja Kinski<br><b>MARK DOTY (b. 1953) </b><br>Homo Will Not Inherit<br><b>HARRYETTE MULLEN (b. 1953) </b><br>from <b>Trimmings</b><br>From <b>S*PeRM**K*T</b><br><b>LOUISE ERDRICH (b. 1954) </b><br>Indian Boarding School&#58; The Runaways Dear John Wayne<br><b>SANDRA CISNEROS (b. 1954) </b><br>Little Clown, My Heart<br><b>THYLIAS MOSS (b. 1954) </b><br>Fullness There Will Be Animals Ambition Crystals<br><b>PATRICIA SMITH (b. 1955) </b><br>What It's Like to Be a Black Girl (For Those of You Who Aren't)<br>Blond White Women Skinhead<br><b>MARILYN CHIN (b. 1955) </b><br>How I Got That Name<br><b>SESSHU FOSTER (b. 1957) </b><br>We're caffeinated by rain inside concrete underpasses You'll be fucked up Look and look again, will he glance up all of a sudden I'm always grateful no one hears this terrible racket The Japanese man would not appear riding a horse<br><b>Life Magazine</b>, December, 1941<br>I try to pee but I can't<br><b>MART&Iacute;N ESPADA (b. 1957) </b><br>Bully The Lover of a Subversive Is Also A Subversive Federico's Ghost The Saint Vincent de Paul Food Pantry Stomp Fidel In Ohio The Skull Beneath the Skin of the Mango Imagine The Angels Of Bread<br><b>SHERMAN ALEXIE (b. 1966) </b><br>Indian Boy Love Song (#2)<br>No. 9 (from The Native American Broadcasting System)<br>Evolution Scalp Dance by Spokane Indians How to Write the Great American Indian Novel Tourists<br><b>GRAPHIC INTERPRETATIONS </b><br>EDWIN MARKHAM The Man With the Hoe<br><b>VACHEL LINDSAY </b><br>The Virginians Are Coming Again<br><b>LANSTON HUGHES </b><br>Christ in Alabama Come to the Waldorf-Astoria<br><b>GWENDOLYN BROOKS </b><br>We Real Cool
231A Patriot'S Handbook: Songs, Poems, Stories, And Speeches Celebrating The Land We LoveCaroline Kennedy25<strong>Caroline Kennedy</strong> is the editor of the <i class="null1">New York Times</i> bestselling <em>A Patriot's Handbook, Profiles in Courage for Our Time, The Best-Loved Poems of Jacqueline Kennedy Onassis, A Family of Poems,</em> <em>A Family Christmas</em>, and the coauthor of <em>The Right to Privacy</em> and <em>In Our Defense: The Bill of Rights in Action</em>. She serves as the Vice Chair of the Fund for Public Schools in New York City and President of the John F. Kennedy Library Foundation. She lives in New York City.Caroline Kennedya-patriots-handbookcaroline-kennedy97807868691830786869186$13.25HardcoverHyperionMay 20031STPoetry Anthologies, American Poetry, United States History - Reference, United States History - General & Miscellaneous, American Music - General & Miscellaneous, American Literature Anthologies, American Peoples & Cultures - Quotations, Speeches6886.12 (w) x 9.25 (h) x 0.00 (d)In the spirit of the <i>New York Times</i> bestseller <i>The Best-Loved Poems of Jacqueline Kennedy Onassis</i>, Caroline Kennedy shares an inspiring collection of patriotic poems, song lyrics, historical documents, and speeches.<br> <br> <p><i>The Best-Loved Poems of Jacqueline Kennedy Onassis</i> was a blockbuster success, remaining on the <i>New York Times</i> bestseller list for 15 weeks with more than 500,000 copies in print. Now, Caroline Kennedy shares with readers an assortment of her own favorite American writings. The works collected here — which span centuries and styles — have one thing in common: all are emblematic of our country's patriotism and pride. With texts as varied as America's cultural composition, this anthology includes material such as "This Land Is Your Land," "God Bless America," the Bill of Rights, the U.S. Constitution, and the Pledge of Allegiance.</p> <p>Caroline Kennedy researched all of the selections included in <i>A Patriot's Handbook</i>, wrote the introduction, and added personal commentary to each section. This elegantly packaged collection is the perfect gift for anyone in search of a reminder of what our country's spirit is made of.</p> <p>"Over the past few months we have all thought about what it means to be an American. I realized that I want my own children to know more about the ideals upon which this country was founded and the sacrifices that have been made to pass it on to us. This book is intended to help families explore the foundations of our freedom and to celebrate our heritage." —Caroline Kennedy</p> <p><b>Caroline Kennedy</b> is the <i>New York Times</i> bestselling author of <i>The Best-Loved Poems of Jacqueline Kennedy Onassis</i> and the editor of <i>Profiles in Courage for Our Time</i>. She is also the co-author of the national bestsellers <i>The Right to Privacy</i> and <i>In Our Defense: The Bill of Rights in Action</i>. She serves as president of the John F. Kennedy Library Foundation.</p><p>A patriotic anthology similar in format to THE BEST-LOVED POEMS OF JACQUELINE KENNEDY ONASSIS, which will include poems, song lyrics, speeches, and other appropriate documents.</p><h3>Publishers Weekly</h3><p>The rich and sometimes discordant strains of American self-scrutiny fill this wide-ranging anthology. Kennedy (The Best-Loved Poems of Jacqueline Kennedy Onassis) arranges the more than 200 selections according to themes like "The Flag," "Freedom of Speech," "Work, Opportunity and Invention" and "The Individual," and devotes equal space to the official, the devotional and the oppositional. The Declaration of Independence and the Constitution are reprinted in full, along with a large selection of presidential inaugurals and farewells and excerpts from landmark Supreme Court decisions. Popular songs include "Yankee Doodle," "This Land Is Your Land" and "Surfin' USA." Poems and fiction from such luminaries as Whitman, Faulkner, Fitzgerald, Stephen Crane, Alice Walker and Annie Proulx explore the variegated textures of American life. The dissident voices of Thoreau, Susan B. Anthony and Frederick Douglass hold America to account for its injustice; H.L. Mencken castigates it as "a commonwealth of third-rate men"; and Oscar Wilde raises a sardonic eyebrow at the whole dubious enterprise. Combining traditional touchstones of Americanism with many insightful surprises, Kennedy's thoughtful arrangement of works of historical significance and literary quality will reward both casual browsers and those conducting a more focused investigation of the nation's patriotic literature. (May) Copyright 2003 Reed Business Information.</p><article> <h4>Publishers Weekly</h4>The rich and sometimes discordant strains of American self-scrutiny fill this wide-ranging anthology. Kennedy (The Best-Loved Poems of Jacqueline Kennedy Onassis) arranges the more than 200 selections according to themes like "The Flag," "Freedom of Speech," "Work, Opportunity and Invention" and "The Individual," and devotes equal space to the official, the devotional and the oppositional. The Declaration of Independence and the Constitution are reprinted in full, along with a large selection of presidential inaugurals and farewells and excerpts from landmark Supreme Court decisions. Popular songs include "Yankee Doodle," "This Land Is Your Land" and "Surfin' USA." Poems and fiction from such luminaries as Whitman, Faulkner, Fitzgerald, Stephen Crane, Alice Walker and Annie Proulx explore the variegated textures of American life. The dissident voices of Thoreau, Susan B. Anthony and Frederick Douglass hold America to account for its injustice; H.L. Mencken castigates it as "a commonwealth of third-rate men"; and Oscar Wilde raises a sardonic eyebrow at the whole dubious enterprise. Combining traditional touchstones of Americanism with many insightful surprises, Kennedy's thoughtful arrangement of works of historical significance and literary quality will reward both casual browsers and those conducting a more focused investigation of the nation's patriotic literature. (May) Copyright 2003 Reed Business Information. </article> <article> <br/>"Exactly what we need these days to remind us of who we are and who we hope to be." (O Magazine) </article>
232Uncle Remus: His Songs and His SayingsJoel Chandler Harris0Joel Chandler Harris, James H. Moser (Photographer), William B. Williforduncle-remusjoel-chandler-harris97808779706060877970602HardcoverCherokee Publishing CompanySeptember 1995REPRINTChildren's Fiction, Classics<p>According to Wikipedia: "Joel Chandler Harris (December 9, 1845 - July 3, 1908) was an American journalist, fiction writer, and folklorist best known for his collection of Uncle Remus stories. Harris was born in Eatonton, Georgia, where he served as an apprentice on a plantation during his teenage years. He spent the majority of his adult life in Atlanta working as an associate editor at the Atlanta Constitution. Harris led two significant professional lives. Editor and journalist Joe Harris ushered in the New South alongside Henry W. Grady, stressing regional and racial reconciliation during and after the Reconstruction era. Joel Chandler Harris, fiction writer and folklorist, recorded many Brer Rabbit stories from the African-American oral tradition and revolutionized children's literature in the process."</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Author, Teller, and Hero</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Suggestions for Further Reading</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Note on the Text</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uncle Remus: His Songs and His Sayings</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD></TABLE>
233The Heath Anthology of American Literature: Volume B: Early Nineteenth Century (1800-1865)Paul Lauter0<p><P>Paul Lauter is the Smith Professor of Literature at Trinity College. He has served as president of the American Studies Association and is a major figure in the revision of the American literary canon.<P>Dr. Bryer is an expert on F. Scott Fitzgerald and is president of the International F. Scott Fitzgerald Society. He was an editor of DEAR SCOTT, DEAREST ZELDA&#58; THE LOVE LETTERS OF F. SCOTT AND ZELDA FITZGERALD (Macmillan).<P>Dr. Bryer is an expert on F. Scott Fitzgerald and is president of the International F. Scott Fitzgerald Society. He was an editor of DEAR SCOTT, DEAREST ZELDA&#58; THE LOVE LETTERS OF F. SCOTT AND ZELDA FITZGERALD (Macmillan).<P>Dr. Cheung received her Ph.D. from the University of California, Berkeley, and has specialized in Asian-American literature.</p>Paul Lauter, Richard Yarborough, Jackson Bryer, Charles Molesworth, King-Kok Cheungthe-heath-anthology-of-american-literaturepaul-lauter97806185329880618532986$57.95PaperbackCengage LearningDecember 20045th EditionAmerican Literature Anthologies17606.10 (w) x 9.20 (h) x 1.40 (d)<p>Unrivaled diversity and teachability have made The Heath Anthology a best-selling text since the publication of its first edition in 1989. In presenting a more inclusive canon of American literature, The Heath Anthology continues to balance the traditional, leading names in American literature with lesser-known writers and to build upon the anthology's other strengths: its apparatus and its ancillaries. Available in five volumes for greater flexibility, the Fifth Edition offers thematic clusters to stimulate classroom discussions and to show the treatment of important topics across the genres. The indispensable web site includes revised timelines, a multimedia gallery to support thematic clusters, and a searchable Instructor's Guide.</p><p><P>Unrivaled diversity and teachability have made The Heath Anthology a best-selling text since the publication of its first edition in 1989. In presenting a more inclusive canon of American literature, The Heath Anthology continues to balance the traditional, leading names in American literature with lesser-known writers and to build upon the anthology's other strengths&#58; its apparatus and its ancillaries. Available in five volumes for greater flexibility, the Fifth Edition offers thematic clusters to stimulate classroom discussions and to show the treatment of important topics across the genres. The indispensable web site includes revised timelines, a multimedia gallery to support thematic clusters, and a searchable Instructor's Guide.</p><P>Early Nineteenth Century&#58; 1800-1865 Native America Jane Johnston Schoolcraft (Ojibwa) (1800-1841) Mishosha, or the Magician and His Daughters The Forsaken Brother Major George Lowery (Cherokee) (c. 1770-1852) Notable Persons in Cherokee History&#58; Sequoyah or George Gist Elias Boudinot (Cherokee) (c. 1802-1839) An Address to the Whites John Ross (Cherokee) (1790-1866) Letter to Lewis Cass, February 14, 1833 Letter to Andrew Jackson, March 28, 1834 William Apess (Pequot) (1798-?) An Indian's Looking-Glass for the White Man John Wannuaucon Quinney (Mahican) (1797-1855) Quinney's Speech Seattle (Duwamish) (1786-1866) Speech of Chief Seattle George Copway (Kah-ge-ga-gah-bowh; Ojibwa) (1818-1869) from The Life of Kah-ge-ga-gah-bowh John Rollin Ridge (Cherokee) (1827-1867) Oppression of Digger Indians The Atlantic Cable The Stolen White Girl A Scene Along the Rio de la Plumas Spanish America Tales from the Hispanic Southwest La comadre Sebastiana/ Do-a Sebastiana Los tres hermanos/ The Three Brothers El obispo/ The New Bishop El indito de las cien vacas/ The Indian and the Hundred Cows La Llorona, Malinche, and Guadalupe La Llorona, La Malinche, and the Unfaithful Maria The Devil Woman Lorenzo de Zavala (1788-1836) Viage a Los Estados-Unidos del Norte America (Journey to the United States) Narratives from the Mexican and Early American Southwest Pio Pico (1801-1894)&#58; from Historical Narrative Mariano Guadalupe Vallejo (1808-1890)&#58; from Recuerdos historicos y personales tocante a la alta California Richard Henry Dana, Jr. (1815-1882)&#58; from Two Years before the Mast Alfred Robinson (1806-1895)&#58; from Life in California Josiah Gregg (1806-1850)&#58; from Commerce of the Prairies&#58; 5. New Mexico, 7. Domestic Animals, 8. Arts and Crafts, 9. The People Frederick Law Olmsted (1822-1903)&#58; from A Journey Through Texas&#58; San Antonio, The Missions, Town Life, The Mexicans in Texas. The Cultures of New England Lydia Howard Huntley Sigourney (1791-1865) The Suttee Death of an Infant The Father The Indian's Welcome to the Pilgrim Fathers Indian Names Niagara To a Shred of Linen The Indian Summer Ralph Waldo Emerson (1803-1882) Nature The American Scholar Self-Reliance The Poet Experience Concord Hymn The Rhodora The Snow-Storm Compensation Hamatreya Merlin Brahma Days Terminus John Greenleaf Whittier (1807-1892) The Hunters of Men The Farewell Massachusetts to Virginia At Port Royal Sarah Margaret Fuller (1810-1850) To [Sophia Ripley?] from Woman in the Nineteenth Century from American Literature&#58; Its Position in the Present Time, and Prospects for the Future from Things and Thoughts in Europe&#58; Foreign Correspondence of the Tribune&#58; Dispatch 17; Dispatch 18. Henry David Thoreau (1817-1862) Resistance to Civil Government from Walden&#58; Where I Lived, and What I Lived For; Higher Laws; Spring; Conclusion. A Plea for Captain John Brown Walking Race, Slavery, and the Invention of the South" David Walker (1785-1830) from Appeal. . .to the Coloured Citizens of the World (Third edition, 1829) William Lloyd Garrison (1805-1879) Editorial from the first issue of The Liberator Lydia Maria Child (1802-1880) from Appeal in Favor of that Class of Americans Called Africans&#58; Preface; Chapter VIII&#58; Prejudices Against People Of Color, And Our Duties In Relation To This Subject Letters from New York&#58; 14 [17]&#58; [Homelessness]; 20 [27]&#58; [Birds]; 33&#58; [Antiabolitionist Mobs]; 34 [50, 51]&#58; [Women's Rights]. Angelina Grimk? (1805-1879) from Appeal to the Christian Women of the South Henry Highland Garnet (1815-1882) An Address to the Slaves of the United States of America, Buffalo, N.Y., 1843 Frederick Douglass (1818-1895) Narrative of the Life of Frederick Douglass, an American Slave What to the Slave Is the Fourth of July? Nancy Gardner Prince (1799-1859?) from A Narrative of the Life and Travels of Mrs. Nancy Prince Caroline Lee Hentz (1800-1856) The Planter's Northern Bride George Fitzhugh (1804-1881) from Southern Thought Frances Ellen Watkins Harper (1825-1911) The Slave Mother The Tennessee Hero Free Labor An Appeal to the American People The Colored People in America Speech&#58; On the Twenty-Fourth Anniversary of the American Anti-Slavery Society The Two Offers Thomas Wentworth Higginson (1823-1911) from Nat Turner's Insurrection Letter to Mrs. Higginson on Emily Dickinson Harriet Ann Jacobs (1813-1897) from Incidents in the Life of a Slave Girl&#58; I&#58; Childhood; VI&#58; The Jealous Mistress; X&#58; A Perilous Passage in the Slave Girls Life; XVI&#58; Scenes at the Plantation; XXI&#58; The Loophole of Retreat; XLI&#58; Free at Last. Harriet Jacobs to Ednah Dow Cheney Mary Boykin Chesnut (1823-1886) from Mary Chesnut's Civil War&#58; March 18, 1861; August 26, 1861; October 13, 1861; October 20, 1861; January 16, 1865; January 17, 1865. Wendell Phillips (1811-1884) from Toussaint L'Ouverture Abraham Lincoln (1809-1865) Address at the Dedication of the Gettysburg National Cemetery Second Inaugural Address Literature and "The Woman Question" Sarah Moore Grimk? (1792-1873) Letters on the Equality of the Sexes, and the Condition of Woman&#58; Letter VIII&#58; The Condition of Women in the United States; Letter XV&#58; Man Equally Guilty with Woman in the Fall. Angelina Grimk? (1805-1879) from Letters to Catharine Beecher&#58; Letter XI; Letter XII&#58; Human Rights Not Founded on Sex. Sojourner Truth (c. 1797-1883) Reminiscences by Frances D. Gage of Sojourner Truth, for May 28-29, 1851 Sojourner Truth's Speech at the Akron, Ohio, Women's Rights Meeting Speech at New York City Convention Address to the First Annual Meeting of the American Equal Rights Association Fanny Fern (Sara Willis Parton) (1811-1872) Hints to Young Wives from Fern Leaves, 1st Series&#58; Thanksgiving Story from Fern Leaves, 2nd Series&#58; Soliloquy of a Housemaid; Critics; Mrs. Adolphus Smith Sporting the "Blue Stocking." A Law More Nice than Just Independence The Working-Girls of New York Elizabeth Cady Stanton (1815-1902) from Eighty Years and More&#58; Reminiscences Declaration of Sentiments The Development of Narrative Cluster&#58; Humor of the Old Southwest Davy Crockett (1786-1836)&#58; from The Crockett Almanacs&#58; Sunrise in His Pocket, A Pretty Predicament, Crockett's Daughters. Mike Fink (1770? -1823?)&#58; from The Crocket Almanacs&#58; Mike Fink's Brag, Mike Fink Trying to Scare Mrs. Crockett, Sal Fink, the Mississippi Screamer, How She Cooked Injuns; The Death of Mike Fink (Joseph M. Field, recorder). Augustus Baldwin Longstreet (1790-1870)&#58; The Horse Swap George Washington Harris (1814-1869)&#58; Mrs. Yardley's Quilting Washington Irving (1783-1859) from A History of New York&#58; Book I, Chapter 5 Rip Van Winkle The Legend of Sleepy Hollow James Fenimore Cooper (1789-1851) from The Pioneers, or the Sources of the Susquehanna; A Descriptive Tale&#58; Chapter XXI, Chapter XXII, Chapter XXIII. Catharine Maria Sedgwick (1789-1867) from Hope Leslie&#58; from Volume 1, Chapter 7; from Volume 2, Chapter 1; from Volume 2, Chapter 8. Caroline Kirkland (1801-1864) from A New Home&#151;Who'll Follow? Preface, Preface to the Fourth Edition, Chapter I, Chapter XV, Chapter XVII, Chapter XXVII, Chapter XLIII. Nathaniel Hawthorne (1804-1864) My Kinsman, Major Molineux Young Goodman Brown The Minister's Black Veil The Birth-mark Rappaccini's Daughter The Scarlet Letter Preface to The House of Seven Gables Mrs. Hutchinson from Abraham Lincoln Letters&#58; To Henry Wadsworth Longfellow, June 4, 1837; To Sophia Peabody, April 13, 1841; To H.W. Longfellow, June 5, 1849; To J.T. Fields, January 20, 1850; To J.T. Fields, Undated draft; To H.W. Longfellow. January 2, 1864. Edgar Allan Poe (1809-1849) Ligeia The Fall of the House of Usher The Man of the Crowd The Tell-Tale Heart The Black Cat The Purloined Letter The Facts in the Case of M. Valdemar The Philosophy of Composition Sonnet&#151;To Science Romance To Helen Israfel The City in the Sea The Sleeper Bridal Ballad Sonnet&#151;Silence Dream-Land The Raven Ulalume Annabel Lee Harriet Beecher Stowe (1811-1896) from Uncle Tom's Cabin&#58; Chapter I&#58; In Which the Reader Is Introduced to a Man of Humanity; Chapter VII&#58; The Mother's Struggle; Chapter XI&#58; In Which Property Gets into an Improper State of Mind; Chapter XIII&#58; The Quaker Settlement; Chapter XIV&#58; Evangeline; Chapter XL&#58; The Martyr; Chapter XLI&#58; The Young Master. from Preface to the First Illustrated Edition of Uncle Tom's Cabin The Minister's Wooing&#58; XXIII&#58; Views of Divine Government. Sojourner Truth, the Libyan Sibyl William Wells Brown (1815-1884) from Clotelle; or, The Colored Heroine&#58; Chapter II&#58; The Negro Sale; Chapter X&#58; The Quadroon's Home; Chapter XI&#58; To-Day a Mistress, To-Morrow a Slave; Chapter XVIII&#58; A Slave-Hunting Parson. Herman Melville (1819-1891) Bartleby, the Scrivener The Paradise of Bachelors and the Tartarus of Maids&#58; I. The Paradise of Bachelors, II. The Tartarus of Maids. Benito Cereno Billy Budd, Sailor Hawthorne and His Mosses from Battle-Pieces and Aspects of the War&#58; The Portent (1859); A Utilitarian View of the Monitors Fight. The Maldive Shark from Timoleon&#58; Monody; Art. Alice Cary (1820-1871) from Clovernook, or Recollections of our Neighborhood in the West, First Series&#58; Preface from Clovernook, or Recollections of our Neighborhood in the West, Second Series&#58; Uncle Christopher's; Conclusion. Elizabeth Stoddard (1823-1902) Lemorne Versus Huell Rebecca Harding Davis (1831-1910) Life in the Iron-Mills The Emergence of American Poetic Voices Songs and Ballads Songs of the Slaves&#58; Lay Dis Body Down; Nobody Knows the Trouble I've Had; Deep River; Roll, Jordan, Roll; Michael, Row the Boat Ashore; Steal Away to Jesus; There's a Meeting Here To-Night; Many Thousand Go; Go Down, Moses; Didn't My Lord Deliver Daniel. Songs of White Communities&#58; John Brown's Body; The Battle Hymn of the Republic (Julia Ward Howe); Pat Works on the Railway; Sweet Betsy from Pike; Bury Me Not On the Lone Prairie; Shenandoah; Clementine; Acres of Clams; Cindy; Paper of Pins; Come Home, Father (Henry Clay Work); Life Is a Toil. William Cullen Bryant (1794-1878) Thanatopsis The Yellow Violet To a Waterfowl To Cole, the Painter, Departing for Europe To the Fringed Gentian The Prairies Abraham Lincoln Henry Wadsworth Longfellow (1807-1882) A Psalm of Life The Warning The Jewish Cemetery at Newport Aftermath Chaucer The Harvest Moon Frances Sargent Locke Osgood (1811-1850) Ellen Learning to Walk The Little Hand The Maiden's Mistake Oh! Hasten to My Side A Reply to One Who Said, Write from Your Heart Lines (Suggested by the announcement that "A Bill for the Protection of the Property of Married Women has passed both Houses" of our State Legislature) Woman Little Children To a Slandered Poetess The Indian Maid's Reply to the Missionary The Hand That Swept the Sounding Lyre The Wraith of the Rose Walt Whitman (1819-1892) Leaves of Grass&#58; Preface to the 1855 Edition; Song of Myself (1855 version); The Sleepers; from Inscriptions&#58; One's-Self I Sing; from Children of Adam&#58; To the Garden the World, A Woman Waits for Me; from Calamus&#58; In Paths Untrodden, Recorders Ages Hence, When I Heard at the Close of the Day, Here the Frailest Leaves of Me, I Dream'd in a Dream; Crossing Brooklyn Ferry; from Sea-Drift&#58; Out of the Cradle Endlessly Rocking; from By the Roadside&#58; Europe, the 72d and 73d Years of These States, When I Heard the Learn'd Astronomer, To a President, The Dalliance of the Eagles, To the States; from Drum-Taps&#58; Beat! Beat! Drums!, Cavalry Crossing a Ford, Vigil Strange I Kept on the Field One Night, A March in the Ranks Hard-Prest, and the Road Unknown, Year That Trembled and Reel'd Beneath Me, Ethiopia Saluting the Colors, Reconciliation, As I Lay with My Head in Your Lap Camerado; from Memories of President Lincoln&#58; When Lilacs Last in the Dooryard Bloom'd; from Autumn Rivulets&#58; Sparkles from the Wheel, Prayer of Columbus; from Whispers of Heavenly Death&#58; Quicksand Years; from From Noon to Starry Night&#58; To a Locomotive in Winter; from Songs of Parting&#58; So Long!; from Sands at Seventy (First Annex)&#58; Yonnondio; from Good-bye My Fancy (Second Annex)&#58; Good-bye My Fancy! Respondez! Poem Deleted from Leaves of Grass from Democratic Vistas Emily Dickinson (1830-1886) Poems&#58; [One Sister have I in our house], [I never lost as much but twice], [Success is counted sweetest], [Her breast is fit for pearls], [These are the days when Birds come back&#151;], [Come slowly&#151;Eden!], [Did the Harebell loose her girdle], [I like the look of Agony], [Wild Nights&#151;Wild Nights!], [I can wade Grief&#151;], [There's a certain Slant of light], [I felt a Funeral, in my Brain], [I'm Nobody! Who are you?], [If your Nerve, deny you&#151;], [Your Riches&#151;taught me&#151;Poverty.], [I reason, Earth is short&#151;], [The Soul selects her own Society&#151;], [The Soul's Superior instants], [I send Two Sunsets&#151;], [It sifts from Leaden Sieves], [There came a Day at Summer's full], [Some keep the Sabbath going to Church], [A Bird came down the Walk&#151;], [I know that He exists.], [After great pain, a formal feeling comes&#151;], [God is a distant&#151;stately Lover&#151;], [Dare you see a Soul at the White Heat? ], [What Soft&#151;Cherubic Creatures&#151;], [Much Madness is divinest Sense&#151;], [This is my letter to the world], [I tie my Hat&#151;I crease my Shawl], [I showed her Hights she never saw&#151;], [This was a Poet&#151;It is That&#151;], [I heard a Fly buzz&#151;when I died&#151;], [This world is not Conclusion], [Her sweet Weight on my Heart a Night], [I started Early&#151;Took my Dog&#151;], [One Crucifixion is recorded&#151;only&#151;], [I reckon&#151;when I count at all&#151;], [I had been hungry, all the Years&#151;], [Empty my Heart, of Thee], [They shut me up in Prose&#151;], [Ourselves were wed one summer&#151;dear&#151;], [The Brain&#151;is wider than the Sky&#151;], [I cannot live with You&#151;], [I dwell in Possibility&#151;], [Of all the Souls that stand create&#151;], [One need not be a Chamber&#151;to be Haunted&#151;], [Essential Oils&#151;are wrung&#151;], [They say that "Time Assuages"&#151;], [Publication&#151;is the Auction], [Because I could not stop for Death&#151;], [She rose to His Requirement&#151;dropt], [My Life had stood&#151;a Loaded Gun&#151;], [Presentiment&#151;is that long Shadow&#151;on the Lawn&#151;], [This Consciousness that is aware], [The Poets light but Lamps], [The Missing All, prevented Me], [A narrow Fellow in the Grass], [Perception of an object costs], [Title divine&#151;is mine!], [The Bustle in a House], [Revolution is the Pod], [Tell all the Truth but tell it slant&#151;], [He preached upon "Breadth" till it argued him narrow&#151;], [Not with a Club, the Heart is broken], [What mystery pervades a well!], [A Counterfeit&#151;a Plated Person&#151;], ["Heavenly Father"&#151;take to thee], [A Route of Evanescence], [The Bible is an Antique Volume&#151;], [Volcanoes be in Sicily], [Rearrange a "Wife's" affection!], [To make a prairie it takes a clover and one bee]. Letters&#58; To Abiah Root (January 29, 1850), To Austin Dickinson (October 17, 1851), To Susan Gilbert (Dickinson) (late April 1852), To Susan Gilbert (Dickinson) (June 27, 1852), To Samuel Bowles (about February 1861), To recipient unknown (about 1861), To Susan Gilbert Dickinson (date uncertain), To T.W. Higginson (April 15, 1862), To T.W. Higginson (April 25, 1862), To T.W. Higginson (June 7, 1862), To T.W. Higginson (July 1862), To Mrs. J.G. Holland (early May 1866), To Susan Gilbert Dickinson (about 1870), To Susan Gilbert Dickinson (about 1870), To T.W. Higginson (1876), To Otis P. Lord [rough draft] (about 1878), To Susan Gilbert Dickinson (about 1878), To Susan Gilbert Dickinson (early October 1883), To Susan Gilbert Dickinson (about 1884)."
234Immigrant WomenMaxine Schwartz Seller0Maxine Schwartz Sellerimmigrant-womenmaxine-schwartz-seller97807914190450791419045$31.95PaperbackState University of New York PressJuly 19942nd EditionLiterary Collections<p>Immigrant Women combines memoirs, diaries, oral history, and fiction to present an authentic and emotionally compelling record of women's struggles to build new lives in a new land. This new edition has been expanded to include additional material on recent Asian and Hispanic immigration and an updated bibliography.</p><h3>Booknews</h3><p>An anthology of memoirs, diaries, oral history, and fiction that provide a first-hand account of women's experiences in coming to the US. The new addition includes contributions by recent Asian and Hispanic immigrants, and drops several of the original accounts to make room for some poetry. Arranged in sections such as work, family, community life, and daughters and granddaughters, with a substantial introduction to each section. Paper edition (1904-5), $24.95. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About a Wheat Field and a Bowl of Barley Porridge</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Factory Girls"</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"My Education and Aspirations Demanded More"</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"He Has the Right to Command You"</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Remember How Scared I Was"</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Am Alive to Tell You This Story..."</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Issei Women: "Picture Brides" in America</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Escaped with My Life"</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Urbanization Without Breakdown"</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Diary of a Rent Striker: "Harlem and Hope"</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Paths upon Water"</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strategies for Growing Old: Basha Is a Survivor</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Better We Glean Than Our Children Starve"</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Physician in the "First True 'Woman's Hospital' in the World"</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Duties of the Housewife Remain Manifold and Various"</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"With Respect and Feelings": Voices of West Indian Child Care and Domestic Workers in New York City</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Immigrant Woman and Her Job: Agnes D., Mrs. E., Angelina, Minnie, Louise M., and Theresa M.</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Consider Myself a 'Theater Worker'..."</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"She Will Deny Herself Innocent Enjoyments": Dutiful Irish Daughters</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Unmarried Mothers</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Syrian Women in Chicago: "New Responsibilities... New Skills"</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Once You Marry Someone It Is Forever"</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Vine and the Fruit</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"We Want to Give a Complete Picture of Who We Are" "Palm Sunday 1981"</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Family Disrupted: "Shikata Ga Nai" - This Cannot Be Helped"</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"If One Could Help Another"</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Let Us Join Hands": The Polish Women's Alliance</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rosa and the Chicago Commons: "How Can I Not Love America?"</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Free Vacation House"</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Bridge a Gap Between Two Cultures": Lyu-Volckhausen, Advocate for the Korean Community</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"People Who Do This Kind of Work Are in Such Danger of Burnout": Judy Baca, "Urban Artist"</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Lessons Which Most Influenced My Life...Came from My Parents,"</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"An Impossible Dream": The Struggle for Higher Education</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stubborn Twig: "My Double Dose of Schooling"</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Am a Housewife": English Lessons for Vietnamese Women</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Glad That I Am the Future"</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Unfulfilled Aspirations: "Never Used the Brush and Ink"</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the End of the Sante Fe Trail</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"This Is Law, But Where Is the Justice of It"</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In Memoriam - American Democracy"</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The March of the Mill Children</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fasting for Suffrage: "We Don't Want Other Women Ever to Have to Do This Over Again"</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Black Women of the World...Push Forward"</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Why Did I Put Up With It All These Years": The Farah Strike</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Song for a Barbarian Reed Pipe</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Parish and the Hill</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"This Is Selina"</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"We Can Begin to Move toward Sisterhood"</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Join My Struggle: "A Poem for Marshall"</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Asian-American Women and Feminism: "Gender Equality . . . Is Not the Exclusive Agenda"</TD><TD WIDTH="10%" ALIGN="RIGHT">337</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Generations of Women</TD><TD WIDTH="10%" ALIGN="RIGHT">340</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliographical Essay</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">371</TD></table>
235The American Aeneas: Classical Origins of the American SelfJohn C. Shields0<p>John C. Shields is the editor of&nbsp;The Collected Works of Phillis Wheatley&nbsp;and the author of&nbsp;The American Aeneas: Classical Origins of the American Self, which won a Choice Outstanding Academic Book award and an honorable mention in the Harry Levin Prize competition, sponsored by the American Comparative Literature Association.&nbsp;</p>John C. Shieldsthe-american-aeneasjohn-c-shields97815723313271572331321$33.00HardcoverUniversity of Tennessee PressOctober 20011 EDClassicism, United States Studies - General & Miscellaneous, United States - Civilization, Literary Criticism - U.S. Fiction & Prose Literature - General & Miscellaneous, Greco-Roman Folklore & Mythology, Ancient Roman Poetry - Literary Criticism, Literar4806.38 (w) x 9.22 (h) x 1.24 (d)<p>“John Shields's book is a provocative challenge to the venerable Adamic myth so exhaustively deployed in examinations of early American literature and in American studies. Moreover, The American Aeneas builds wonderfully on Shields's considerable work on Phillis Wheatley. “?—American Literature??</p> <p>“The American Aeneas should be of interest to classicists and American studies scholars alike.”&nbsp;?—The New England Quarterly??</p> <p>John Shields exposes a significant cultural blindness within American consciousness. Noting the biblical character Adam as an archetype who has long dominated ideas of what it means to be American, Shields argues that an equally important component of our nation’s cultural identity—a&nbsp; secular one deriving from the classical tradition—has been seriously neglected.??Shields shows how Adam and Aeneas—Vergil’s hero of the Aeneid— in crossing over to American from Europe, dynamically intermingled in the thought of the earliest American writers. Shields argues that uncovering and acknowledging the classical roots of our culture can allay the American fear of “pastlessness” that the long-standing emphasis on the Adamic myth has generated.</p> <p>John C. Shields is the editor of&nbsp;The Collected Works of Phillis Wheatley&nbsp;and the author of&nbsp;The American Aeneas: Classical Origins of the American Self, which won a Choice Outstanding Academic Book award and an honorable mention in the Harry Levin Prize competition, sponsored by the American Comparative Literature Association.&nbsp;</p><p>In <i>The American Aeneas</i>, John C. Shields exposes a significant cultural blindness within American consciousness. Noting that the biblical myth of Adam has long dominated ideas of what it means to be American, Shields argues that an equally important component of our nation's cultural identity--a secular one deriving from the classical tradition-has been seriously neglected. <P> The author finds various Early American texts, including pastorals, pastoral elegies, literary independence poems, tracts on educational theories, religious discourses, and political writings, laden with elements of classicism, particularly the myth of Aeneas as depicted by Vergil. Shields demonstrates that Aeneas, Vergil's hero of the <i>Aeneid</i>, was an especially apt figure for New World discourse in that he epitomized "the sailor who struck out onto dangerous, uncharted seas in order to discover a new land in which to build a new civilization. "Shields shows how both the myth of Adam and the myth of Aeneas, in crossing over to America from Europe, dynamically intermingled in the thought of the earliest American writers. This rearticulation of the myths of Adam and Aeneas became peculiarly adapted to the demands of the American adventure in freedom. Shields argues that uncovering and acknowledging the classical roots of our culture can allay the American fear of "pastlessness" that the long-standing emphasis on the Adamic myth has generated. <P> The author's probing analysis sheds new light on the works of such seminal figures as Edward Taylor, Cotton Mather, Phillis Wheatley, George Washington, Nathaniel Hawthorne, and Herman Melville. But it does much more than that--it posits a new model for American studies. "This model," Shields writes, "is not composed of a single strand which can only direct the struggle to explore the dimensions of American culture in a linear fashion--an inevitable dead end. The image of two strands coming together, intertwining and interconnecting so as to accommodate virtually infinite possibilities, more accurately captures the dynamic of Americanness."</p>
236Love, Castro Street: Reflections of San FranciscoKatherine V. Forrest0<p><P>Katherine V. Forrest is twice winner of the Lambda Literary Award for best mystery, and has been recently honored with the Pioneer Award from the Lambda Literary Foundation. Jim Van Buskirk has been, since 1991, responsible for the development of the Jame</p>Katherine V. Forrest (Editor), Jim Van Buskirklove-castro-streetkatherine-v-forrest97815558399701555839975$1.99PaperbackAlyson BooksMay 2007American Literature Anthologies, Anthologies, Gay & Lesbian Studies2886.00 (w) x 9.00 (h) x 0.70 (d)<p>Recognized as perhaps the world’s most queer destination, San Francisco has a long, storied history of embracing—and influencing—gay and lesbian culture. Now, Michael Nava, Elana Dykewoman, Lucy Jane Bledsoe, Jim Tushinski, Michele Tea, K.M. Soehnlein, and many others offer up essays and stories about why they love Castro Street.</p> <p><b>Katherine V. Forrest</b> is the Lambda Award-winning author of <i>Curious Wine, Daughters of the Emerald Dusk,</i> and the Kate Delafield mystery series.</p> <p><b>Jim Van Buskirk</b>, the director of the James C. Hormel Gay &amp; Lesbian Center at the San Francisco Library, co-authored <i>Gay by the Bay.</i></p><p><P>A love letter to the City by the Bay, from the queer writers who call it home.</p>
237The Women's Project and Productions: The Best One-Act Plays, 1975-1999Julia Miles0Julia Milesthe-womens-project-and-productionsjulia-miles97815752527111575252716$19.15PaperbackSmith & Kraus, Inc.June 2002Drama Anthologies, American Drama, American Literature Anthologies309New York City's Women's Project and Productions executes a double whammy with two back to back anthologies. Women's Project &amp; Productions: 'Rowing to America' and Sixteen Other Short Plays, edited by Julia Miles (Smith &amp; Kraus, 19.95 paper), gives a head-spinning sampling of the diverse one-acts (by Liz Duffy Adams, Carmen Rivera, Sheri Wilner, and so forth) that issued from its laboratory. The indefatiguable Miles also found time prepare a greatest-hits collection, A Theatre for Women's Voices: Plays &amp; History from the Women's Project at 25.
238Feeling Italian: The Art of Ethnicity in AmericaThomas Ferraro0<p><p><B>Thomas J. Ferraro</B> is associate professor of English at Duke University. He is the author of <I>Ethnic Passages</I> and editor of <I>Catholic Lives, Contemporary America</I>.<p></p>Thomas Ferrarofeeling-italianthomas-ferraro97808147274780814727476$22.08PaperbackNew York University PressMay 2005New EditionUnited States - Ethnic & Race Relations, United States - Civilization, Italian American Studies, Ethnic & Minority Studies - United States, American Literature Anthologies4080.62 (w) x 6.00 (h) x 9.00 (d)<p><b>2006 American Book Award, presented by the Before Columbus Foundation</b></p> <p>Southern Italian emigration to the United States peaked a full century ago—;descendents are now fourth and fifth generation, dispersed from their old industrial neighborhoods, professionalized, and fully integrated into the “melting pot.” Surely the social historians are right: Italian Americans are fading into the twilight of their ethnicity. So, why is the American imagination enthralled by <i>The Sopranos</i>, and other portraits of Italian-ness?</p> <p>Italian American identity, now a mix of history and fantasy, flesh-and-bone people and all-too-familiar caricature, still has something to teach us, including why each of us, as citizens of the U.S. twentieth century and its persisting cultures, are to some extent already Italian. Contending that the media has become the primary vehicle of Italian sensibilities, Ferraro explores a series of books, movies, paintings, and records in ten dramatic vignettes. Featured cultural artifacts run the gamut, from the paintings of Joseph Stella and the music of Frank Sinatra to <i>The Godfather</i>’s enduring popularity and Madonna’s Italian background. In a prose style as vivid as his subjects, Ferraro fashions a sardonic love song to the art and iconography of Italian America.</p><p>Thomas J. Ferraro is Associate Professor of English at Duke University.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction : feeling Italian</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Honor : Friday bloody Friday</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">City : New York delirious</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Job : close to the flesh and smell and joy of them</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Mother : the Madonnas of Tenth Avenue</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Song : a punch in everyman's kisser</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">Crime : La Cosa Nostra Americana</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Romance : only a paper moon?</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">Diva : our lady the dominatrix of pop</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">Skin : Giancarlo and the border patrol</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Table : cine cucina</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conclusion : the art of ethnicity in America</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD></TABLE><article> <h4>From the Publisher</h4><p>“Ferraro maintains a breezy, journalistic style that has produced an easy and entertaining read. His work may give hope to people of other ethnicities who presently suffer from isolation and alienation on the part of the general American public.”<br> -<i>Multicultural Review</i></p> <p>,</p> <p>“Ferraro traces the 'evolution and persistence' of an identifiable Italian American identity, from the time of widespread Italian immigration in the late 1800s through popular mediated portrayals of Italian Americans such as those found in <i>The Sopranos</i> television series. The book is an important contribution not only to Italian American studies, but to the understanding of ethnicity in the 21st-century US.”<br> -<i>Choice</i></p> <p>,</p> <p>“<i>Feeling Italian</i> is a smart book, one that makes the reader think beyond the usual ways of looking at what’s Italian about the US.”<br> -<i>American Book Review</i></p> <p>,</p> <p>“This inspired, sophisticated, provoking book should command the attention of anybody interested in American Italianness in particular or the cultural consequences of ethnicity in general. Joseph Stella and Frank Sinatra, Maria Barbella and Giancarlo Esposito, Madonna and the good people who brought you the Corleones and Sopranos—;they and others appear here, often seen in startlingly fresh ways, as creators and exemplars of the aesthetic Tom Ferraro calls ‘feeling Italian.’ Wise, funny, contagiously enthusiastic, Ferraro takes us far beyond the narrow pieties of the identity police or anti-defamation types as he traces the development of a widely accessible American cultural style that still bears the marks of distinctively Italian ways of making do and making sense.”<br> -Carlo Rotella,author of <i>Good With Their Hands: Boxers, Bluesmen, and Other Characters from the Rust Belt</i></p> <p>“Original and deeply right. There is no other book that digs so deeply into the matter at hand, and does so with such eloquence and ferocity of intellect.”<br> -Jay Parini,author of <i>Passage to Liberty: The Story of Italian Immigration and the Rebirth of America</i></p> </article>
239Pamphlets of Protest: An Anthology of Early African American Protest Literature, 1790-1860Richard G. Newman0<p><P><b>Richard Newman</b> is Assistant Professor of History at the Rochester Institute of Technology; <b>Patrick Rael</b> is Assistant Professor of History at Bowdoin College; and <b>Phillip Lapsansky</b> is an archivist at the Library Company of Philadelphia.</p>Richard G. Newman (Editor), Phillip Lapsansky (Editor), Patrick Raelpamphlets-of-protestrichard-g-newman97804159244430415924448$39.95PaperbackTaylor & Francis, Inc.October 2000African Americans - General & Miscellaneous, United States History - African American History, United States History - 19th Century - Civil War, African American History, Social Sciences - General & Miscellaneous, Political Activism & Participation, Ameri3207.00 (w) x 10.00 (h) x 0.70 (d)Between the Revolution and the Civil War, African-American writing became a prominent feature of both black protest culture and American public life. Although denied a political voice in national affairs, black authors produced a wide range of literature to project their views into the public sphere. Autobiographies and personal narratives told of slavery's horrors, newspapers railed against racism in its various forms, and poetry, novellas, reprinted sermons and speeches told tales of racial uplift and redemption.<br> <br> The editors examine the important and previously overlooked pamphleteering tradition and offer new insights into how and why the printed word became so important to black activists during this critical period. An introduction by the editors situates the pamphlets in their various social, economic and political contexts. This is the first book to capture the depth of black print culture before the Civil War by examining perhaps its most important form, the pamphlet.<p>Between the Revolution and the Civil War, African-American writing became a prominent feature of both black protest culture and American public life. Although denied a political voice in national affairs, black authors produced a wide range of literature to project their views into the public sphere. Autobiographies and personal narratives told of slavery's horrors, newspapers railed against racism in its various forms, and poetry, novellas, reprinted sermons and speeches told tales of racial uplift and redemption.<br><br>The editors examine the important and previously overlooked pamphleteering tradition and offer new insights into how and why the printed word became so important to black activists during this critical period. An introduction by the editors situates the pamphlets in their various social, economic and political contexts. This is the first book to capture the depth of black print culture before the Civil War by examining perhaps its most important form, the pamphlet.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">A Narrative of the proceedings of the Black People During the Late Awful Calamity in Philadelphia (1794)</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">A Charge (1797)</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">A Dialogue Between a Virginian and an African Minister (1810)</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Series of Letters by a Man of Colour (1813)</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">An Oration on the Abolition of the Slave Trade (1814)</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">An Address before the Pennsylvania Augustine Society (1818)</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Ethiopian Manifesto (1829)</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">Appeal to the Colored Citizens of the World (1829, 1830)</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">Address to the National Convention of 1834 (1834)</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Address Delivered Before the African Female Benevolent Society of Troy (1834)</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">Productions (1835)</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">Appeal of Forty Thousand Citizens, Threatened with Disfranchisement, to the People of Pennsylvania (1837)</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">New York Committee of Vigilance for the Year 1837, together with Important Facts Relative to Their Proceedings (1837)</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">Address to the Slaves of the United States of America (1848)</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%">15</TD><TD WIDTH="70%">Proceedings of the National Convention of Colored People (1847)</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%">16</TD><TD WIDTH="70%">Report of the Proceedings of the Colored National Convention ... held in Cleveland (1848)</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%">17</TD><TD WIDTH="70%">Essay on the Character and Condition of the African Race (1852)</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%">18</TD><TD WIDTH="70%">A Plea for Emigration, or Notes of Canada West (1852)</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%">19</TD><TD WIDTH="70%">Address to the People of the United States (1853)</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%">20</TD><TD WIDTH="70%">Political Destiny of the Colored Race on the American Continent (1854)</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%">21</TD><TD WIDTH="70%">The History of the Haitian Revolution (1855)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%">22</TD><TD WIDTH="70%">An Appeal to the Females of the African Methodist Episcopal Church (1857)</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%">23</TD><TD WIDTH="70%">A Vindication of the Capacity of the Negro for Self-Governement and Civilized Progress (1857)</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%">24</TD><TD WIDTH="70%">The English Language in Liberia (1861)</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%">25</TD><TD WIDTH="70%">Negro Self-Respect and Pride of Race (1862)</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD></TABLE>
240A Whole Other Ball Game: Women's Literature on Women's SportJoli Sandoz0Joli Sandoza-whole-other-ball-gamejoli-sandoz97803745252170374525218$20.91PaperbackFarrar, Straus and GirouxSeptember 19971 EDWomen Authors - Literature Anthologies, Sports - General, Athletics - General & Miscellaneous, Sports & Adventure - Literary Anthologies, American Literature Anthologies2885.50 (w) x 8.50 (h) x 0.75 (d)<p>Since the late 1800s, women have repeatedly proven their fitness for competitive sport...simply by playing the game. Any game. Off court and on; despite all opposition. A literary first, <i>A Whole Other Ball Game</i> deals with all aspects of women's competitive sports, from the thrill of winning before hometown fans to the interpersonal dynamics on a team. This engaging collection of short stories, poems, and novel excerpts tells the exciting story of women's sports from the sportswoman's own point of view.</p> <p>Joli Sandoz has played, coached, and written about competitive athletics since her first plunge from the starting blocks in 1961. Her sporting credits include working as the first woman track coach at Harvard. She teaches American Studies at The Evergreen State College in Olympia, Washington.</p><p><P>Since the late 1800s, women have repeatedly proven their fitness for competitive sport...simply by playing the game. Any game. Off court and on; despite all opposition. A literary first, <i>A Whole Other Ball Game</i> deals with all aspects of women's competitive sports, from the thrill of winning before hometown fans to the interpersonal dynamics on a team. This engaging collection of short stories, poems, and novel excerpts tells the exciting story of women's sports from the sportswoman's own point of view.<P>Joli Sandoz has played, coached, and written about competitive athletics since her first plunge from the starting blocks in 1961. Her sporting credits include working as the first woman track coach at Harvard. She teaches American Studies at The Evergreen State College in Olympia, Washington.</p><h3>Kirkus Reviews</h3><p>American women, editor Sandoz observes, have long had a "fierce love of sport"&#58; In 1866, Vassar College already fielded two women's baseball teams. That love, based on the evidence of these mostly contemporary stories, poems, and novel excerpts, has produced some energetic, thoughtful explorations of the liberating possibilities of sport for women. Many of the pieces here deal with the struggles of women&#151;especially adolescents&#151;trying to accept that competition is good, that winning is even better, and that it's possible to be both a woman and an athlete without slighting either. Stephanie Grant's story "Posting-Up" offers a tough- minded description of the manner in which her adolescent narrator discovers the exhilaration of playing basketball well and aggressively. "Scotti Scores," by Jane Gilliland, carries the idea a step further, exploring how the members of a high-school hockey team astonish themselves and their coach by cooperating to outplay a far more experienced team. Stories by Laurie Colwin, Ellen Gilchrist, Sara Maitland, and Jennifer Levin are particularly strong, as are the excerpts from novels by Carol Anshaw and Sara Vogan. Some tales suffer from seeming too programmatic, too thin and message-laden. But, overall, a useful introduction to an overlooked area in contemporary fiction and poetry.<P></p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Springboard</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Raymond's Run</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">74th Street</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Posting-Up</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem for My Youth/Poem for Young Women</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Lady Lobo</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sports Field</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From All The Way Home</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Morning Athletes</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Competition</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">October 1968, Mexico City (From Aquamarine)</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "Candy Butcher"</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lady Pitcher</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Revenge</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Throw Like a Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When I Am 98</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Atalanta in Cape Fair</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Women's Tug of War at Lough Arrow</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wet</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Water Dancer</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Joan Benoit: 1984 Olympic Marathon Gold Medalist</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Loveliness of the Long-Distance Runner</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Swim, To Believe</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Teamwork</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "First Peace"</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sweat</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Diamonds, Dykes, and Double Plays</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Night Game in Menomonie Park</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From In the Year of the Boar and Jackie Robinson</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lindy Lowe at Bat</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Double Play</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From In Shelly's Leg</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hotshot</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Most Valuable Player</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Golf Lullaby</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Champions in the Family</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pregnant Lady Playing Tennis</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scotti Scores</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Skating After School</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Revenge</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Her Marathon</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributor Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD></table><article> <h4>From the Publisher</h4>"A Whole Other Ball Game shares wonderful stories that reveal the 'inherent truths' of women's sport from the 1890s to the present—strength, courage, commitment, and passion."—Donna Lopiano, Executive Director, Women's Sport Foundation <p>"A ground-breaking anthology, full of surprises. Joli Sandoz adds writers of the stature of Adrienne Rich, Toni Cade Bambara, and Ellen Gilchrist to the canon of sports literature, while also bringing talented unknowns before a wider public for the first time."—Michael Oriard, Former Center for the Kansas City Chiefs; Author of Dreaming of Heroes: American Sports Fiction, 1968-1980</p> <p>"Energetic, thoughtful explorations of the liberating possibilities of sport for women. Many of the pieces here deal with the struggles of women—especially adolescents—trying to accept that competition is good, that winning is even better, and that it's possible to be both a woman and an athlete without slighting either."—Kirkus Reviews</p> <p>"This book offers insight into the meaning of the sport experience through the voices of women. A 'women's way of sport' emerges here."—Carole A. Oglesby, Ph.D., Department of Physical Education, Temple University</p> </article> <article> <h4>Kirkus Reviews</h4>American women, editor Sandoz observes, have long had a "fierce love of sport": In 1866, Vassar College already fielded two women's baseball teams. That love, based on the evidence of these mostly contemporary stories, poems, and novel excerpts, has produced some energetic, thoughtful explorations of the liberating possibilities of sport for women. Many of the pieces here deal with the struggles of women—especially adolescents—trying to accept that competition is good, that winning is even better, and that it's possible to be both a woman and an athlete without slighting either. Stephanie Grant's story "Posting-Up" offers a tough- minded description of the manner in which her adolescent narrator discovers the exhilaration of playing basketball well and aggressively. "Scotti Scores," by Jane Gilliland, carries the idea a step further, exploring how the members of a high-school hockey team astonish themselves and their coach by cooperating to outplay a far more experienced team. Stories by Laurie Colwin, Ellen Gilchrist, Sara Maitland, and Jennifer Levin are particularly strong, as are the excerpts from novels by Carol Anshaw and Sara Vogan. Some tales suffer from seeming too programmatic, too thin and message-laden. But, overall, a useful introduction to an overlooked area in contemporary fiction and poetry. </article>
241A Companion to African American LiteratureGene A. Jarrett0<p><P>Gene Andrew Jarrett is Associate Professor of English and African American studies at Boston University. He is the author of <i>Deans and Truants&#58; Race and Realism in African American Literature</i> (2007), and the editor or co-editor of several volumes and collections, including <i>The Collected Novels of Paul Laurence Dunbar</i> (2009).</p>Gene A. Jarretta-companion-to-african-american-literaturegene-a-jarrett97814051886231405188626$149.95HardcoverWiley, John & Sons, IncorporatedMay 2010Literary Criticism, American<p><P><i>A Companion to African American Literature</i> presents a comprehensive overview of&#160;the field&#160;from the eighteenth century to the present day. Embracing the full range of African American literature, essays explore forms, themes, genres, historical contexts, and major authors, and present the latest critical approaches. Featuring contributions from both established and rising&#160;scholars, whose in-depth essays cover the Black Atlantic and the New World literatures of the African Diaspora in the late eighteenth and early nineteenth centuries, the rise of antislavery literature and the African American novel in the decades leading into the Civil War, the evolution of African American literary genres and political thought between the Civil War and World War One, the modern development of African American cultural media, literary aesthetics, and political ideologies between the World Wars, and the literary and methodological complexities of contemporary African American literature, <i>A</i> <i>Companion to African American Literature</i> offers invaluable insights for anyone wishing to gain a deeper understanding of one of America&#8217;s richest and most complex literary traditions.</p><P>Notes on Contributors. <P>Introduction (<i>Gene Andrew Jarrett, Boston University</i>). <P>Part I&#58; The Literatures of Africa, Middle Passage, Slavery, and Freedom&#58; The Early and Antebellum Periods, c.1750&#8211;1865. <P>1. Back to the Future&#58; Eighteenth-Century Transatlantic Black Authors (<i>Vincent Carretta, University of Maryland</i>). <P>2. Africa in Early African American Literature (<i>James Sidbury, University of Texas at Austin</i>). <P>3. Ports of Call, Pulpits of Consultation&#58; Rethinking the Origins of African American Literature (<i>Frances Smith Foster, Emory University; Kim D. Green, Emory University</i>) . <P>4. The Constitution of Toussaint&#58; Another Origin of African American Literature (<i>Michael J. Drexler, Bucknell University; Ed White, University of Florida</i>). <P>5. Religion in Early African American Literature (<i>Joanna Brooks, San Diego State University; Tyler Mabry, University of Texas at Austin</i>). <P>6. The Economies of the Slave Narrative (<i>Philip Gould, Brown University</i>). <P>7. The 1850s&#58; The First Renaissance of Black Letters (<i>Maurice S. Lee, Boston University</i>). <P>8. African American Literary Nationalism (<i>Robert S. Levine, University of Maryland</i>). <P>9. Periodicals, Print Culture, and African American Poetry (<i>Ivy G. Wilson, Northwestern University</i>). <P>Part II&#58; New Negro Aesthetics, Culture, and Politics&#58; The Modern Period, 1865&#8211;c.1940. <P>10. Racial Uplift and the Literature of the New Negro (<i>Marlon B. Ross, University of Virginia</i>). <P>11. Racial Uplift and the Dialect of New Negro Literature (<i>Gene Andrew Jarrett, Boston University</i>). <P>12. African American Literary Realism, 1865&#8211;1914 (<i>Andre&#225; N. Williams, Ohio State University</i>). <P>13. Folklore and African American Literature in the Post-Reconstruction Era (<i>Shirley Moody Turner, Penn State University</i>). <P>14. The Harlem Renaissance&#58; The New Negro at Home and Abroad (<i>Michelle Ann Stephens, Colgate University</i>). <P>15. Transatlantic Collaborations&#58; Visual Culture in African American Literature (<i>Cherene Sherrard-Johnson, University of Wisconsin&#8211;Madison</i>). <P>16. Aesthetic Hygiene&#58; Marcus Garvey, W.E.B. Du Bois, and the Work of Art (<i>Mark Christian Thompson, Johns Hopkins University</i>). <P>17. African American Modernism and State Surveillance (<i>William J. Maxwell, Washington University, St Louis</i>). <P>Part III&#58; Reforming the Canon, Tradition, and Criticism of African American Literature&#58; The Contemporary Period, c.1940&#8211;Present. <P>18. The Chicago Renaissance (<i>Michelle Yvonne Gordon,</i> <i>University of Southern California</i><i>&#8211;Los Angeles</i>). <P>19. Jazz and African American Literature (<i>Keith D. Leonard, American University, Washington DC</i>). <P>20. The Black Arts Movement (<i>James Edward Smethurst, University of Massachusetts Amherst</i>). <P>21. Humor in African American Literature (<i>Glenda R. Carpio, Harvard University</i>). <P>22. Neo-Slave Narratives (<i>Madhu Dubey, University of Illinois&#8211;Chicago</i>). <P>23. Popular Black Women&#8217;s Fiction and the Novels of Terry McMillan (<i>Robin V. Smiles,</i> <i>University of Maryland</i>). <P>24. African American Science Fiction (<i>Jeffrey Allen Tucker, University of Rochester</i>). <P>25. Latino/a Literature and the African Diaspora (<i>Theresa Delgadillo, Ohio State University</i>). <P>26. African American Literature and Queer Studies&#58; The Conundrum of James Baldwin (<i>Guy Mark Foster, Bowdoin College</i>). <P>27. African American Literature and Psychoanalysis (<i>Arlene R. Keizer, University of California&#8211;Irvine</i>). <P>Index.
242Conversations with Mexican American Writers: Languages and Literatures in the BorderlandsElisabeth Mermann-Jozwiak0<p><P>Elisabeth Mermann-Jozwiak is a professor of English at Texas A&M University&#151;Corpus Christi. She is the author of <i>Postmodern Vernaculars&#58; Chicana Literature and Postmodern Rhetoric</i>.<P>Nancy Sullivan is a professor of English at Texas A&M University&#151;Corpus Christi. Her work has appeared in <i>MELUS, System</i>, and <i>Intercultural Communication Studies</i>, among other periodicals.</p>Elisabeth Mermann-Jozwiak, Nancy Sullivanconversations-with-mexican-american-writerselisabeth-mermann-jozwiak97816047321461604732148HardcoverUniversity Press of MississippiMay 2009Literary Criticism, American<p><P>Conversations with writers grappling with the tensions of globalization, immigration, and assimilation; features interviews with Norma Elia Cantu, Denise Chavez, Sandra Cisneros, Montserrat Fontes, Dagoberto Gilb, Diana Montejano, Pat Mora, Benjamin Alire Saenz, and Helena Maria Viramontes</p><P>Stories that must be told&#58; An introduction<P>"The stuff that you pull out of your Kischkas"&#58; Conversation with Montserrat Fontes 3<P>Braiding Languages, Weaving Cultures&#58; Conversation with Diana Montejano 21<P>"You must be the change you wish to see in the world"&#58; Conversation with Pat Mora 35<P>Between Belonging and Exile&#58; Conversation with Benjamin Alire Saenz 46<P>"Muy payasa"&#58; Conversation with Sandra Cisneros 62<P>"You carry the border with you"&#58; Conversation with Helena Maria Viramontes 79<P>"My grandmother makes the best tortillas" and other stereotypes&#58; Conversation with Dagoberto Gilb 95<P>Testimonio, Reconnection, and Forgiveness&#58; Conversation with Norma Elia Cantu 115<P>"!Ay, el Ingles tan Bonito!"&#58; Conversation with Denise Chavez 138<P>Index 157
243The Palm of My Heart: Poetry by African American ChildrenDavida Adedjouma0Davida Adedjouma (Editor), Gregory Christie (Illustrator), Lucille Cliftonthe-palm-of-my-heartdavida-adedjouma97818800007621880000768$8.32HardcoverLee & Low Books, Inc.May 2003Poetry, Poetry - Assorted Topics, American Literature Anthologies, Anthologies, Children - Fiction & Literature, Children - Poetry327.98 (w) x 9.86 (h) x 0.09 (d)This dazzling collection of poetry celebrates the beauty of African-American culture. Written by 20 inner-city children, these moving and powerful poems represent little-heard and often overlooked voices. Full color. <p>A collection of poems written by Afro-American children celebrating what it means to be Black. </p><p>This dazzling collection of poetry celebrates the beauty of African-American culture. Written by 20 inner-city children, these moving and powerful poems represent little-heard and often overlooked voices. Full color.</p><h3>Children's Literature</h3><p>Through poetry, African children celebrate what it means to by Black. By way of a series of workshops in the inner city the editor was able to stimulate children to express their joys, frustrations and visions of what being Black means to them. Out of the mouths of babes....</p><article> <h4>Children's Literature - <span class="author">Leila Toledo</span> </h4>Through poetry, African children celebrate what it means to by Black. By way of a series of workshops in the inner city the editor was able to stimulate children to express their joys, frustrations and visions of what being Black means to them. Out of the mouths of babes.... </article> <article> <h4>School Library Journal</h4>K-Gr 4-A collection of poems by 20 children between the ages of 6 and 14, with introductory notes by Lucille Clifton. Christie interprets the selections with passionate (though somewhat scary in their expressive distortion) acrylic-and-pencil illustrations that could stand alone as a lively introduction to modern art. The poems were created during a community workshop designed to "introduce children to the techniques of image and metaphor, narrative and dialogue, and then set them free to explore their own lives, feelings and imaginations." Occasionally these goals are reached, as when Thelma Louise Lee writes of "my brother-trying to wash dishes/and me-talking too much, me hitting/my cousin (not meaning to, really),/me playing basketball and/calling all the shots." However most of the short poems, printed with boldface emphasizing certain words (Black, family, freedom) lack original imagery and come across as slogans rather than as personal voices. Facilitators of "everybody's an author" writing classes seeking a range of examples may be interested in purchasing The Palm of My Heart. Stronger writing and a broader range of topics can be found in June Jordan and Terri Bush's Voice of the Children (Holt, 1970; o.p.)-Karen MacDonald, Teaticket Elementary School, MA </article><article> <h4>Kirkus Reviews</h4>A collection of works, subtitled "Poetry by African American Children," that showcases an exciting new artist whose style is unique and fully realized. <p>The 20 pieces that Adedjouma gathered from writing workshops are not poems but thoughts, musings, and statements occasionally infused by a poetical phrase or notion. The themes are arranged seamlessly, and the selections are life-affirming, brimming with self-awareness, and written in a celebration of African American culture. The real story here is the glorious art by picture-book newcomer Christie, who displays a fine-arts sensibility that is incorporated into his illustrations, looking as if the influence of African art has been distilled through Klee and Picasso in the 1920s, with a touch of Jean-Michel Basquiat. Yet Christie's art remains all his own. Elongated limbs and abstract backgrounds emphasize the skill of his portraiture, drawing viewers to the astoundingly accomplished painting of individual faces. His interpretations of the text elevate its feeble nature and allow every page and double-spread to convey a distinct story, mood, or tribute to the culture. With an introduction by Lucille Clifton.</p> </article>
244Women and Children of the Mills: An Annotated Guide to Nineteenth-Century American Textile Factory Literature, Vol. 28Judith Ranta0<p><P>JUDITH A. RANTA is a reference librarian and an English instructor at CUNY.</p>Judith Rantawomen-and-children-of-the-millsjudith-ranta97803133086040313308608$110.95HardcoverGreenwood Publishing Group, IncorporatedJuly 1999U.S. Literature - Reference, Literary Reference - General & Miscellaneous, Businesswomen & Professional Women - Biography, United States Studies - General & Miscellaneous, Society & Culture in Literature, Labor Studies - General & Miscellaneous, American3486.51 (w) x 9.61 (h) x 1.16 (d)<p>This annotated bibliography of 19th-century literature by and about American textile factory workers examines 457 texts, including novels, short fiction, poetry, drama, narratives, and children's literature, and offers new insights into 19th-century working-class culture. The textile industry was the premier and largest 19th-century industry in the United States. The texts, drawn from a variety of publications, such as workers' periodicals, mainstream publishers' monographs, newspapers, magazines, story papers, dime novels, pulp publications, and Sunday-school tracts, reveal the variety and complexity of the factory literature and represent the largest body of American working-class women's literature. The literature explores a number of women's concerns, such as their roles as workers, sexual harassment, marriage, motherhood, and homosexual and heterosexual relationships, and treats the factory work experience of hundreds of thousands of 19th-century children. Annotations are divided among 14 topical chapters that highlight such key issues as women's independence, class bias, child labor, technology, and protest. Most entries include information on text availability, including microform reprints and U.S. library holdings for rare titles.</p> <p>Scholars of 19th-century women's literature and history will value the full picture of 19th-century factory women's lives that emerges through the synopses of the literature. This work includes the first literary depictions of and protest against child labor, the first anti-factory poem, and the first fictional depiction of a strike. The more than 50 annotated texts that treat child labor offer new source material for the study of child labor in 19th-century America. Appendices furnish a chronological listing of titles, a selection of nonfiction texts, and a listing of unavailable texts.</p><p>An annotated bibliography of literature, which focuses on issues about women and children and includes 450 texts published from 1787 to 1900 by and about American textile factory workers.</p><h3>Booknews</h3><p>Comprises 457 examples of poetry, songs, stories, novels, drama, narratives, and children's literature, some 36 percent of which were probably or definitely written by mill workers between 1787 and 1900. Drawn from English-language publications, all writings are ostensibly set in the U.S. and/or written by Americans. Entries are alphabetically arranged within each of 14 topics (such as women leaving home, romances and mysteries, working children, speaking out against oppression, strikes, etc.), and they include as many as possible of the following elements: bibliographic citation, text length, brief author identification, genre and formal features, setting, synopsis, noteworthy features of content, place of publication, and text availability. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Women Leaving Home: Work, Independence, Women's Rights</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Minds among the Spindles: Workers' Education and Writing</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Offerings and Voices: Periodicals of Women's Work</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Only a Factory Worker: Representing Class</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Means of Escape: Romances and Mysteries</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">Blighted and Deceived: Dangerous Desires and Women's Wrongs</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Scenes of Factory Village Life</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">Working Children</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">Wondrous Machines: Responses to Technology</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Occupational Hazards: Stress, Disease, Accidents, Fires</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">Laborers' Remonstrances: Speaking Out against Oppression</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">Strikes and Other Organized Protest</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">Anti-Strike Fiction</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">Charity and Reform</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%">App. I</TD><TD WIDTH="70%">Annual Chronology of Factory Literature by Title, with Author, Genre, and Entry Number</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%">App. II</TD><TD WIDTH="70%">Names and Noms de Plume of the Writers in The Lowell Offering, Compiled and Corrected by Harriet Hanson Robinson, September 1902</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%">App. III</TD><TD WIDTH="70%">Nonfiction Texts by and about Nineteenth-Century Textile Factory Workers</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%">App. IV</TD><TD WIDTH="70%">Titles Unavailable for Examination</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD></TABLE><article> <h4>Booknews</h4>Comprises 457 examples of poetry, songs, stories, novels, drama, narratives, and children's literature, some 36 percent of which were probably or definitely written by mill workers between 1787 and 1900. Drawn from English-language publications, all writings are ostensibly set in the U.S. and/or written by Americans. Entries are alphabetically arranged within each of 14 topics such as women leaving home, romances and mysteries, working children, speaking out against oppression, strikes, etc., and they include as many as possible of the following elements: bibliographic citation, text length, brief author identification, genre and formal features, setting, synopsis, noteworthy features of content, place of publication, and text availability. Annotation c. Book News, Inc., Portland, OR booknews.com </article>
245Rising VoicesArlene Hirschfelder0Arlene Hirschfelder, Beverly R. Singerrising-voicesarlene-hirschfelder97808041116760804111677$6.99Mass Market PaperbackRandom House Publishing GroupJuly 1993REPRINTAmerican Literature Anthologies, General & Miscellaneous Native American Studies, Native North American People1314.20 (w) x 6.86 (h) x 0.40 (d)<p>An astonishing collection of poems and essays written by young contemporary Native Americans. Words of protest against prejudice and oppression, poems of estrangement and pain, cries for lost worlds and lost identities — but also songs of celebration and joy for the future.</p> <p>A collection of poems and essays in which young Native Americans speak of their identity, their families and communities, rituals, and the harsh realities of their lives. </p><p><P>An astonishing collection of poems and essays written by young contemporary Native Americans. Words of protest against prejudice and oppression, poems of estrangement and pain, cries for lost worlds and lost identities &#151; but also songs of celebration and joy for the future.</p><h3>Publishers Weekly</h3><p>Through more than 60 poems and essays, contemporary Native American children and young adults share their feelings about themselves, their people and their land. While some selections in this anthology are reverent in tone, revealing a deep respect for nature, family and tradition, other writings emerge as protests against prejudice and oppression. In the first section of the book, ``Identity,'' the young Native Americans tell of their struggles to fit into a white society without denying their heritage. Another chapter, ``Education,'' traces their growing desire to learn, if not regain, ancestral customs and beliefs. Readers of all cultures should have no trouble relating to the ideas presented here. Characterized by clear imagery and unadorned language, these expressions of anger, regret and hope provide enormous insight into a race of people whose opinions, until recent times, have been too often suppressed. Ages 12-up. (May)</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Through more than 60 poems and essays, contemporary Native American children and young adults share their feelings about themselves, their people and their land. While some selections in this anthology are reverent in tone, revealing a deep respect for nature, family and tradition, other writings emerge as protests against prejudice and oppression. In the first section of the book, ``Identity,'' the young Native Americans tell of their struggles to fit into a white society without denying their heritage. Another chapter, ``Education,'' traces their growing desire to learn, if not regain, ancestral customs and beliefs. Readers of all cultures should have no trouble relating to the ideas presented here. Characterized by clear imagery and unadorned language, these expressions of anger, regret and hope provide enormous insight into a race of people whose opinions, until recent times, have been too often suppressed. Ages 12-up. (May) </article> <article> <h4>Children's Literature - <span class="author">Marilyn Courtot</span> </h4>The editors have pulled together a collection of essays and poems that share the thoughts and feelings of young Native Americans. A Children's Choices award winner and a School Library Journal Best Book. </article><article> <h4>School Library Journal</h4>Gr 5 Up-- In light of the gifts Native peoples have given to Western culture , they still remain the silent voice in the political, cultural, economic, and spiritual resonance of America. This text seeks to send a voice to the rest of American culture, through the eyes, ears, minds, and hearts of young Native Americans. These poems, stories, songs, and essays cover a span of over 100 years--1887-1990. In a time when many of these young people faced forced assimilation and loss of cultural identity, the common thread uniting their works was one of survival, continuance, and lastly hope. Hirschfelder and Singer have included extensive biographical information on each of the students who contributed to the anthology. The book is divided into six sections, with subject headings as ``Identity,'' ``Family,'' ``Homelands,'' ``Ritual and Ceremony,'' ``Education,'' and ``Harsh Realities.'' This is no romanticized version of Native American life, but rather a picture of traditions that survived through the courage of children. It's an excellent source for social studies and English classes, as well as a fine book for general reading, as it effectively conveys modern Indian life. --Carolyn M. Dunn, Humboldt State University, Arcata, CA </article>
246Brotherman: The Odyssey of Black Men in America--an AnthologyRobert Allen0<p>The New York Times bestselling author of <i>Brotherman: The Odyssey of Black Men in America</i> and <i>We Shall Overcome: A Living History of the Civil Rights Struggle Told in Words, Pictures, and the Voices of the Participants</i>, Herb Boyd is an activist, journalist, and teacher. In 1995, with co-editor Robert Allen, Boyd received the American Book Award for <i>Brotherman</i>. Since 1996, he has been the national editor of <i>The Black World Today</i>. A noted authority on black studies, he has been teaching African and African American History for nearly forty years and currently teaches at the College of New Rochelle in the South Bronx. His history of the civil rights movement is scheduled to release in Fall 2005.</p>Robert Allen, Herb Boydbrothermanrobert-allen97803453831740345383176$1.99PaperbackRandom House Publishing GroupJanuary 1996ReprintPeoples & Cultures - American Anthologies, African Americans - General & Miscellaneous, American Literature Anthologies9605.48 (w) x 8.24 (h) x 1.56 (d)<p>"[AN] OUTSTANDING COLLECTION...<br> The powerful opening excerpt by Frederick Douglass evokes his boyhood as a slave, and the collection closes with an eloquent discussion of the race problem today by Cornel West. A distinguished addition to black studies."<br> —Publishers Weekly (starred review)<br> The purpose of this extraordinary anthology is made abundantly clear by the editors' stated intention: "to create a living mosaic of essays and stories in which Black men can view themselves, and be viewed without distortion." In this, they have succeeded brilliantly. Brotherman contains more than one hundred and fifty selections, some never before published—from slave narratives, memoirs, social histories, novels, poems, short stories, biographies, autobiographies, position papers, and essays.<br> Brotherman books us passage to the world that Black men experience as adolescents, lovers, husbands, fathers, workers, warriors, and elders. On this journey they encounter pain, confusion, anger, and love while confronting the life-threatening issues of race, sex, and politics—often as strangers in a strange land. The first collection of its kind, Brotherman gathers together a multitude of voices that add a new, unforgettable chapter to American cultural identity.</p> <p>This unique volume brings together more than 150 selections, some never before published, including slave narratives, memoirs, social histories, novels, biographies, autobiographies, position papers, and essays by an extraordinary range of African-American male voices. Editor tour. </p><p><P>&quot;[AN] OUTSTANDING COLLECTION...<br>The powerful opening excerpt by Frederick Douglass evokes his boyhood as a slave, and the collection closes with an eloquent discussion of the race problem today by Cornel West. A distinguished addition to black studies.&quot;<br>&#151;Publishers Weekly (starred review)<br>The purpose of this extraordinary anthology is made abundantly clear by the editors' stated intention&#58; &quot;to create a living mosaic of essays and stories in which Black men can view themselves, and be viewed without distortion.&quot; In this, they have succeeded brilliantly. Brotherman contains more than one hundred and fifty selections, some never before published&#151;from slave narratives, memoirs, social histories, novels, poems, short stories, biographies, autobiographies, position papers, and essays.<br>Brotherman books us passage to the world that Black men experience as adolescents, lovers, husbands, fathers, workers, warriors, and elders. On this journey they encounter pain, confusion, anger, and love while confronting the life-threatening issues of race, sex, and politics&#151;often as strangers in a strange land. The first collection of its kind, Brotherman gathers together a multitude of voices that add a new, unforgettable chapter to American cultural identity.</p><h3>Publishers Weekly</h3><p>This outstanding collection of writings by African-American males has been edited by Boyd (Down the Glory Road) and Allen (The Port Chicago Mutiny) with a commitment to inclusion and diversity. More than 100 pieces are organized by subjects such as forefathers, relationships, racism, sports, music and other themes that define the black man's experience. There are contributions from notables James Baldwin, Countee Cullen, Ralph Ellison, Jackie Robinson, Malcolm X and Martin Luther King Jr., but the editors also include material from emerging creative writers and political thinkers. The powerful opening excerpt by Frederick Douglass evokes his boyhood as a slave, and the collection closes with an eloquent discussion of the race problem today by Cornel West. A distinguished addition to black studies. Illustrations not seen by PW. (Mar.)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prologue</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strong Men (Opening Stanzas)</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Am a Black Man</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">IKOP MBOG: An Account of an African Child's Initiation</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Viewing the Coast of Africa</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Narrative of the Life of Frederick Douglass</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Up from Slavery</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Let the Dead Bury Their Dead</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Souls of Black Folk</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Message of Marcus Garvey to Membership of Universal Negro Improvement Association from Atlanta Prison</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Juneteenth</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem for My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Father</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes of a Native Son</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nightmare</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Colored People</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tragic Magic</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ten Seconds</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Talk with My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Private War</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Father's Pledge</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beetlecreek</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Manchild in the Promised Land</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dancers on the Shore</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strike and Fade</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Screamers</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Way Past Cool</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Fools</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ghetto Bastard</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brer Rabbit Escapes Again</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflecting Black</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ghetto Solution</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Women</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Middle Passage</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wife of His Youth</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Another Good Loving Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elbow Room</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Home Repairs</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lonely Crusade</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sex and Racism in America</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Other Tale to Tell</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Butterfly</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All-Night Visitors</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Poem for Linnet</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A New Man</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Sparrow</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Losing Absalom</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Is Life?</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Father's Lament</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Makes Me Wanna Holler</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the A-Train to Venus with Isis</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Walls of Jericho</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brothers</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lush Life</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pledging Alpha</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Invisible Life</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vanishing Rooms</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In an Afternoon Light</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">African-American Males and Survival Against AIDS</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lesson Before Dying</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If We Must Die</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lynching of Jube Benson</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood-Burning Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Billy</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shannon</TD><TD WIDTH="10%" ALIGN="RIGHT">348</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Future of Black Men</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Parallel Time</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Race and Gender Stereotyping in the Thomas Confirmation Hearings</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Days of Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Faces at the Bottom of the Well</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Harlem Was in Vogue</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">And Then We Heard the Thunder</TD><TD WIDTH="10%" ALIGN="RIGHT">379</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Port Chicago Mutiny</TD><TD WIDTH="10%" ALIGN="RIGHT">385</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beyond Vietnam</TD><TD WIDTH="10%" ALIGN="RIGHT">392</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bloods</TD><TD WIDTH="10%" ALIGN="RIGHT">395</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Consciousness in the Vietnam Years</TD><TD WIDTH="10%" ALIGN="RIGHT">399</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Raceboss: Big Emma's Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">404</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Iron City</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Prisoners, White Law</TD><TD WIDTH="10%" ALIGN="RIGHT">414</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brothers and Keepers</TD><TD WIDTH="10%" ALIGN="RIGHT">418</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Makes Me Wanna Holler</TD><TD WIDTH="10%" ALIGN="RIGHT">426</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scars</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Father Behind Bars</TD><TD WIDTH="10%" ALIGN="RIGHT">438</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Still Black, Still Strong: Survivors of the U.S. War Against Black Revolutionaries</TD><TD WIDTH="10%" ALIGN="RIGHT">441</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Man Called White</TD><TD WIDTH="10%" ALIGN="RIGHT">448</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Who's Passing for Who?</TD><TD WIDTH="10%" ALIGN="RIGHT">455</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Almost White Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">459</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Man in the Mirror</TD><TD WIDTH="10%" ALIGN="RIGHT">467</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blacks Who Pass</TD><TD WIDTH="10%" ALIGN="RIGHT">471</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Worker in the Deep South</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood on the Forge</TD><TD WIDTH="10%" ALIGN="RIGHT">481</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Spook Who Sat By the Door</TD><TD WIDTH="10%" ALIGN="RIGHT">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Company Man</TD><TD WIDTH="10%" ALIGN="RIGHT">489</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Content of Our Character</TD><TD WIDTH="10%" ALIGN="RIGHT">496</TD></table><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>This outstanding collection of writings by African-American males has been edited by Boyd (Down the Glory Road) and Allen (The Port Chicago Mutiny) with a commitment to inclusion and diversity. More than 100 pieces are organized by subjects such as forefathers, relationships, racism, sports, music and other themes that define the black man's experience. There are contributions from notables James Baldwin, Countee Cullen, Ralph Ellison, Jackie Robinson, Malcolm X and Martin Luther King Jr., but the editors also include material from emerging creative writers and political thinkers. The powerful opening excerpt by Frederick Douglass evokes his boyhood as a slave, and the collection closes with an eloquent discussion of the race problem today by Cornel West. A distinguished addition to black studies. Illustrations not seen by PW. (Mar.) </article> <article> <h4>Library Journal</h4>The editors' attempt to gather essays, poems, and segments of larger works as well as short stories covering every aspect of the black man in America-past, present, and future-explains this book's thickness. Their scope is truly comprehensive; selections range from some of the great names of literature and history to figures who are currently in vogue. But if you already have a reasonable collection of works by and about African Americans, you may find this offering to be somewhat redundant. Readers would have been better served by a smaller book of new essays to represent each theme and a bibliography referring to the theme's seminal works. Recommended for libraries that do not have much to offer in their coverage of black studies; otherwise, an optional purchase.-Anita L. Cole, Miami-Dade P.L. System, Fla. </article><article> <h4>Booknews</h4>An anthology of writing by black men, about black men. Authors such as W.E.B. Dubois, Ralph Ellison, Paul Robeson, Malcolm X, Kareem Abdul- Jabbar, Alex Haley, and Ice T explore the black man's experience as adolescent, lover, husband, father, worker, warrior, and elder in some 100 selections arranged by issues such as forefathers, male bonding, relationships with family and women, racism, class, sports, politics, and music. No index. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
247Literary Journalism: A New Collection of the Best American NonfictionMark Kramer0Mark Kramer, Norman Simsliterary-journalismmark-kramer97803453822210345382226$10.98PaperbackRandom House Publishing GroupMay 19951Journalism - Collections & History, American Essays, American Literature Anthologies, Journalism - General & Miscellaneous4806.00 (w) x 9.00 (h) x 0.82 (d)Some of the best and most original prose in America today is being written by literary journalists. Memoirs and personal essays, profiles, science and nature reportage, travel writing — literary journalists are working in all of these forms with artful styles and fresh approaches. In Literary Journalism, editors Norman Sims and Mark Kramer have collected the finest examples of literary journalism from both the masters of the genre who have been working for decades and the new voices freshly arrived on the national scene. <p>The fifteen essays gathered here include:<br> — John McPhee's account of the battle between army engineers and the lower Mississippi River<br> — Susan Orlean's brilliant portrait of the private, imaginative world of a ten-year-old boy<br> — Tracy Kidder's moving description of life in a nursing home<br> — Ted Conover's wild journey in an African truck convoy while investigating the spread of AIDS<br> — Richard Preston's bright piece about two shy Russian mathematicians who live in Manhattan and search for order in a random universe<br> — Joseph Mitchell's classic essay on the rivermen of Edgewater, New Jersey<br> — And nine more fascinating pieces of the nation's best new writing</p> <p>In the last decade this unique form of writing has grown exuberantly — and now, in Literary Journalism, we celebrate fifteen of our most dazzling writers as they work with great vitality and astonishing variety.</p> <p>Profiles, memoirs and personal essays, science and nature reportage, travel writing--literary journalists are working in all of these forms with artful style and fresh approaches. A worthy successor to its esteemed predecessor--a standard in many college courses--Literary Journalism collects more of the finest examples from many masters of the genre. </p><p><P>Some of the best and most original prose in America today is being written by literary journalists. Memoirs and personal essays, profiles, science and nature reportage, travel writing &#151; literary journalists are working in all of these forms with artful styles and fresh approaches. In Literary Journalism, editors Norman Sims and Mark Kramer have collected the finest examples of literary journalism from both the masters of the genre who have been working for decades and the new voices freshly arrived on the national scene.<br><br>The fifteen essays gathered here include&#58;<br>&#151; John McPhee's account of the battle between army engineers and the lower Mississippi River<br>&#151; Susan Orlean's brilliant portrait of the private, imaginative world of a ten-year-old boy<br>&#151; Tracy Kidder's moving description of life in a nursing home<br>&#151; Ted Conover's wild journey in an African truck convoy while investigating the spread of AIDS<br>&#151; Richard Preston's bright piece about two shy Russian mathematicians who live in Manhattan and search for order in a random universe<br>&#151; Joseph Mitchell's classic essay on the rivermen of Edgewater, New Jersey<br>&#151; And nine more fascinating pieces of the nation's best new writing<br><br>In the last decade this unique form of writing has grown exuberantly &#151; and now, in Literary Journalism, we celebrate fifteen of our most dazzling writers as they work with great vitality and astonishing variety.</p><h3>Booknews</h3><p>**** The third edition (1990) is cited in ARBA 1992. Completely revised and updated since the passage of the Americans with Disabilities Act in 1990, the directory now provides current information about services and programs at some 1,500 colleges and universities in the US, Puerto Rico, Guam, and Canada. Institutions are listed alphabetically by country and then by state or province. Each entry provides a profile of the institution, the campus and facilities, and the services provided. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Art of Literary Journalism</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Breakable Rules for Literary Journalists</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rivermen</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Family of Astoria</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The American Man at Age Ten</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mountains of Pi</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Family Portrait in Black & White</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Bellow's Planet</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strawberries Under Ice</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trina and Trina</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ga-Ga Years</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Predilections</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Road Is Very Unfair: Trucking Across Africa in the Age of AIDS</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Access</TD><TD WIDTH="10%" ALIGN="RIGHT">343</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fernande Pelletier</TD><TD WIDTH="10%" ALIGN="RIGHT">385</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Atchafalaya</TD><TD WIDTH="10%" ALIGN="RIGHT">407</TD></table><article> <h4>Booknews</h4>**** The third edition (1990) is cited in ARBA 1992. Completely revised and updated since the passage of the Americans with Disabilities Act in 1990, the directory now provides current information about services and programs at some 1,500 colleges and universities in the US, Puerto Rico, Guam, and Canada. Institutions are listed alphabetically by country and then by state or province. Each entry provides a profile of the institution, the campus and facilities, and the services provided. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
248Americans in Paris: A Literary AnthologyAdam Gopnik19<p><P>Adam Gopnik is a staff writer at <i>The New Yorker</i> and author of the bestselling <i>Paris to the Moon</i>. He lived in Paris with his family from 1995 to 2000, where he wrote the magazine's &ldquo;Paris Journals,&rdquo; which led the French newspaper <i>Le Monde</i> to call him a &ldquo;witty and Voltairean commentator on French life.&rdquo; His writing has won the National Magazine Award for Essays and Criticism and the George Polk Award for Magazine Reporting.</p>Adam Gopnikamericans-in-parisadam-gopnik97819310825631931082561$35.00HardcoverLibrary of AmericaMarch 2004Europe - Travel Essays & Descriptions, American Literature Anthologies, General & Miscellaneous Literature Anthologies, Cities of Europe - Travel, France - Travel, Travel - Cities of Europe6506.36 (w) x 9.32 (h) x 1.37 (d)From the earliest years of the American republic, Paris has provoked an extraordinary American literary response. An almost inevitable destination for writers and thinkers, Paris has been many things to many Americans: a tradition-bound bastion of the old world of Europe; a hotbed of revolutionary ideologies in politics and art; and a space in which to cultivate an openness to life and love thought impossible at home. Including stories, letters, memoirs, and journalism, <i>Americans in Paris</i> distills three centuries of vigorous, glittering, and powerfully emotional writing about the place that Henry James called “the most brilliant city in the world.” <p>American writers came to Paris as statesmen, soldiers, students, tourists, and sometimes they stayed as expatriates. This anthology ranges from the crucial early impressions of Thomas Jefferson and Benjamin Franklin to the latter-day reflections of writers as varied as James Baldwin, Isadora Duncan, and Jack Kerouac. Along the way we encounter the energetic travelers of the nineteenth century—Emerson, Mark Twain, Henry James—and the pilgrims of the twentieth: Gertrude Stein, F. Scott Fitzgerald, E. E. Cummings, Cole Porter, Henry Miller. Come along as Thomas Paine takes a direct and dangerous part in the French Revolution; Harriet Beecher Stowe tours the Louvre; Theodore Dreiser samples the sensual enticements of Parisian night life; Edith Wharton movingly describes Paris in the early days of World War I; John Dos Passos charts the gathering political storms of the 1930s; Paul Zweig recalls the intertwined pleasures of language and sex; and A. J. Liebling savors the memory of his culinary education in delicious detail.</p> <p> <i>Americans in Paris</i> is a diverse and constantly engaging mosaic, full of revealing cultural gulfs and misunderstandings, personal and literary experimentation, and profound moments of self-discovery.</p><p><P>From the earliest years of the American republic, Paris has provoked an extraordinary American literary response. An almost inevitable destination for writers and thinkers, Paris has been many things to many Americans&#58; a tradition-bound bastion of the old world of Europe; a hotbed of revolutionary ideologies in politics and art; and a space in which to cultivate an openness to life and love thought impossible at home. Including stories, letters, memoirs, and journalism, <i>Americans in Paris</i> distills three centuries of vigorous, glittering, and powerfully emotional writing about the place that Henry James called &ldquo;the most brilliant city in the world.&rdquo; <P> American writers came to Paris as statesmen, soldiers, students, tourists, and sometimes they stayed as expatriates. This anthology ranges from the crucial early impressions of Thomas Jefferson and Benjamin Franklin to the latter-day reflections of writers as varied as James Baldwin, Isadora Duncan, and Jack Kerouac. Along the way we encounter the energetic travelers of the nineteenth century&#151;Emerson, Mark Twain, Henry James&#151;and the pilgrims of the twentieth&#58; Gertrude Stein, F. Scott Fitzgerald, E. E. Cummings, Cole Porter, Henry Miller. Come along as Thomas Paine takes a direct and dangerous part in the French Revolution; Harriet Beecher Stowe tours the Louvre; Theodore Dreiser samples the sensual enticements of Parisian night life; Edith Wharton movingly describes Paris in the early days of World War I; John Dos Passos charts the gathering political storms of the 1930s; Paul Zweig recalls the intertwined pleasures of language and sex; and A. J. Liebling savors the memory of his culinary education in delicious detail. <P> <i>Americans in Paris</i> is a diverse and constantly engaging mosaic, full of revealing cultural gulfs and misunderstandings, personal and literary experimentation, and profound moments of self-discovery.</p><h3>The New York Times</h3><p>Although <i>Americans in Paris</i> has a chronological structure, Mr. Gopnik still gives it a soupçon of suspense: the reader moves from section to section wondering whether the book can top what it has just delivered. So ignore the table of contents and allow yourself to be caught off guard. &#151; <i>Janet Maslin</i></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to Mary Stevenson</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters from Auteuil</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Letters</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Diary of the French Revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shall Louis XVI. Have Respite?</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Diary of James Gallatin</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Life, Letters, and Journals</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to Stephen Longfellow, Jr.</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Journal, 1833</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Pencillings by the Way</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Gleanings in Europe</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Struggles and Triumphs; or, Forty Years' Recollections</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Catlin's Notes of Eight Years' Travels and Residence in Europe</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Things and Thoughts in Europe</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sunny Memories of Foreign Lands</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The French Notebooks</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Innocents Abroad</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Proclamation of the Republic</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Occasional Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Velvet Glove"</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter from Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to John Hay</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Show-Places of Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from My Life</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Life in Photography</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Along This Way</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Traveler at Forty</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Look of Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Backward Glance</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mon Amie</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paris Notebook, 1921</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Peter Whiffle</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Significant Gesture</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Life Among the Surrealists</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Big Sea</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Gentlemen Prefer Blondes</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Four Letters from Paris, 1925</TD><TD WIDTH="10%" ALIGN="RIGHT">298</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Post Impressions</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vive la Folie!</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Spirit of St. Louis</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Flying Fool</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Moveable Feast</TD><TD WIDTH="10%" ALIGN="RIGHT">328</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Postcard to Samuel Loveman</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paris Diaries</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You Don't Know Paree</TD><TD WIDTH="10%" ALIGN="RIGHT">344</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Babylon Revisited</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From an Early Diary</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Autobiography of Alice B. Toklas</TD><TD WIDTH="10%" ALIGN="RIGHT">374</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Paris France</TD><TD WIDTH="10%" ALIGN="RIGHT">378</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Walking Up and Down in China</TD><TD WIDTH="10%" ALIGN="RIGHT">386</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Spring Month in Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">405</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Flower and the Nettle</TD><TD WIDTH="10%" ALIGN="RIGHT">417</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Time I Saw Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">426</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Shakespeare and Company</TD><TD WIDTH="10%" ALIGN="RIGHT">428</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter from Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">432</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paris, 7 A.M.</TD><TD WIDTH="10%" ALIGN="RIGHT">437</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No. 13 Rue St. Augustin</TD><TD WIDTH="10%" ALIGN="RIGHT">439</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Place Pigalle</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Letters</TD><TD WIDTH="10%" ALIGN="RIGHT">452</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from First Days in Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">460</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Equal in Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">467</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Remembrance of Things Past</TD><TD WIDTH="10%" ALIGN="RIGHT">482</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Saucier's Apprentice</TD><TD WIDTH="10%" ALIGN="RIGHT">493</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good-By to a World</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Departures</TD><TD WIDTH="10%" ALIGN="RIGHT">510</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The First Time I Saw Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">519</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trouble in Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">532</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Between Meals: An Appetite for Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">539</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">17 quai Voltaire</TD><TD WIDTH="10%" ALIGN="RIGHT">566</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Satori in Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">577</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gare de Lyon</TD><TD WIDTH="10%" ALIGN="RIGHT">581</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from D. V.</TD><TD WIDTH="10%" ALIGN="RIGHT">592</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Birthday</TD><TD WIDTH="10%" ALIGN="RIGHT">601</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sources and Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">609</TD></TABLE><article> <h4>The New York Times</h4>Although <i>Americans in Paris</i> has a chronological structure, Mr. Gopnik still gives it a soupçon of suspense: the reader moves from section to section wondering whether the book can top what it has just delivered. So ignore the table of contents and allow yourself to be caught off guard. — <i>Janet Maslin</i> </article> <article> <h4>Library Journal</h4>Covering over three centuries of the American experience in Paris, this engaging and powerful anthology of letters, stories, and essays collects emotions of the heart and personal insights experienced by travelers trying to find happiness in the City of Light. Each selection engages the reader in a historical journey to a city that over the centuries has lured Americans, whether statesmen, soldiers, or tourists. The diverse pieces range from Benjamin Franklin's letter to Mary Stevenson in 1767, describing his first observations of the city, to fashion editor Diana Vreeland's memorable journeys to Paris as a representative of Harper's Bazaar after her reopening of the French collections following World War II. Other pieces are by such renowned travelers as Mark Twain, Henry James, F. Scott Fitzgerald, Gertrude Stein, and many others. Edited by New Yorker staff writer Gopnik (Paris to the Moon), winner of the National Magazine Award for Essay and Criticism and the George Polk Award for Magazine Reporting, this delightful literary anthology will compel readers to keep coming back to experience Paris. Recommended for public and academic libraries.-Susan McClellan, Avalon P.L., Pittsburgh Copyright 2004 Reed Business Information. </article>
249Uncle Remus: His Songs and His SayingsJoel Chandler Harris0<p>Joel Chandler Harris (1845-1908) authored 185 <b>Uncle Remus</b> tales, as well as other short fiction, novels, and children's stories.</p>Joel Chandler Harris, Robert Hemenwayuncle-remusjoel-chandler-harris97801403901480140390146$13.98PaperbackPenguin Group (USA)September 1982North American Folklore & Mythology, African Americans - General & Miscellaneous, American Fiction & Literature Classics, African Americans - Folklore & Mythology, Literary Styles & Movements - Fiction2245.15 (w) x 7.87 (h) x 0.61 (d)In 1880, Joel Chandler Harris, a moderate white Southern journalist, published a collection of black folktales, proverbs, songs, and character sketches based on stories he had heard as a child. In his introduction, Robert Hemenway discusses the book's enduring popularity, pointing out that the character of Uncle Remus, the docile and grandfatherly ex-slave storyteller, is a utopian figure-a literary creation by Harris that reassured white readers during the tense and tentative Reconstruction. By contrast, the feisty Brer Rabbit was a mainstay of black folklore long before Harris heard of his exploits. Brer Rabbit's cunning and revolutionary antics symbolically inverted the slave-master relationship and satisfied the deep human needs of a captive people. <p>Presents the legends, songs, and sayings of Uncle Remus, following the text of the first edition of Joel Chandler Harris' attempt to record traditional black stories of his time. </p><p>According to Wikipedia: "Joel Chandler Harris (December 9, 1845 - July 3, 1908) was an American journalist, fiction writer, and folklorist best known for his collection of Uncle Remus stories. Harris was born in Eatonton, Georgia, where he served as an apprentice on a plantation during his teenage years. He spent the majority of his adult life in Atlanta working as an associate editor at the Atlanta Constitution. Harris led two significant professional lives. Editor and journalist Joe Harris ushered in the New South alongside Henry W. Grady, stressing regional and racial reconciliation during and after the Reconstruction era. Joel Chandler Harris, fiction writer and folklorist, recorded many Brer Rabbit stories from the African-American oral tradition and revolutionized children's literature in the process."</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Author, Teller, and Hero</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Suggestions for Further Reading</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Note on the Text</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uncle Remus: His Songs and His Sayings</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD></TABLE>
250Running a Thousand Miles for Freedom: The Escape of William and Ellen Craft from SlaveryCraft0<p><p>William Craft (1821-1900) and Ellen Craft (1826-1891) returned to the United States after the Civil War. For the rest of their lives, often at great personal risk, they worked to improve conditions for African Americans in the South. Barbara McCaskill is an associate professor of English at the University of Georgia and a founding editor of the journal <i>Womanist Theory and Research</i>.<p></p>Craft, Ellen Craft, Barbara McCaskillrunning-a-thousand-miles-for-freedomcraft97808203210420820321044$2.99PaperbackUniversity of Georgia PressApril 1999Slavery - Social Sciences, Historical Biography - United States - 19th Century, African Americans - General & Miscellaneous, African Diaspora (outside U.S.) - Slavery, Slavery & Abolitionism - African American History, Historical Figures - Women's Biograp1525.50 (w) x 8.50 (h) x 0.35 (d)<p>In 1848 William and Ellen Craft made one of the most daring and remarkable escapes in the history of slavery in America. With fair-skinned Ellen in the guise of a white male planter and William posing as her servant, the Crafts traveled by rail and ship—in plain sight and relative luxury—from bondage in Macon, Georgia, to freedom first in Philadelphia, then Boston, and ultimately England.</p> <p>This edition of their thrilling story is newly typeset from the original 1860 text. Eleven annotated supplementary readings, drawn from a variety of contemporary sources, help to place the Crafts’ story within the complex cultural currents of transatlantic abolitionism.</p><p><p>In 1848 William and Ellen Craft made one of the most daring and remarkable escapes in the history of slavery in America. With fair-skinned Ellen in the guise of a white male planter and William posing as her servant, the Crafts traveled by rail and ship--in plain sight and relative luxury--from bondage in Macon, Georgia, to freedom first in Philadelphia, then Boston, and ultimately England.<p>This edition of their thrilling story is newly typeset from the original 1860 text. Eleven annotated supplementary readings, drawn from a variety of contemporary sources, help to place the Crafts&#8217; story within the complex cultural currents of transatlantic abolitionism.<p></p>
251If I Had My Life to Live OverSandra Martz0<p><br>Sandra Kay Martz founded Papier-Mache Press in 1984. Papier-Mache Press was known for publishing accessible books which, "presented important social issues through enduring works of beauty, grace, and strength," and "created a bridge of understanding between the mainstream audience and those who might not otherwise be heard. As an editor and publisher, she has compiled several successful Papier-Mache Press anthologies including If I Had My Life to Live Over I Would Pick More Daisies, and I Am Becoming the Woman I've Wanted, a book that explores the powerful feelings women have about their bodies.</p>Sandra Martz, Sandra Martzif-i-had-my-life-to-live-oversandra-martz97809189492570918949254$1.99HardcoverMoyer BellJanuary 2010Women Authors - Literature Anthologies, American Literature Anthologies2057.22 (w) x 9.61 (h) x 0.83 (d)<p>This companion volume to the award-winning anthology, When I Am an Old Woman I Shall Wear Purple, illuminates the experiences of women, young and old, reflecting on the choices they have made. In these stories and poems we see how women's alternatives are both extended and limited by personal belief systems, ethnic and cultural identity, class and economic status, age, and gender. Whether exploring significant public events or small private choices, these word portraits resonate with authenticity and meaning.</p><p><br>This companion volume to the award-winning anthology, When I Am an Old Woman I Shall Wear Purple, illuminates the experiences of women, young and old, reflecting on the choices they have made. In these stories and poems we see how women's alternatives are both extended and limited by personal belief systems, ethnic and cultural identity, class and economic status, age, and gender. Whether exploring significant public events or small private choices, these word portraits resonate with authenticity and meaning.</p><h3>Publishers Weekly</h3><p>Lacking the eccentricity and distinctiveness of its bestselling predecessor, When I Am an Old Woman I Shall Wear Purple (on women and aging), also edited by Martz, this new volume on the theme of the choices women make throughout their lives is simplistic at best. The language of most stories and poems here is uninventive and often cliched; themes are staid. ``A child is growing somewhere / in this weary world, / an innocent unwary / of emotions shattered,'' writes Shirley Vogler Meister in a sing-song, rhyming poem about adoption; and the narrator of Stephany Brown's story, whose boyfriend promptly enlisted in the Army when at 16 she told him she was pregnant, says that ``having his baby is still the best thing I ever did.'' Too many of these pieces have haunting echoes of a campaign for Family Values. Reading these pages, one would assume women no longer make choices other than having children vs. having an abortion, marriage vs. divorce, or which boy to date. A few excellent tidbits--Janice Levy's story about a Mexican woman entering the U.S. illegally and working as a maid or Pat Schneider's poem about a sister choosing to be a nun--are not enough to make this volume worth reading. 70,000 first printing. (Feb.)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If I Had My Life to Live Over</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Requiem</TD><TD WIDTH="10%" ALIGN="RIGHT">2</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Loving Jerry</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Small Life</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Broken Vows</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Palsied Girl Goes to the Beach</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Keeper of Spaces</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adoption</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sacrifice</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Holy Places</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Morning News</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Getting Ready</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spiderplant</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Life Support</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Art As Life</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Resume</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother Land</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Woman's Choice</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Maire, Who Feeds the Wild Cat?</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Imaginary Bonds</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Scorpion Wore Pink Shoes</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good Intentions</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sunspots</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Nature of Sin</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Woven Wall</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Horses</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">October Fire</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Last Time</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It Is Enough</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Five Years Later</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Praying in the Dark</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Weaver</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Orchards and Supermarkets</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Divorce</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vietnam</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Getting On with It</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cauliflower Beach</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The first time I married</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good-Bye Prince Charming</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Friend Sends a Chain Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Choice</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bittersweet</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Forbidden Lover</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Life I Didn't Live</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Swamp</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amazing Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If I Could Begin Again</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shopping Expedition</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hot Flash</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Loving a Younger Man</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ripening</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eating Cantaloupe</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Woman with the Wild-Grown Hair</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strawberries</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Women's Choices</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dearest Margaret</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shrinking Down</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Keepsakes</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Counterpoint</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Salamanders</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Advice to Beginners</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD></table><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Lacking the eccentricity and distinctiveness of its bestselling predecessor, When I Am an Old Woman I Shall Wear Purple (on women and aging), also edited by Martz, this new volume on the theme of the choices women make throughout their lives is simplistic at best. The language of most stories and poems here is uninventive and often cliched; themes are staid. ``A child is growing somewhere / in this weary world, / an innocent unwary / of emotions shattered,'' writes Shirley Vogler Meister in a sing-song, rhyming poem about adoption; and the narrator of Stephany Brown's story, whose boyfriend promptly enlisted in the Army when at 16 she told him she was pregnant, says that ``having his baby is still the best thing I ever did.'' Too many of these pieces have haunting echoes of a campaign for Family Values. Reading these pages, one would assume women no longer make choices other than having children vs. having an abortion, marriage vs. divorce, or which boy to date. A few excellent tidbits--Janice Levy's story about a Mexican woman entering the U.S. illegally and working as a maid or Pat Schneider's poem about a sister choosing to be a nun--are not enough to make this volume worth reading. 70,000 first printing. (Feb.) </article> <article> <h4>Denise Perry Donavin</h4>The editor of "When I Am an Old Woman I Shall Wear Purple" has pulled together another collection about the choices women make. In these essays, recollections, stories, and poetry by females of various ages, whining voices blend with mellower ones to share lessons learned and questions still unanswered. Topics range from wedding-day jitters to the recollection of a honeymoon; from summer vacations to terminal illness. As in the previous collection, the writing quality varies, but the result is still a rewarding medley. </article><article> <h4>WomanSource Catalog &amp; Review: Tools for Connecting the Community for Women</h4>In <i>If I Had My Life to Live All Over I Would Pick More Daisies</i>, women again join their voices to examine the decisions women everywhere make every day, decisions that rend the heart, split the mind&amp;#8211having a baby or an abortion; giving a child up; caring for an elderly parent, having a career or giving it up.<br> —Phyllis Hyman </article> <article> <h4>Ruth Moose</h4>You buy a copy of <i>If I Had My Life to Live Over I Would Pick More Daisies</i>to give to a friend, because you have to share it and you can't bear to part with your own copy…And she buys a copy of the book for her friend and so the chain goes.<br> —Ruth Moose,<i>Encore Magazine</i> </article> <article> <h4>Sara Sanderson</h4>We know these women. They are our neighbors, our friends, ourselves.<br> —Sara Sanderson,<i>Indianapolis News</i> </article>
252Postmodern American Poetry: A Norton AnthologyPaul Hoover0<p><b>Paul Hoover</b> is Professor of Creative Writing at San Francisco State University and co-editor of the literary magazine <b>New American Writing</b>. He has published nine books of poetry and a novel.</p>Paul Hoover, Ed Paschke (Illustrator), Chris Welchpostmodern-american-poetrypaul-hoover97803933109000393310906$29.95PaperbackNorton, W. W. & Company, Inc.May 1994Poetry, American<p>Beginning in 1950 with Charles Olsen, <b>Postmodern American Poetry&#58; A Norton Anthology</b> is the first anthology since Donald Allen&rsquo;s groundbreaking collection to fully represent the movements of American avant-garde poetry.</p><h3>Publishers Weekly</h3><p>Concentration and magnification make the best anthologies work, and this may be one of them. Concentration: the focus on a body of writing with a heritage, an era, or a style in common that tests shared visions and constraints. Magnification: an expanse that seems to widen and deepen as we are allowed to take a look at it, and then another look. For anyone carping at the idea of the postmodern or the avant-garde as wanly intellectual, fiercely separatist, beside the point, or even nonexistent, Hoover's large-scale collection of recent experimental American poetry (and a concluding selection of essays about it) should persuade that it's not. He brings together more than 100 writers from the 1950s and since--Olson, Duncan, O'Hara, Ginsberg, Corso, Dorn, Major, Ashbery, Guest--whose adventures with the language renew it for far more than a readymade membership. The fact that some of the poets are sine qua nons and others aren't simply leaves the whole tribe more interesting. There's almost no point in listing names, except to indicate breadth; the same could be said for the ``schools'' represented. For literary positions have a way easing from their own strictures and outgrowing acolytic expectation when the words themselves are richly transformed and reformed--as they are here. Hoover is the editor of New American Writing. (Apr.)</p>
253Sisters of the Earth: Women's Prose and Poetry About NatureLorraine Anderson0<p>Lorraine Anderson is a freelance editor, writer, and teacher whose work focuses on encouraging a reciprocal relationship with nature. She served as lead editor of the college textbook <b>Literature and the Environment&#58; A Reader on Nature and Culture</b> (1998) and collaborated with Thomas Edwards on the anthology <b>At Home on This Earth&#58; Two Centuries of U.S. Women's Nature Writing</b> (2002). She holds a B.A in English from the University of Utah and an M.S. in creation sprituality from Naropa University, and lives in Davis, California.</p>Lorraine Anderson, Lorraine Andersonsisters-of-the-earthlorraine-anderson97814000332181400033217$14.22PaperbackKnopf Doubleday Publishing GroupDecember 2003RevisedWomen Authors - Literature Anthologies, Natural Literature & History, Literature Anthologies - General & Miscellaneous, American Literature Anthologies4965.19 (w) x 8.00 (h) x 1.02 (d)<p><b>Sisters of the Earth</b> is a stirring collection of women’s writing on nature: Nature as healer. Nature as delight. Nature as mother and sister. Nature as victim. Nature as companion and reminder of what is wild in us all. Here, among more than a hundred poets and prose writers, are Diane Ackerman on the opium of sunsets; Ursula K. Le Guin envisioning an alternative world in which human beings are not estranged from their planet; and Julia Butterfly Hill on weathering a fierce storm in the redwood tree where she lived for more than two years. Here, too, are poems, essays, stories, and journal entries by Emily Dickinson, Alice Walker, Terry Tempest Williams, Willa Cather, Gretel Erlich, Adrienne Rich, and others—each offering a vivid, eloquent response to the natural world.</p> <p>This second edition of <b>Sisters of the Earth</b> is fully revised and updated with a new preface and nearly fifty new pieces, including new contributions by Louise Erdrich, Pam Houston, Zora Neale Hurston, Starhawk, Joy Williams, Kathleen Norris, Rita Dove, and Barbara Kingsolver.</p> <p>Sisters of the Earth introduce the reader to female perspectives on nature that complement Thoreau's, Muir's, and Edward Abbey's. The selections span a century and encompass the voices of a variety of women, with more than 90 poems, essays, stories and journal entries included in all. </p><p><b>Sisters of the Earth </b>is a stirring collection of women&#8217;s writing on nature&#58; Nature as healer. Nature as delight. Nature as mother and sister. Nature as victim. Nature as companion and reminder of what is wild in us all. Here, among more than a hundred poets and prose writers, are Diane Ackerman on the opium of sunsets; Ursula K. Le Guin envisioning an alternative world in which human beings are not estranged from their planet; and Julia Butterfly Hill on weathering a fierce storm in the redwood tree where she lived for more than two years. Here, too, are poems, essays, stories, and journal entries by Emily Dickinson, Alice Walker, Terry Tempest Williams, Willa Cather, Gretel Erlich, Adrienne Rich, and others&#8212;each offering a vivid, eloquent response to the natural world.<br><br>This second edition of <b>Sisters of the Earth</b> is fully revised and updated with a new preface and nearly fifty new pieces, including new contributions by Louise Erdrich, Pam Houston, Zora Neale Hurston, Starhawk, Joy Williams, Kathleen Norris, Rita Dove, and Barbara Kingsolver.</p><h3>Publishers Weekly</h3><p>The voices of nearly 100 women--white, black, Native American--sing out in this luminous anthology, which spans centuries, genres and literary careers from Willa Cather's to Sue Hubbell's. The thread that binds together the poetry, short stories and essays collected here is the harmonious relationship between women and nature that is about ``caring rather than controlling,'' as editor Anderson indicates. In her poem ``My Help Is in the Mountainsic ,'' Nancy Wood ( Hollering Sun ) becomes part of the sun-warmed rock that soothes her ``earthly wounds.'' In a prose reflection, ``The Miracle of Renewal,'' Laura Lee Davidson is rejuvenated by a year spent in the Canadian woods in 1914, which provided her with a ``gallery of mind-pictures.'' Both Linda Hogan's essay, ``Walking,'' and Elizabeth Coatsworth's poem, ``On the Hills,'' seek and find continuity in nature, as well as a kinship with the other times and places that is evoked by it. Taste and sensitivity are evident throughout the volume, whether tacit as nocturnal solitude or vocal as a feline ``howl . . . for the flame of yellow moons'' in Judith Minty's poem, ``Why Do You Keep Those Cats?'' Anderson is a freelance writer and editor. QPB selection. (Apr.)</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface to the Second Edition</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface to the First Edition</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fire</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beginning with a Place</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Joy-Song of Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The First Roots Creep Up</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blossoming Pear Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Breaklight</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Believing the Bond</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Luna</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The South Corner</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A White Heron</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Being Still</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Home to the Wilderness</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Magnolia Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Breeze Swept Through</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Many and the One</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Will Lie Down</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rolling Naked in the Morning Dew</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Rinse in the River</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sandstone Seduction</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">River, O River</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas in Driftwood Valley</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jaunt from Nulato</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Visual Opium</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why?</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spring in the City</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Childhood on White Island</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Green Thoughts in a Green Shade</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mississippi Spring</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Bouquet of Wild Flowers</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glimpses of Salem</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Hills</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trek to Blue Lake</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Night in the Country</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why Do You Keep Those Cats?</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gabimichigami</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Looking for Abbey's Lion</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Recognition</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Source of a River</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wilderness in the Blood</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Annunciation</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Different Sympathy</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Night Song</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Becoming Feral</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Safety Behind Me</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Open</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Feel of the Outdoors</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In a Valley of Peace</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Angry Lunch Cafe</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Storm</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Old One and the Wind</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Help Is in the Mountain and Earth Cure Me</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ancient People</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Journal Entries</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Daystar</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bowl</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lesson 1 and Lesson 2</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">State of Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cured by Flowers</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meadow Turf</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Nature Cure - For the Body</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Longing</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Balsam Fir</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Back-Road</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Desert Pond</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Miracle of Renewal</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Depression in Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Come into Animal Presence</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Heart's Fox</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Happiness</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sudden Knowing</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Word</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Build a Dam</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Creatures of the Long-Shadowed Forest</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fawn</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Feathered Philosophers</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Sadness</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Little Nomad</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Wonder Tale</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drama on a Wooden Fence</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Houseguest</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dance of Giants</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Changing</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Among My Closet Friends</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Old Cherry Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Praise of Trees</TD><TD WIDTH="10%" ALIGN="RIGHT">310</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Man</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Antelope</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hunt and Use</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Audubon</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Who?</TD><TD WIDTH="10%" ALIGN="RIGHT">334</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Earth's Green Mantle</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bonelight</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Canal</TD><TD WIDTH="10%" ALIGN="RIGHT">346</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Alegria Canyon and Afterword</TD><TD WIDTH="10%" ALIGN="RIGHT">350</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Earth becomes an "It"</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hewers of Wood</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fallen Forests</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bitter Root Rituals, Stanzas I, II, and III</TD><TD WIDTH="10%" ALIGN="RIGHT">368</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Clearcut</TD><TD WIDTH="10%" ALIGN="RIGHT">371</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contradictions: Tracking Poems, Part 18</TD><TD WIDTH="10%" ALIGN="RIGHT">374</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spirit of Love</TD><TD WIDTH="10%" ALIGN="RIGHT">379</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Turning to Another Way</TD><TD WIDTH="10%" ALIGN="RIGHT">380</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eve Revisited</TD><TD WIDTH="10%" ALIGN="RIGHT">384</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rainbow Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">386</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kopis'taya (A Gathering of Spirits)</TD><TD WIDTH="10%" ALIGN="RIGHT">392</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Declaration of the Four Sacred Things</TD><TD WIDTH="10%" ALIGN="RIGHT">394</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Native Origin</TD><TD WIDTH="10%" ALIGN="RIGHT">396</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Common Living Dirt</TD><TD WIDTH="10%" ALIGN="RIGHT">400</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Holds the Water, What Holds the Light</TD><TD WIDTH="10%" ALIGN="RIGHT">403</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amazing Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">408</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dynamics</TD><TD WIDTH="10%" ALIGN="RIGHT">414</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">End of the Beginning</TD><TD WIDTH="10%" ALIGN="RIGHT">416</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mind in the Waters</TD><TD WIDTH="10%" ALIGN="RIGHT">423</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">May's Lion</TD><TD WIDTH="10%" ALIGN="RIGHT">425</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Demeter</TD><TD WIDTH="10%" ALIGN="RIGHT">435</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">437</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography and Further Reading</TD><TD WIDTH="10%" ALIGN="RIGHT">439</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Authors and Titles</TD><TD WIDTH="10%" ALIGN="RIGHT">457</TD></TABLE><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>The voices of nearly 100 women--white, black, Native American--sing out in this luminous anthology, which spans centuries, genres and literary careers from Willa Cather's to Sue Hubbell's. The thread that binds together the poetry, short stories and essays collected here is the harmonious relationship between women and nature that is about ``caring rather than controlling,'' as editor Anderson indicates. In her poem ``My Help Is in the Mountainsic ,'' Nancy Wood ( Hollering Sun ) becomes part of the sun-warmed rock that soothes her ``earthly wounds.'' In a prose reflection, ``The Miracle of Renewal,'' Laura Lee Davidson is rejuvenated by a year spent in the Canadian woods in 1914, which provided her with a ``gallery of mind-pictures.'' Both Linda Hogan's essay, ``Walking,'' and Elizabeth Coatsworth's poem, ``On the Hills,'' seek and find continuity in nature, as well as a kinship with the other times and places that is evoked by it. Taste and sensitivity are evident throughout the volume, whether tacit as nocturnal solitude or vocal as a feline ``howl . . . for the flame of yellow moons'' in Judith Minty's poem, ``Why Do You Keep Those Cats?'' Anderson is a freelance writer and editor. QPB selection. (Apr.) </article>
254The Lincoln Anthology: Great Writers on His Life and Legacy from 1860 to NowHarold Holzer0<p>Harold Holzer, editor, serves as co-chairman of the U.S. Lincoln Bicentennial Commission, lectures widely on Lincoln and the Civil War, and is a frequent Lincoln commentator on television. He has written, co-written, and edited more than thirty books, including The Lincoln Image (1984), Lincoln on Democracy (1990), Lincoln at Cooper Union&#58; The Speech That Made Abraham Lincoln President (2004), and Lincoln President-Elect&#58; Abraham Lincoln and the Great Secession Winter 1860-1861(2008).</p>Harold Holzerthe-lincoln-anthologyharold-holzer9781598530339159853033X$27.10HardcoverLibrary of AmericaDecember 2008United States History - Reference, Presidents of the United States - Biography, U.S. Politics & Government - 19th Century, 19th Century American History - Politics & Government - Presidents, American Literature Anthologies, Union - Civil War History8005.20 (w) x 8.14 (h) x 1.64 (d)Abraham Lincoln has achieved an unrivaled preeminence in American history, culture, and myth. Here, for the bicentennial of his birth, Lincoln and his enduring legacy are the focus of nearly 100 major authors and important historical figures from his time to the present. Edited by celebrated Lincoln scholar Harold Holzer, this collection gathers fascinating writing from a variety of genres to illuminate the Lincoln we know and revere. It enables readers to rediscover Lincoln anew through the eyes of some of our greatest writers, including Winston Churchill, Frederick Douglass, Ralph Waldo Emerson, U. S. Grant, Nathaniel Hawthorne, Victor Hugo, Henrik Ibsen, Karl Marx, Herman Melville, Leo Tolstoy, Mark Twain, Gore Vidal, Booker T. Washington, H. G. Wells, Walt Whitman, Garry Wills, and many others. <i>The Lincoln Anthology</i> includes illustrations and a detailed chronology of Lincoln's life.<p><P>Abraham Lincoln has achieved an unrivaled preeminence in American history, culture, and myth. Here, for the bicentennial of his birth, Lincoln and his enduring legacy are the focus of nearly 100 major authors and important historical figures from his time to the present. Edited by celebrated Lincoln scholar Harold Holzer, this collection gathers fascinating writing from a variety of genres to illuminate the Lincoln we know and revere. It enables readers to rediscover Lincoln anew through the eyes of some of our greatest writers, including Winston Churchill, Frederick Douglass, Ralph Waldo Emerson, U. S. Grant, Nathaniel Hawthorne, Victor Hugo, Henrik Ibsen, Karl Marx, Herman Melville, Leo Tolstoy, Mark Twain, Gore Vidal, Booker T. Washington, H. G. Wells, Walt Whitman, Garry Wills, and many others. <i>The Lincoln Anthology</i> includes illustrations and a detailed chronology of Lincoln's life.</p><h3>Publishers Weekly</h3><p>This hefty Library of America anthology, edited by Lincoln scholar Holzer (co-chairman of the U.S. Lincoln Bicentennial Commission), is a solid compilation of work on Abraham Lincoln from a diverse selection of writers in various genres, celebrating his extensive legacy and providing insight from a number of angles and time periods. From William Cullen Bryant's introduction of the little-known Illinois Republican at Cooper Union in Manhattan to Barack Obama's 2007 presidential candidacy announcement (made on Lincoln's birthday at Springfield's Old State Capitol, where Lincoln delivered his "House Divided" speech), Holzer follows the president's legacy through marquee names like Whitman, Hawthorne, Tolstoy, Marx, Churchill and Doctorow. Including a helpful index and a chronology of Lincoln's life, this voluminous, thorough collection will keep Lincoln fans reading well past the beloved president's upcoming bicentennial.<BR>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p><article> <h4>Publishers Weekly</h4>This hefty Library of America anthology, edited by Lincoln scholar Holzer (co-chairman of the U.S. Lincoln Bicentennial Commission), is a solid compilation of work on Abraham Lincoln from a diverse selection of writers in various genres, celebrating his extensive legacy and providing insight from a number of angles and time periods. From William Cullen Bryant's introduction of the little-known Illinois Republican at Cooper Union in Manhattan to Barack Obama's 2007 presidential candidacy announcement (made on Lincoln's birthday at Springfield's Old State Capitol, where Lincoln delivered his "House Divided" speech), Holzer follows the president's legacy through marquee names like Whitman, Hawthorne, Tolstoy, Marx, Churchill and Doctorow. Including a helpful index and a chronology of Lincoln's life, this voluminous, thorough collection will keep Lincoln fans reading well past the beloved president's upcoming bicentennial.<br> Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. </article>
255Halloween Reader: Poems, Stories, and Plays from Halloweens PastLesley Pratt Bannatyne0One of the nation's foremost authorities on Halloween, Lesley Pratt Bannatyne has shared her vast knowledge of the holiday in television specials for Nickelodeon and the History Channel. For more than twenty years, she also has been active in the theater. She currently is co-director of Invisible Cities Group and co-artistic director of the Studebaker Theater. Ms. Bannatyne resides in Medford, Massachusetts, and has been named one of Boston's 100 Interesting Women by Boston Woman magazine.Lesley Pratt Bannatynehalloween-readerlesley-pratt-bannatyne97815898017691589801768$12.09PaperbackPelican Publishing Company, IncorporatedAugust 2004New EditionEnglish & Irish Literature Anthologies, American Literature Anthologies2726.16 (w) x 8.94 (h) x 0.76 (d)"Those who follow this book carefully are sure to win every Halloween contest they enter."<br> --Booklist The literature of Halloween began in a time when poets, playwrights, and storytellers told tales inspired by fear of fate, the unknown, and the inexplicable--stories about dead souls and otherworldly creatures who drifted through the dark only on Halloween, when the spirit world seemed close enough to touch. This sourcebook of Halloween lore spans British, Irish, Scottish, French, Canadian, and American literature from the sixteenth to the twentieth centuries, from Robert Burns, W. B. Yeats, and James Joyce to Edgar Allan Poe, Edith Wharton, and H. P. Lovecraft. Each of the poems, stories, and plays in this anthology provides a link to Halloween celebrations of the past. Treasures abound, such as a rare Halloween mention in a colonial American play and a French journalist's retelling of a night spent amongst the bones of a Breton charnel house. The "Hallowoddities" section includes witch-trial testimony, journal entries, and other spooky pieces related to Halloween.<p>Spooky writing for a literary celebration.<P>This anthology contains the works of writers from the sixteenth to the early twentieth centuries who evoke the night to set a scene, twist a plot, or explain something inexplicable, like madness or time travel. Here is Halloween as it was imagined: a joyous time for games and storytelling, a portentous time to make amends and wishes, a solemn time to remember the dead. Included are the works of Robert Burns, H. P. Lovecraft, William Butler Yeats, James Joyce, and many more.<P>Lesley Pratt Bannatyne is also the author of Halloween: An American Holiday, an American History ($14.95 pb) and A Halloween How-To: Costumes, Parties, Decorations, and Destinations ($17.95 pb).</p>
256American Literature (Penguin Academics Series), Vol. 1William E. Cain0William E. Cainamerican-literaturewilliam-e-cain97803211162390321116232$41.58PaperbackLongmanFebruary 20041st EditionAmerican Literature Anthologies13925.50 (w) x 8.30 (h) x 1.50 (d)A concise but complete introduction to American Literature. Brief introductions, headnotes, and a wide range of selections provide a compact yet affordable introduction to American Literature. Those interested in American Literature.<p><P>As part of the Penguin Academic series, American Literature offers a wide range of selections with minimal editorial apparatus at an affordable price.</p><P>Letter to the Reader&#58; Understanding and Enjoying American Literature.<p>BEGINNINGS.<p>Christopher Columbus (1451-1506).<p>From Letter to Luis de Santangel Regarding the First Voyage (February 15, 1493).<p>From Letter to Ferdinand and Isabella Regarding the Fourth Voyage (July 7, 1503).<p>Bartolom&eacute; de las Casas (1474-1566).<p>The Very Brief Relation of the Devastation of the Indies.<p>From Hispaniola (excerpt).<p>The Iroquois Creation Story (version by David Cusick).<p>John Smith (1580-1631).<p>From A Description of New England (excerpt).<p>From Settlement to New Nation.<p>William Bradford (1590-1657).<p>Of Plymouth Plantation.<p>Book I, Chapter IX. Of Their Voyage and How They Passed the Sea; and of Their Safe Arrival.at Cape Cod.<p>Book I, Chapter X. Showing How They Sought Out a Place of Habitation; and What Befell Thereabout.<p>Book II, Chapter XI. The Remainder of Anno 1620.<p>[The Mayflower Compact].<p>Book II, Chapter XII. Anno 1621 [First Thanksgiving].<p>John Winthrop (1588-1649).<p>A Model of Christian Charity.<p>Anne Bradstreet (c. 1612-1672).<p>The Prologue.<p>The Author to Her Book.<p>Before the Birth of One of Her Children.<p>To My Dear and Loving Husband.<p>Mary Rowlandson (c. 1636-1711).<p>A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson (excerpt).<p>Edward Taylor (c. 1642-1729).<p>Preparatory Meditations.<p>Meditation 22 (First Series).<p>Meditation 38 (First Series).<p>Cotton Mather (1663-1728).<p>The Wonders of the Invisible World.<p>[A People of God in the Devil's Territories].<p>The Trial of Martha Carrier.<p>Jonathan Edwards (1703-1758).<p>Personal Narrative.<p>Sinners in the Hands of an Angry God.<p>Benjamin Franklin (1706-1790).<p>The Way to Wealth.<p>Remarks Concerning the Savages of North America.<p>The Autobiography (excerpt, from Part Two).<p>John Woolman. (1720-1772).<p>Some Considerations on the Keeping of Negroes. [Part One].<p>J. Hector St. John de Cr&eacute;vecoeur (1735-1813).<p>Letters from an American Farmer.<p>Letter III. What Is an American.<p>John Adams (1735-1826) and Abigail Adams (1744-1818).<p>The Letters of John and Abigail Adams.<p>John Adams to Abigail Adams (July 3, 1776) [Reflections on the Declaration of Independence].<p>Thomas Paine. (1737-1809).<p>Common Sense.<p>Introduction.<p>III. Thoughts on the Present State of American Affairs.<p>The Crisis, No. 1.<p>Thomas Jefferson (1743-1826).<p>The Declaration of Independence.<p>Notes on the State of Virginia (excerpt).<p>The Federalist.<p>No. 10 [James Madison].<p>Philip Freneau (1752-1832).<p>The Indian Burying Ground.<p>On the Religion of Nature.<p>Phillis Wheatley (c. 1753-1784).<p>On Being Brought from Africa to America.<p>To S.M., A Young African Painter, on Seeing His Works.<p>To His Excellency General Washington.<p>Letters.<p>To Rev. Samson Occom (February 11, 1774) [The Natural Rights of Negroes].<p>THE MAKING OF AMERICAN LITERATURE.<p>Washington Irving (1783-1859).<p>Rip Van Winkle.<p>James Fenimore Cooper (1789-1851).<p>The American Democrat (excerpt).<p>The Cherokee Memorials.<p>Memorial of the Cherokee Citizens, December 18, 1829].<p>Lydia Hoawrd Huntley Sigourney (1791-1865).<p>The Indian's Welcome to the Pilgrim Fathers.<p>William Cullen Bryant (1794-1878).<p>Thanatopsis.<p>The Prairies.<p>William Apess (1798-1839).<p>An Indian's Looking-Glass for the White Man.<p>Ralph Waldo Emerson (1803-1882).<p>The American Scholar.<p>Self-Reliance.<p>Concord Hymn.<p>The Rhodora.<p>Nathaniel Hawthorne (1804-1864).<p>Young Goodman Brown.<p>The May-Pole of Merry Mount.<p>The Minister's Black Veil.<p>The Scarlet Letter.<p>Henry Wadsworth Longfellow (1807-1882).<p>The Jewish Cemetery at Newport.<p>My Lost Youth.<p>John Greenleaf Whittier (1807-1892).<p>Ichabod!<p>Oliver Wendell Holmes.<p>Old Ironsides.<p>Edgar Allan Poe (1809-1849).<p>To Helen.<p>The Raven.<p>Annabel Lee.<p>The Tell-Tale Heart.<p>The Purloined Letter.<p>The Fall of the House of Usher.<p>Abraham Lincoln (1809-1865).<p>Address Delivered at the Dedication of the Cemetery at Gettysburg, November 19, 1863.<p>Second Inaugural Address, March 4, 1865.<p>Margaret Fuller (1810-1850).<p>The Great Lawsuit. Man versus Men. Woman versus Women (excerpt).<p>Harriet Beecher Stowe (1811-1896).<p>Uncle Tom's Cabin (excerpt).<p>Harriet Ann Jacobs (1813-1897).<p>Incidents in the Life of a Slave Girl (complete).<p>Henry David Thoreau (1817-1862).<p>Resistance to Civil Government.<p>Life Without Principle.<p>Frederick Douglass (1818-1895).<p>Letter to His Former Master, 1848.<p>Walt Whitman (1819-1892).<p>Song of Myself.<p>When I Heard at the Close of the Day.<p>I Saw in Louisiana a Live Oak Growing.<p>When Lilacs Last in the Door-yard Bloom'd.<p>Democratic Vistas.<p>Herman Melville (1819-1891).<p>Hawthorne and His Mosses (excerpt).<p>Bartleby the Scrivener.<p>Moby Dick (excerpts).<p>Battle-Pieces.<p>The Portent.<p>The March into Virginia.<p>Henry Timrod (1828-1867).<p>Ode&#58; Sung on the Occasion of Decorating the Graves of the Confederate Dead.<p>Emily Dickinson (1830-1886).<p>130 (&ldquo;These are the days when Birds come back&mdash;&rdquo;).<p>199 (&ldquo;I'm 'wife'&mdash;I've finished that&mdash;&rdquo;).<p>214 (&ldquo;I taste a liquor never brewed&mdash;&rdquo;).<p>216 (&ldquo;Safe in their Alabaster Chambers&mdash;&rdquo;).<p>241 (&ldquo;I like a look of Agony&rdquo;).<p>249 (&ldquo;Wild Nights&mdash;Wild Nights!&rdquo;).<p>258 (&ldquo;There's a certain Slant of light&rdquo;).<p>280 (&ldquo;I felt a Funeral, in my Brain&rdquo;).<p>303 (&ldquo;The Soul selects her own Society&mdash;&rdquo;).<p>324 (&ldquo;Some keep the Sabbath going to Church&mdash;&rdquo;).<p>341 (&ldquo;After great pain, a formal feeling comes&mdash;&rdquo;).<p>348 (&ldquo;I dreaded that first Robin, so&rdquo;).<p>441 (&ldquo;This is my letter to the World&rdquo;).<p>448 (&ldquo;This was a Poet&mdash;It is That&rdquo;).<p>465 (&ldquo;I heard a Fly buzz&mdash;when I died&mdash;&rdquo;).<p>501 (&ldquo;This World is not Conclusion&rdquo;).<p>520 (&ldquo;I started Early&mdash;Took my Dog&mdash;&rdquo;).<p>632 (&ldquo;The Brain&mdash;is wider than the Sky&mdash;&rdquo;).<p>650 (&ldquo;Pain&mdash;has an Element of Blank&mdash;&rdquo;).<p>709 (&ldquo;Publication&mdash;is the Auction&rdquo;).<p>712 (&ldquo;Because I could not stop for Death&mdash;&rdquo;).<p>754 (&ldquo;My Life had stood&mdash;a Loaded Gun&mdash;&rdquo;).<p>986 (&ldquo;A narrow Fellow in the Grass").<p>1129 (&ldquo;Tell all the Truth but tell it slant&mdash;&rdquo;).<p>1545 (&ldquo;The Bible is an antique Volume&mdash;&rdquo;).<p>1732 (&ldquo;My life closed twice before its close;").<p>Letters to Thomas Wentworth Higginson.<p>[Say If My Verse Is Alive?] (April 15, 1862).<p>[Thank You for the Surgery] (April 25, 1862).<p>Rebecca Harding Davis (1831-1910).<p>Life in the Gran-Mills.
257Modernism: An AnthologyLawrence Rainey0<p><P><b>Lawrence Rainey</b> is Professor of English at the University of York. He is the founding editor of the journal Modernism / Modernity, and his essays and reviews have appeared in the Times Literary Supplement, the London Review of Books and The Independent. He is the author of <i>Ezra Pound and the Monument of Culture</i> (1991), <i>Institutions of Modernism&#58; Literary Elites and Public Culture</i> (1998), and Revisiting <i>'The Waste Land'</i> (2005). He has also edited <i>The Annotated Waste Land</i> with Eliot's Contemporary Prose (2005).</p>Lawrence Rainey (Editor), Blackwell Publishersmodernismlawrence-rainey97806312044970631204490$50.48PaperbackWiley, John & Sons, IncorporatedJanuary 20051st EditionModernism - Literary Movements, English & Irish Literature Anthologies, American Literature Anthologies12166.80 (w) x 9.72 (h) x 1.90 (d)<p><i>Modernism: An Anthology</i> is the most comprehensive anthology of Anglo-American modernism ever to be published.<br> </p> <ul> <li>Amply represents the giants of modernism - James Joyce, Gertrude Stein, Virginia Woolf, T.S. Eliot, Ezra Pound, Wallace Stevens, Marianne Moore, Samuel Beckett.</li> <li>Includes a generous selection of Continental texts, enabling readers to trace modernism’s dialogue with the Futurists, the Dadaists, the Surrealists, and the Frankfurt School.</li> <li>Supported by helpful annotations, and an extensive bibliography.</li> <li>Allows readers to encounter anew the extraordinary revolution in language that transformed the aesthetics of the modern world .</li> </ul><p><P><i>Modernism&#58; An Anthology</i> is the most comprehensive anthology of Anglo-American modernism ever to be published. The giants of modernist literature &#8211; James Joyce, Gertrude Stein, Virginia Woolf, T. S. Eliot, Ezra Pound, Wallace Stevens, Marianne Moore, Samuel Beckett &#8211; are amply represented, along with another 20 Anglo-American writers. In addition, the book features a generous selection of texts by avant-garde thinkers and writers from the Continent. These enable the reader to trace modernism&#8217;s interaction with the Futurists, the Dadaists, the Surrealists, and the Frankfurt School. Supported by helpful annotations and an extensive bibliography, this <i>Anthology</i> allows readers to encounter anew the extraordinary revolution in language that utterly transformed the aesthetics of the modern world.</p><P>Acknowledgments.<P>Introduction.<P>A Note on the Selection, Texts, and Order of Presentation.<P><b>CONTINENTAL INTERLUDE I&#58; Futurism (1909&#8211;14)</b>.<P>F. T. Marinetti The Founding and the Manifesto of Futurism (Feb. 1909).<P>F. T. Marinetti Futurist Speech to the English (Dec. 1910).<P>F. T. Marinetti Contempt for Woman (from Le Futurisme, 1911).<P>Balla, Boccioni, Carr&agrave;, Russolo, Severini The Exhibitors to the Public (Feb. 1912) F. T. Marinetti Technical Manifesto of Futurist Literature (May 1912).<P>F. T. Marinetti A Response to Objections (Aug. 1912).<P>Luigi Russolo The Art of Noises&#58; A Futurist Manifesto (Mar. 1913).<P>F. T. Marinetti Destruction of Syntax&#8211;Wireless.<P>Imagination&#8211;Words-in-Freedom (May 1913).<P>F. T. Marinetti The Variety Theater (Sept. 1913).<P>Ezra Pound.<P><b>Poems</b>.<P>The Seafarer (1911).<P>Portrait d&#8217;une Femme (1912).<P>The Return (1912).<P>In a Station of the Metro (1913).<P>Salutation the Third (1914).<P>Meditatio (1914).<P>Song of the Bowmen of Shu (1915).<P>The River-Merchant&#8217;s Wife&#58; A Letter (1915).<P>Poem by the Bridge at Ten-Shin (1915).<P>The Jewel Stairs&#8217; Grievance (1915).<P>The Coming of War&#58; Actaeon (1915).<P>Shop Girl (1915).<P>O Atthis (1916).<P>The Lake Isle (1916).<P>Hugh Selwyn Mauberley (1920).<P>From The Cantos.<P>Canto I (1917/1925).<P>The Malatesta Cantos, VIII to XI (1923).<P>Canto LXXXI (1948).<P>From Canto CXV (1969).<P><b>Essays</b>.<P>Imagisme (1912).<P>A Few Don&#8217;ts by an Imagiste (1912).<P>Vortex. Pound. (1914).<P>The Chinese Written Character as Medium for Poetry (1918).<P>T. S. Eliot.<P><b>Poems</b>.<P>The Love Song of J. Alfred Prufrock (1915).<P>La Figlia che piange (1916).<P>Sweeney Among the Nightingales (1918).<P>Sweeney Erect (1919).<P>Gerontion (1920).<P>The Waste Land (1922).<P><b>Drama</b>.<P>Sweeney Agonistes (1932).<P><b>Essays</b>.<P>Tradition and the Individual Talent (1919).<P>The Lesson of Baudelaire (1921).<P>London Letter&#58; May 1921.<P>London Letter&#58; November 1922 (Marie Lloyd).<P>Ulysses, Order, and Myth (1923).<P>Charles Baudelaire (Introduction to Journaux intimes) (1930).<P>Wyndham Lewis.<P><b>Fiction</b>.<P>Enemy of the Stars (1914).<P>Bestre (1922).<P>The Death of the Ankou (1927).<P><b>Essays</b>.<P>Manifesto (1914).<P>Inferior Religions (1917).<P>Foreword to Tyros and Portraits (1921).<P>The Children of the New Epoch (1921).<P>James Joyce.<P>Araby (1914), from Dubliners.<P>A Little Cloud (1914), from Dubliners.<P>Aeolus (1922), from Ulysses.<P>Nausicaa (1922), from Ulysses.<P>Anna Livia Plurabelle (1939), from Finnegans Wake.<P>W. B. Yeats.<P><b>Poems</b>.<P>A Coat (1914).<P>The Wild Swans at Coole (1917).<P>In Memory of Major Robert Gregory (1918).<P>Easter, 1916 (1920).<P>The Second Coming (1920).<P>The Tower (1928).<P>Sailing to Byzantium (1927).<P>The Tower (1927).<P>Meditations in Time of Civil War (1923).<P>Nineteen Hundred and Nineteen (1921).<P>The Wheel (1922).<P>Youth and Age (1924).<P>The New Faces (1922).<P>A Prayer for my Son (1922).<P>Two Songs from a Play (1927).<P>Wisdom (1927).<P>Leda and the Swan (1924).<P>On a Picture of a Black Centaur by Edmund Dulac (1922).<P>Among School Children (1927).<P>Colonus&#8217; Praise (1928).<P>The Hero, the Girl, and the Fool (1922).<P>Owen Ahern and his Dancers (1924).<P>A Man Young and Old (1927).<P>The Three Monuments (1927).<P>From &#8216;Oedipus at Colonus&#8217; (1927).<P>The Gift of Harun Al-Rashid (1924).<P>All Souls&#8217; Night (1921).<P>Poems after The Tower.<P>Crazy Jane and the Bishop (1930).<P>Byzantium (1932).<P>Coole and Ballylee, 1931 (1932).<P>Come Gather Round Me Parnellites (1937).<P>The Statues (1939).<P>The Spur (1939).<P>The Circus Animals&#8217; Desertion (1939).<P><b>Drama</b>.<P>At the Hawk&#8217;s Well (1916).<P><b>Essays</b>.<P>Note on the First Performance of &#8216;&#8216;At the Hawk&#8217;s Well&#8217;&#8217; (1917).<P>&#8216;&#8216;Introduction&#8217;&#8217; to Certain Noble Plays of Japan (1916).<P>Rapallo (1929).<P>Gertrude Stein.<P><b>Prose Poems and Portraits.<P></b>Tender Buttons (1914).<P>Tourty or Tourtebattre (1922).<P>A Sweet Tail (Gypsies) (1922).<P>A Description of the Fifteenth of November&#58; A Portrait of T. S. Eliot (1924) <b>Essays.<P></b>Composition as Explanation (1926).<P>What Are Master-pieces and Why Are There So Few of Them (1940).<P>Mina Loy.<P><b>Poems.<P></b>Virgins Plus Curtains Minus Dots (1915).<P>The Effectual Marriage, or the Insipid Narrative of Gina and Miovanni (1917).<P>Human Cylinders (1917).<P>Joyce&#8217;s Ulysses (1922).<P>Brancusi&#8217;s Golden Bird (1922).<P>Lunar Baedeker (1923).<P>Gertrude Stein (1924).<P><b>Essays.<P></b>Aphorisms on Futurism (1914).<P>Psycho-Democracy (1921).<P>Gertrude Stein (1924).<P>Modern Poetry (1925).<P>H.D.<P><b>Poems.<P></b>Orchard (1913).<P>Oread (1914).<P>Mid-day (1915).<P>Garden (1915).<P>Sea Rose (1916).<P>Night (1916).<P>Eurydice (1917).<P>Leda (1921).<P>She Rebukes Hippolyta (1921).<P>Demeter (1921).<P>Helen (1924).<P>Triplex (1931).<P>Magician (1933).<P><b>CONTINENTAL INTERLUDE II&#58; DADA (1916&#8211;22).<P></b>Richard Huelsenbeck En Avant Dada&#58; A History of Dadaism (1920).<P>Hugo Ball Dada Fragments (1916&#8211;17).<P>Tristan Tzara Dada Manifesto 1918.<P>Kurt Schwitters Merz (1920).<P>Andre&#180; Breton For Dada (1920).<P>Marcel Duchamp and Man Ray New York Dada (1921).<P>Andre&#180; Breton After Dada (1922).<P>William Carlos Williams.<P><b>Poems.<P></b>Spring and All (1923).<P><b>Essays.<P></b>Marianne Moore (1925).<P>A Draft of XXX Cantos by Ezra Pound (1930).<P>A Note on the Recent Work of James Joyce (1927).<P>The Work of Gertrude Stein (1930).<P>Ford Madox Ford.<P><b>Fiction.<P></b>Pink Flannel (1919).<P>The Colonel&#8217;s Shoes (1920).<P>The Miracle (1928).<P><b>Essays.<P></b>On Impressionism (1914).<P>Dorothy Richardson.<P><b>Fiction.<P></b>Sunday (1919).<P>Death (1924).<P>The Garden (1924).<P>Sleigh Ride (1926).<P>Nook on Parnassus (1935).<P><b>Essays.<P></b>The Reality of Feminism (1917).<P>Women and the Future (1924).<P>Women in the Arts (1925).<P>Continuous Performance (1932).<P>Adventure for Readers (1939).<P>Wallace Stevens.<P><b>Poems.<P></b>Sunday Morning (1915).<P>Earthy Anecdote (1918).<P>Le Monocle de Mon Oncle (1918).<P>The Paltry Nude Starts on a Spring Voyage (1919).<P>Anecdote of the Jar (1919).<P>The Snow Man (1921).<P>Tea at the Palaz of Hoon (1921).<P>The Ordinary Women (1922).<P>The Revolutionists Stop for Orangeade (1931).<P>Idea of Order at Key West (1934).<P>The Poems of Our Climate (1938).<P>Esthe&#180;tique du Mal (1944).<P>The Auroras of Autumn (1948).<P><b>Prose.<P></b>The Noble Rider and the Sound of Words (1942).<P>Marianne Moore.<P>Poems from Observations.<P>To a Steam Roller (1915).<P>Pedantic Literalist (1916).<P>The Fish (1918).<P>Poetry (1919).<P>England (1920).<P>A Grave (1921).<P>New York (1921).<P>Marriage (1923).<P>To a Snail (1924).<P>[Moore&#8217;s Notes for Poems through 1924].<P><b>Poems after Observations.<P></b>The Steeple-Jack (1932).<P>No Swan so Fine (1932).<P>The Jerboa (1932).<P>Camellia Sabina (1935).<P>The Paper Nautilus (1940).<P>What Are Years (1940).<P>He &#8216;&#8216;Digesteth Harde Yron&#8217;&#8217; (1941).<P>[Moore&#8217;s Notes for Poems after 1924].<P><b>Essays.<P></b>The Sacred Wood (1921).<P>Hymen (1923).<P>Well Moused, Lion (1924).<P>A Poet of the Quattrocento (1927).<P>A House-Party (1928).<P>A Draft of XXX Cantos (1931).<P>Ideas of Order (1936).<P>Rebecca West.<P><b>Fiction.<P></b>Indissoluble Matrimony (1914).<P><b>Essays.<P></b>The Freewoman (1926).<P>High Fountain of Genius (1928).<P>What Is Mr. T.S. Eliot&#8217;s Authority as a Critic? (1932).<P><b>CONTINENTAL INTERLUDE III&#58; SURREALISM (1922&#8211;39).<P></b>Andre&#180; Breton Manifesto of Surrealism (1924).<P>Andre&#180; Breton The Mediums Enter (1922).<P>Robert Desnos Midnight at Two O&#8217;Clock (1928).<P>Michel Leiris From the Heart to the Absolute (1929).<P>Andre&#180; Breton and Paul Eluard The Possessions, from the Immaculate.<P>Conception (1930).<P>Nancy Cunard.<P><b>Poems.<P></b>Wheels (1916).<P>The Carnivals of Peace (1916).<P>Evenings (1921).<P>Voyages North (1921).<P>Horns in the Valley (1923).<P>Simultaneous (1930).<P><b>Essays and Reportage.<P></b>Black Man and White Ladyship (1931).<P>Harlem Reviewed (1934).<P>The Exodus from SpaIn (1939).<P>Mary Butts.<P><b>Fiction.<P></b>Speed the Plough (1921).<P>Widdershins (1924).<P>The House-party (1930).<P>Green (1931).<P>Friendship&#8217;s Garland (1925).<P>Hart Crane.<P><b>Poems.<P></b>My Grandmother&#8217;s Love Letters (1920).<P>Black Tambourine (1921).<P>Chaplinesque (1921).<P>Praise for an Urn (1922).<P>The Wine Menagerie (1926).<P>At Melville&#8217;s Tomb (1926).<P>Voyages (1926).<P>O Carib Isle! (1927).<P>Island Quarry (1927).<P>Bacardi Spreads the Eagle&#8217;s Wings (1927).<P>To Emily Dickinson (1927).<P>The Mermen (1928).<P>The Broken Tower (1932).<P><b>Essays.<P></b>The Case against Nietzsche (1918).<P>Joyce and Ethics (1918).<P>Modern Poetry (1930).<P>Virginia Woolf.<P><b>Fiction.<P></b>Between the Acts (1941).<P><b>Essays.<P></b>Modern Fiction (1919/1925).<P>Mr Bennet and Mrs Brown (1923).<P>The Narrow Bridge of Art (1927).<P>The Leaning Tower (1940).<P>Djuna Barnes.<P><b>Fiction and Literary Drama.<P></b>To the Dogs (1923).<P>Mother (1920).<P>A Night Among the Horses (1918).<P>Aller et Retour (1929).<P>A Little Girl Tells a Story to a Lady (1925).<P>The Passion (1924).<P>Jean Rhys.<P><b>Fiction.<P></b>Vienne (1924).<P>Illusion (1927).<P>Mannequin (1927).<P>Tea with an Artist (1927).<P>Mixing Cocktails (1927).<P>Again the Antilles (1927).<P>Elizabeth Bowen.<P><b>Fiction.<P></b>Coming Home (1923).<P>Foothold (1929).<P>The Apple Tree (1934).<P>Attractive Modern Homes (1941).<P>In the Square (1941).<P>Mysterious K&#244;r (1944).<P>The Happy Autumn Fields (1944).<P>Eugene Jolas.<P>Notes (1928).<P>Revolution of the Word (1929).<P>Notes on Reality (1929).<P>What is the Revolution of Language (1933).<P>Samuel Beckett.<P><b>Fiction.<P></b>Texts for Nothing (1955).<P><b>Drama.<P></b>Endgame (1957).<P><b>Essays.<P></b>Dante &#8230; Bruno . Vico . . Joyce (1929).<P>Three Dialogues (1948).<P><b>Poems.<P></b>Whoroscope (1930).<P>Ennueg II (1935).<P>Echo&#8217;s Bones (1935).<P>Ooftish (1938).<P>What is the Word (1990).<P><b>CONTINENTAL INTERLUDE IV&#58; THE FRANKFURT SCHOOL (1923&#8211;60).<P></b>Walter Benjamin Surrealism&#58; the Last Snapshot of the European Intelligentsia (1929).<P>Walter Benjamin The Work of Art in the Age of Mechanical Reproduction (1936).<P>Theodor Adorno Looking Back on Surrealism (1956).<P>Theodor Adorno Trying to Understand Endgame (1961).<P>Bibliography.<P>Index of Authors and Titles<article> <h4>From the Publisher</h4><p>"Lawrence Rainey, one of the leading modernist scholars in the world today, has produced an anthology ideally suited for the classroom. The attention to Continental developments as well as central Anglo-American texts distinguishes the volume from others now available to students. The range of writers, the judiciousness of the selection, and the expert introduction should make this the leading text in the field." <i>Professor Michael Levenson, University of Virginia</i></p> <p>"He has been marvelously selective. There are no secret traditionalists here, no writers included merely for their prominence in modernism's historical moment or for modern themes alone; all are hardcore, the real thing." <i>James Joyce Quarterly</i></p> </article>
258The New Anthology of American Poetry: Volume II: Modernisms: 1900-1950Steven Gould Axelrod0Steven Gould Axelrod (Editor), Camille Roman, Camille Roman (Editor), Thomas Travisano (Editor), Camille Romanthe-new-anthology-of-american-poetrysteven-gould-axelrod97808135316490813531640$32.39PaperbackRutgers University PressFebruary 20051st EditionPoetry, American Literature Anthologies, Anthologies8565.90 (w) x 9.00 (h) x 1.60 (d)Bringing together fifty years of exciting modernisms, <i>The New Anthology of American Poetry, Volume 2</i> includes over 600 poems by sixty-five American poets writing in the period between 1900 and 1950. The most recognized poets of the era, such as William Carlos Williams, Ezra Pound, Wallace Stevens, T. S. Eliot, H. D., Gertrude Stein, Robert Frost, Marianne Moore, Hart Crane, and Langston Hughes are represented, along with many other Harlem Renaissance poets, women poets, immigrant and working-class poets, imagists, and objectivists. It is also the first modernist anthology to include poems and songs from popular culture.Preface<br>Acknowledgments <br> <br><b>PART ONE: PRE-COLUMBIAN PERIOD TO 1800</b> <br>Introduction <br> <br>NATIVE-AMERICAN SONGS, RITUAL POETRY, AND LYRIC POETRY (Pre-1492 1800) <br>The Tree of the Great Peace [iroquois] <br>Sayatasha's Night Chant [zuni] <br>Song [copper eskimo] <br>Love Song [aleut] <br>Song of Repulse to a Vain Lover [makah] To'ak <br>Formula to Secure Love [cherokee] <br>Formula to Cause Death [cherokee] A'yunini, or the Swimmer <br>Woman's Song [chippewa] <br>Song of War [chippewa] Odjib'we <br>Song for Bringing a Child into theWorld [seminole] <br>Song for the Dying [seminole] <br> <br>GASPAR PE REZ DE VILLAGRA (1555 1620) <br>from Historia de la Nueva Me xico/ The History of New Mexico <br>Canto Primero/Canto 1 <br> <br>ANNE BRADSTREET (ca. 1612 1672) <br>The Prologue <br>An Epitaph on My Dear and Ever Honored Mother <br>The Author to Her Book <br>Contemplations <br>The Flesh and the Spirit <br>To Her Father with Some Verses <br>To My Dear and Loving Husband <br>A Letter to Her Husband, Absent upon Public Employment <br>Before the Birth of One of Her Children <br>In Reference to Her Children <br>For Deliverance from a Fever <br>In Memory of My Dear Grandchild Elizabeth Bradstreet <br>Verses upon the Burning of Our House <br>As Weary Pilgrim <br> <br>MICHAEL WIGGLESWORTH (1631 1705) <br>from The Day of Doom <br> <br>EDWARD TAYLOR (ca. 1642 1729) <br>from Preparatory Meditations <br>Prologue <br>Meditation 8 (First Series) <br>Meditation 16 (First Series) <br>Meditation 22 (First Series) <br>Meditation 39 (First Series) <br>Meditation 42 (First Series) <br>Meditation 150 (Second Series) <br>from God's Determinations <br>The Preface <br>from Miscellaneous Poems <br>Upon a Spider Catching a Fly <br>Upon a Wasp Chilled with Cold <br>Huswifery <br>Upon Wedlock, and Death of Children <br> <br>LUCY TERRY (ca. 1730 1821) <br>Bars Fight <br> <br>PHILIP FRENEAU (1752 1832) <br>To Sir Toby <br>On the Emigration to America and Peopling the Western Country <br>The Wild Honey Suckle <br>The Indian Burying Ground <br>On Mr. Paine's Rights of Man <br> <br>PHILLIS WHEATLEY (ca. 1753 1784) <br>On Being Brought from Africa to America <br>To the University of Cambridge, in New England <br>On the Death of the Rev. Mr. George Whitefield, 1770 <br>On Imagination <br>To the Right Honourable William, Earl of Dartmouth <br>To S. M., a Young African Painter, on Seeing His Works <br>To His Excellency General Washington <br> <br>JOEL BARLOW (1754 1812) <br>from The Hasty Pudding <br>Canto 1 <br> <br>SONGS OF THE AMERICAN REVOLUTION AND NEW NATION <br>PATRIOT LYRICS <br>The Liberty Song <br>Chester <br>Alphabet <br>The King's own Regulars; And their Triumphs over the Irregulars <br>The Irishman's Epistle to the Officers and Troops at Boston <br>The Yankee's Return from Camp <br>The Public Spirit of the Women <br>A Toast to Washington Francis Hopkinson <br>Adams and Liberty Thomas Paine <br>LOYALIST LYRICS <br>When Good Queen Elizabeth Governed the Realm <br>Song for a Fishing Party <br>Burrowing Yankees <br>A Refugee Song <br> <br><b>PART TWO: EARLY TO MID-NINETEENTH CENTURY</b> <br>Introduction <br> <br>AFRICAN-AMERICAN SLAVE SONGS (1800 1863) <br>Go Down, Moses <br>Many Thousand Gone <br>Michael Row the Boat Ashore <br>Nobody Knows the Trouble I've Had <br>Roll, Jordan, Roll <br>There's a Meeting Here To-Night <br> <br>NATIVE-AMERICAN SONGS, RITUAL POETRY, AND LYRIC POETRY (1800 1900) <br>from The Mountain Chant [navajo] <br>One of the Awl Songs <br>Last Song of the Exploding Stick <br>from The Night Chant [navajo] <br>Song in the Rock <br>Last Song in the Rock <br>Prayer of First Dancers <br>Song of the Earth [navajo] <br>The Dancing Speech of O-No'-Sa [iroquois] <br>SIX DREAM SONGS <br>You and I Shall Go [wintu] <br>Minnows and Flowers [wintu] <br>Sleep [wintu] <br>Dandelion Puffs [wintu] <br>There Above [wintu] <br>Strange Flowers [wintu] <br>GHOST DANCE SONGS <br>[The Father Says So] [sioux] <br>[Give Me Back My Bow] [Sioux] <br>[The Whole World Is Coming] [sioux] <br> <br>LYDIA HOWARD HUNTLEY SIGOURNEY (1791 1865) <br>The Suttee <br>Indian Names <br> <br>WILLIAM CULLEN BRYANT (1794 1878) <br>Thanatopsis <br>To a Waterfowl <br>An Indian Story <br>A Scene on the Banks of the Hudson <br>Hymn of the City <br>The Death of Lincoln <br> <br>GEORGE MOSES HORTON (ca. 1797 1883) <br>On Liberty and Slavery <br> <br>JANE JOHNSTON SCHOOLCRAFT [BAME-WA-WA-GE-ZHIK-A-QUAY, WOMAN OF THE STARS RUSHING THROUGH THE SKY] (1800 1841) <br>To Sisters on a Walk in the Garden, after a Shower <br>from The Forsaken Brother, a Chippewa Tale <br>Neesya, neesya, shyegwuh gushuh/My brother, my brother <br> <br>SARAH HELEN WHITMAN (1803 1878) <br>The Raven <br>from Sonnets [to Poe] <br>To <br> <br>RALPH WALDO EMERSON (1803 1882) <br>Concord Hymn <br>Each and All <br>The Rhodora <br>The Snow-Storm <br>The Humble-Bee <br>Hamatreya <br>Merlin <br>Ode, Inscribed to W. H. Channing <br>Days <br>Brahma <br>from Voluntaries <br>PROSE <br>The Poet <br>Letter to Walt Whitman <br> <br>ELIZABETH OAKES SMITH (1806 1893) <br>The Unattained <br> <br>HENRY WADSWORTH LONGFELLOW (1807 1882) <br>A Psalm of Life <br>Hymn to the Night <br>The Wreck of the Hesperus <br>Mezzo Cammin <br>The Day Is Done <br>The Bridge <br>from Evangeline <br>[Prologue] <br>My Lost Youth <br>The Jewish Cemetery at Newport <br>from The Song of Hiawatha <br>V. Hiawatha's Fasting <br>XIV. Picture-Writing <br>The Landlord's Tale: Paul Revere's Ride <br>Aftermath <br>Milton <br>Nature <br>The Tide Rises, the Tide Falls <br>The Cross of Snow <br> <br>JOHN GREENLEAF WHITTIER (1807 1892) <br>Massachusetts to Virginia <br>Ichabod! <br>Skipper Ireson's Ride <br>Telling the Bees <br>Snow-Bound <br> <br>EDGAR ALLAN POE (1809 1849) <br>[Alone] <br>Sonnet To Science <br>Romance <br>To Helen <br>Israfel <br>The City in the Sea <br>The Haunted Palace <br>The Raven <br>Ulalume <br>Eldorado <br>To Helen <br>To My Mother <br>The Bells <br>Annabel Lee <br>PROSE <br>The Philosophy of Composition <br> <br>OLIVER WENDELL HOLMES (1809 1894) <br>Old Ironsides <br>The Chambered Nautilus <br>The Deacon's Masterpiece, or The Wonderful One-Hoss Shay <br>The Flaneur <br> <br>ABRAHAM LINCOLN (1809 1865) <br>My Childhood Home I See Again <br> <br>MARGARET FULLER (1810 1850) <br>Meditations <br> <br>FRANCES SARGENT LOCKE OSGOOD (1811 1850) <br>The Maiden's Mistake <br>The Wraith of the Rose <br>Lines <br>The Hand That Swept the Sounding Lyre <br> <br>ADA [SARAH LOUISA FORTEN] (ca. 1814 1898) <br>The Slave Girl's Farewell <br>The Slave <br> <br>HENRY DAVID THOREAU (1817 1862) <br>Sic Vita <br>Haze <br>Smoke <br>My life has been the poem I would have writ <br>Mist <br>Between the traveller and the setting sun <br> <br>JULIA WARD HOWE (1819 1910) <br>Battle Hymn of the Republic <br> <br>HERMAN MELVILLE (1819 1891) . . . . . . . . . <br>from Battle-Pieces and Aspects of the War <br>The Portent <br>The March into Virginia <br>Shiloh <br>A Utilitarian View of the Monitor's Fight <br>The House-Top <br>The College Colonel <br>The Apparition <br>OTHER POEMS <br>The Maldive Shark <br>Art <br>Monody <br> <br>JAMES RUSSELL LOWELL (1819 1891) <br>from A Fable for Critics <br>Ralph Waldo Emerson <br>Edgar Allan Poe <br>James Russell Lowell <br> <br>WALT WHITMAN (1819 1892) <br>Song of Myself <br>There Was a Child Went Forth <br>Out of the Cradle Endlessly Rocking <br>As I Ebb'd with the Ocean of Life <br>I Sit and Look Out <br>Native Moments <br>Once I Pass'd through a Populous City <br>Facing West from California's Shores <br>As Adam Early in the Morning <br>In Paths Untrodden <br>Hours Continuing Long <br>Trickle Drops <br>City of Orgies <br>Behold This Swarthy Face <br>I Saw in Louisiana a Live-Oak Growing <br>Here the Frailest Leaves of Me <br>A Hand-Mirror <br>When I Heard the Learn'd Astronomer <br>Cavalry Crossing a Ford <br>The Wound-Dresser <br>Vigil Strange I Kept on the Field One Night <br>Bivouac on a Mountain Side <br>When Lilacs Last in the Dooryard Bloom'd <br>Reconciliation <br>One's-Self I Sing <br>A Noiseless Patient Spider <br>Passage to India <br>The Dalliance of the Eagles <br>Good-Bye My Fancy <br> <br>ALICE CARY (1820 1871) <br>The Sea-Side Cave <br>Contradiction <br> <br>FREDERICK GODDARD TUCKERMAN (1821 1873) <br>Sonnets <br>The Cricket <br> <br>PHOEBE CARY (1824 1871) <br>Dorothy's Dower <br>Samuel Brown <br> <br>FRANCES ELLEN WATKINS HARPER (1825 1911) <br>The Slave Mother <br>Bible Defence of Slavery <br>The Slave Auction <br>Lines <br>The Slave Mother, a Tale of the Ohio <br>Bury Me in a Free Land <br>Aunt Chloe's Politics <br>Learning to Read <br>Church Building <br>A Double Standard <br> <br>MARIA WHITE LOWELL (1827 1853) <br>Africa <br>The Sick-Room <br>An Opium Fantasy <br> <br>ROSE TERRY COOKE (1827 1892) <br>Captive <br>Blue-Beard's Closet <br>Che Sara Sara <br>Semele <br>A Hospital Soliloquy <br>Schemhammphorasch <br>Arachne <br>R.W. Emerson <br> <br>JOHN ROLLIN RIDGE (1827 1867) <br>The Stolen White Girl <br> <br>HENRY TIMROD (1828 1867) <br>Ode <br> <br>HAWAI'IAN PLANTATION WORK SONGS (1825 1930) <br>Uya Anma/My Mother Dear Nae Nakasone <br>Hana-Hana: Working <br>The Five O'Clock Whistle! <br>Hole Hole Bushi/Stripping Leaves from Sugarcane <br> <br>JINSHAN GE/SONGS OF GOLD MOUNTAIN (1838 1920) <br>[Jinshan Fu Xing]/Song of the Wife of a Gold Mountain Man <br> <br>POPULAR EUROPEAN-AMERICAN SONGS <br>On Top of Old Smoky <br>Bury Me Not on the Lone Prairie <br>Clementine <br>Aura Lee <br>The Battle Cry of Freedom <br>Tenting on the Old Camp Ground <br>When Johnny Comes Marching Home <br>Come Home, Father Henry Clay Work <br>I'll Take You Home Again, Kathleen <br>from America, the Beautiful Katherine Lee Bates <br> <br><b>PART THREE: LATER NINETEENTH CENTURY</b> <br>Introduction <br> <br>CORRIDOS (1860s 1930s) <br>Kiansis I/Kansas 1 <br> <br>ZARAGOZA CLUBS (1860s) <br>Me jico libre ha de ser/Mexico will be free Merced J. de Gonza les <br>En la antigua Roma haby a/In ancient Rome there stood <br>Filomena Ibarra <br> <br>DEWITT CLINTON DUNCAN [TOO-QUA-STEE] (1829 1909) <br>The Dead Nation <br> <br>HELEN HUNT JACKSON (1830 1885) <br>Found Frozen <br>Danger <br>Cheyenne Mountain <br> <br>EMILY DICKINSON (1830 1886) <br>I never lost as much but twice <br>Success is counted sweetest <br>These are the days when birds come back <br>The daisy follows soft the sun <br>Title divine is mine! <br>Faith is a fine invention <br>I taste a liquor never brewed <br>We don't cry - Tim and I <br>I'm nobody! Who are you? <br>Wild nights -Wild nights! <br>There's a certain slant of light <br>I felt a funeral in my brain <br>I'm ceded - I've stopped being their's <br>It was not death, for I stood up <br>A bird came down the walk <br>The soul has bandaged moments <br>After great pain a formal feeling comes <br>This world is not conclusion <br>One need not be a chamber to be haunted <br>The soul selects her own society <br>I had been hungry all the years <br>They shut me up in prose <br>This was a poet <br>I died for beauty but was scarce <br>I dwell in possibility <br>I was the slightest in the house <br>Because I could not stop for death <br>A still volcano life <br>This is my letter to the world <br>For largest woman's heart I knew <br>I heard a fly buzz when I died <br>The brain is wider than the sky <br>Much madness is divinest sense <br>I've seen a dying eye <br>I started early - took my dog <br>I cannot live with you <br>Pain has an element of blank <br>My life had stood a loaded gun <br>Publication is the auction <br>This consciousness that is aware <br>Color - caste - denomination <br>She rose to his requirement - dropt <br>Under the light yet under <br>A narrow fellow in the grass <br>The bustle in a house <br>Tell all the truth but tell it slant <br>What mystery pervades a well! <br>Volcanoes be in Sicily <br>My life closed twice before it's close <br>LETTERS <br>To Susan Gilbert (Dickinson) (June 27, 1852) <br>To Samuel Bowles (About February 1861) <br>To recipient unknown (About 1861) <br>To Thomas Wentworth Higginson (April 15, 1862) <br>To Thomas Wentworth Higginson (April 25, 1862) <br>To Thomas Wentworth Higginson (June 7, 1862) <br>To Thomas Wentworth Higginson (July 1862) <br>To Otis P. Lord (About 1878) <br>To Susan Gilbert Dickinson (About 1884) <br> <br>ADAH ISAACS MENKEN (ca. 1835 1868) <br>Myself <br>A Memory <br>Infelix <br> <br>SARAH M. B. PIATT (1836 1919) <br>Giving Back the Flower <br>Shapes of a Soul <br>A Hundred Years Ago <br>The Palace-Burner <br>Her Blindness in Grief <br>We Two <br>The Witch in the Glass <br> <br>LYDIA KAMAKAEHA [QUEEN LILI'UOKALANI] (1838 1917) <br>Aloha `Oe/Farewell to Thee <br>Ku`u Pua I Paoa-ka-lani/My Flower at Paoa-ka-lani <br>Sanoe/Sanoe <br> <br>INA COOLBRITH (1841 1928) <br>The Mariposa Lily <br>The Sea-Shell <br>The Captive of the White City <br>Sailed <br>Woman <br> <br>SIDNEY LANIER (1842 1881) <br>The Marshes of Glynn <br> <br>EMMA LAZARUS (1849 1887) <br>Long Island Sound <br>The Cranes of Ibycus <br>The South <br>Echoes <br>City Visions <br>In Exile <br>The New Colossus <br>1492 <br>Venus of the Louvre <br> <br>SARAH ORNE JEWETT (1849 1909) <br>A Caged Bird <br> <br>ALBERY ALLSON WHITMAN (1851 1901) <br>from The Octoroon <br> <br>EDWIN MARKHAM (1852 1940) <br>The Man with the Hoe <br>Preparedness <br>Outwitted <br> <br>JOSE MARTI (1853 1895) <br>from Versos sencillos/Simple Verses <br> <br>ERNEST FRANCISCO FENOLLOSA (1853 1908) <br>The Wood Dove <br>Fuji at Sunrise <br> <br>LOUISE IMOGEN GUINEY (1861 1920) <br>Tarpeia <br>Planting the Poplar <br> <br>MARY MCNEIL FENOLLOSA (1865 1954) <br>Miyoko San <br>Yuki <br> <br>OWL WOMAN [JUANA MANWELL] (1867 1957) <br>from Songs for Treating Sickness, Parts One and Two <br> <br>SADAKICHI HARTMANN (1867 1944) <br>Cyanogen Seas Are Surging <br>from My Rubaiyat <br>Tanka <br>from Haikai <br> <br>EDGAR LEE MASTERS (1868 1950) <br>from Spoon River Anthology <br>The Unknown <br>Elsa Wertman <br>Hamilton Greene <br> <br>W. E. B. DU BOIS (1868 1963) <br>A Litany of Atlanta <br>My Country 'Tis of Thee <br>The Quadroon <br> <br>WILLIAM VAUGHN MOODY (1869 1910) <br>The Bracelet of Grass <br>An Ode in Time of Hesitation <br> <br>EDWIN ARLINGTON ROBINSON (1869 1935) <br>The House on the Hill <br>The Children of the Night <br>John Evereldown <br>Luke Havergal <br>Richard Cory <br>Calverly's <br>Miniver Cheevy <br>Eros Turannos <br>The Mill <br>Mr. Flood's Party <br> <br>STEPHEN CRANE (1871 1900) <br>from The Black Riders and Other Lines <br>1 ("Black riders came from the sea") <br>3 ("In the desert") <br>9 ("I stood upon a high place") <br>19 ("A god in wrath") <br>24 ("I saw a man pursuing the horizon") <br>27 ("A youth in apparel that glittered") <br>46 ("Many red devils ran from my heart") <br>56 ("A man feared that hemight find an assassin") <br>fromWar is Kind <br>76 ("Do not weep, maiden, for war is kind") <br>96 ("A man said to the universe") <br>POSTHUMOUSLY PUBLISHED POEMS <br>113 ("A man adrift on a slim spar") <br> <br>JAMES WELDON JOHNSON (1871 1938) <br>O Black and Unknown Bards <br>My City <br> <br>PAUL LAURENCE DUNBAR (1872 1906) <br>Accountability <br>The Mystery <br>A Summer's Night <br>We Wear the Mask <br>When Malindy Sings <br>Dawn <br>Sympathy <br>The Poet <br>Douglass <br>The Debt <br>The Haunted Oak <br>To Alice Dunbar <br>Compensation <br> <br>About the Editors <br>Index
259Infinite Divisions: An Anthology of Chicana LiteratureTey Diana Rebolledo0Tey Diana Rebolledo, Eliana S. Rivero, Tey Diana Rebolledo, Eliana S. Riveroinfinite-divisionstey-diana-rebolledo97808165138400816513848$24.95PaperbackUniversity of Arizona PressJune 1993Women Authors - Literature Anthologies, Peoples & Cultures - American Anthologies, American Literature Anthologies3936.00 (w) x 9.00 (h) x 1.10 (d)<p><b>Given the explosive creativity</b> shown by Chicana writers over the past two decades, this first major anthology devoted to their work is a major contribution to American letters. It highlights the key issues, motifs, and concerns of Mexican American women from 1848 to the present, and particularly reflects the modern Chicana's struggle for identity. Among the recurring themes in the collection is a re-visioning of foremothers such as the historical Malinche, the mythical Llorona, and pioneering women who settled the American Southwest from the sixteenth to twentieth centuries. Also included are historical documents on the lives, culture, and writings of Mexican American women in the nineteenth century, as well as oral histories recorded by the Federal Writers Project in the 1930s. Through poetry, fiction, drama, essay, and other forms, this landmark volume showcases the talents of more than fifty authors, including Gloria E. Anzaldúa, Ana Castillo, Lorna Dee Cervantes, Denise Chávez, Sandra Cisneros, Pat Mora, Cherríe Moraga, and María Helena Viramontes.</p> <p>Searching and assertive, Chicana literature embraces poetry, fiction, drama, essay, and other forms. This first major anthology devoted to the genre is organized by themes that highlight the key issues, motifs, and concerns of Mexican American women from 1848 to the present and features selections from over 60 contributors. </p><p><b>Given the explosive creativity</b> shown by Chicana writers over the past two decades, this first major anthology devoted to their work is a major contribution to American letters. It highlights the key issues, motifs, and concerns of Mexican American women from 1848 to the present, and particularly reflects the modern Chicana's struggle for identity. Among the recurring themes in the collection is a re-visioning of foremothers such as the historical Malinche, the mythical Llorona, and pioneering women who settled the American Southwest from the sixteenth to twentieth centuries. Also included are historical documents on the lives, culture, and writings of Mexican American women in the nineteenth century, as well as oral histories recorded by the Federal Writers Project in the 1930s. Through poetry, fiction, drama, essay, and other forms, this landmark volume showcases the talents of more than fifty authors, including Gloria E. Anzaldúa, Ana Castillo, Lorna Dee Cervantes, Denise Chávez, Sandra Cisneros, Pat Mora, Cherríe Moraga, and María Helena Viramontes.</p><h3>Publishers Weekly</h3><p>Rebolledo and Rivera, who teach Spanish at the University of New Mexico, offer an intriguing but ultimately unsatisfying collection of poetry and prose by Mexican-American women. An excellent introduction provides a critical overview and helps put the pieces in their historical and literary context. The works reflect the development of a Chicana consciousness from its first seeds until the present. A section on ``foremothers'' collects oral and written pieces dating back to the 19th century. In one, from 1877, an aged widow recalls the deviously charitable way some priests got her a job. Sandra Cisneros, Alma Villanueva and Gloria Anzaldua provide numerous selections each, as do up-and-coming writers, such as Ines Hernandez or Marina Rivera, who offers a meditation on what it means to be of mixed blood. The title comes from Bernice Zamora's fine Whitmanesque poem about the infinitely divisible nature of identity. The pieces, however, are far too brief; most are mere snippets. Thus the editors merely whet the appetite but fail in their intention to make available hard-to-find Chicana literature. (June)</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Rebolledo and Rivera, who teach Spanish at the University of New Mexico, offer an intriguing but ultimately unsatisfying collection of poetry and prose by Mexican-American women. An excellent introduction provides a critical overview and helps put the pieces in their historical and literary context. The works reflect the development of a Chicana consciousness from its first seeds until the present. A section on ``foremothers'' collects oral and written pieces dating back to the 19th century. In one, from 1877, an aged widow recalls the deviously charitable way some priests got her a job. Sandra Cisneros, Alma Villanueva and Gloria Anzaldua provide numerous selections each, as do up-and-coming writers, such as Ines Hernandez or Marina Rivera, who offers a meditation on what it means to be of mixed blood. The title comes from Bernice Zamora's fine Whitmanesque poem about the infinitely divisible nature of identity. The pieces, however, are far too brief; most are mere snippets. Thus the editors merely whet the appetite but fail in their intention to make available hard-to-find Chicana literature. (June) </article> <article> <h4>Library Journal</h4>While researching a history of Chicana literature, editors Rebolledo and Rivero (Spanish, Univ. of New Mexico and Univ. of Arizona, respectively) discovered a wealth of feminist texts that characterize Chicana literature and culture. This collection, which includes 178 texts by 56 women, is organized historically and thematically. The first chapter includes early narratives from both oral and written traditions. Later chapters focus on personal identity, relationships within the community, and archetypes and myths. Authors include Gloria Anzaldua, Denise Chavez, Sandra Cisneros, Margarita Cota Cardenas, Pat Mora, and Antonia Quantana Pigno. Introductory essays set the tone for each new chapter, and extensive footnotes are included. Texts originally in Spanish are presented in both Spanish and English. This anthology will take its place in academic libraries with serious Hispanic American collections.-- Mary Margaret Benson, Linfield Coll ., Lib ., McMinnville, Ore. </article>
260A Hallowe'en Anthology: Literary and Historical Writings over the CenturiesLisa Morton0<p>Lisa Morton is also the author of The Halloween Encyclopedia (2003) and The Cinema of Tsui Hark (2001, "thorough"--VideoScope). She is a prolific screenwriter and lives in North Hollywood, California.<p></p>Lisa Mortona-halloween-anthologylisa-morton97807864368420786436840$21.00PaperbackMcFarland & Company, Incorporated PublishersJanuary 2008American Literature Anthologies, General & Miscellaneous Literature Anthologies, Anthologies2146.94 (w) x 9.99 (h) x 0.50 (d)This unique anthology gathers together some of the most intriguing and useful works on the history of Halloween. Ranging from pre-Christian Celtic myths to early 20th century articles, the book's 27 entries include poems, short stories, sections from 19th and 20th century folklore books, a one-act play, Irish and Scottish folk tales, and the first book on the holiday ever published. Noted works contained in the anthology include William Wells Newell's 1904 study of the history of Jack-o'-lantern legends in "The Ignis Fatuus" and Alexander Montgomerie's oft-quoted 1584 poem "Flyting Against Polwart." Organized chronologically, most works are presented in their entirety and many include extensive annotations designed to make the original source materials more palatable for modern readers. The book also includes 34 vintage photographs and illustrations.<p>This unique anthology gathers together some of the most intriguing and useful works on the history of Halloween. Ranging from pre-Christian Celtic myths to early 20th century articles, the book's 27 entries include poems, short stories, sections from 19th and 20th century folklore books, a one-act play, Irish and Scottish folk tales, and the first book on the holiday ever published. Noted works contained in the anthology include William Wells Newell's 1904 study of the history of Jack-o'-lantern legends in "The Ignis Fatuus" and Alexander Montgomerie's oft-quoted 1584 poem "Flyting Against Polwart." Organized chronologically, most works are presented in their entirety and many include extensive annotations designed to make the original source materials more palatable for modern readers. The book also includes 34 vintage photographs and illustrations.</p>
261Sticks and Stones and Other Student EssaysRuthe Thompson0<p><P><b>RUTHE THOMPSON</b> is a professor of English at Southwest Minnesota State University. <P><b><P>RISE B. AXELROD</b> is director of English composition and McSweeney Professor of Rhetoric and Teaching Excellence at the University of California, Riverside. She has previously been professor of English at California State University, San Bernardino, director of the College Expository Program at the University of Colorado, Boulder, and assistant director of the Third College Composition Program at the University of California, San Bernardino.<P><b>CHARLES R. COOPER</b> is an emeritus professor in the department of literature at the University of California, San Diego, where he served as coordinator of the Third College Composition Program, Dimensions of Culture Program, and Campus Writing Programs. He has also been co-director of the San Diego Writing Project, one of the National Writing Project Centers. He is coeditor, with Lee Odell, of <i>Evaluating Writing</i> and <i>Research on Composing&#58; Points of Departure</i> <i>,</i> and coauthor, with Susan Peck MacDonald, of <i>Writing the World</i> (Bedford/St. Martin's, 2000). <P>Together, Axelrod and Cooper have coauthored <i>The St. Martin's Guide to Writing </i>and, with Allison Warriner, <i>Reading Critically, Writing Well</i>.</p>Ruthe Thompson, Rise B. Axelrod, Charles R. Coopersticks-and-stones-and-other-student-essaysruthe-thompson97803125962240312596227$14.21PaperbackBedford/St. Martin'sJuly 20107th EditionAmerican Essays, English Language Readers, American Literature Anthologies2405.49 (w) x 8.33 (h) x 0.46 (d)<br> This unique collection of essays written by students around the country offers diverse and accessible models in the form of responses to writing assignments in the <i>Guide</i>. The chapters in <i>Sticks and Stones</i> correspond to the chapters in Part One of the <i>Guide</i>. Packaged free with the <i>Guide</i>.<p><P>This unique collection of essays written by students around the country offers diverse and accessible models in the form of responses to writing assignments in the <i>Guide</i>. The chapters in <i>Sticks and Stones</i> correspond to the chapters in Part One of the <i>Guide</i>. Packaged free with the <i>Guide</i>.</p><P>1. To the Student<P>2. Remembering Events<P>3. Writing Profiles<P>4. Explaining a Concept<P>5. Finding Common Ground<P>6. Arguing a Position<P>7. Proposing a Solution<P>8. Justifying an Evaluation<P>9. Speculating about Causes<P>10. Interpreting Stories<P><P>A Note on the Copyediting <P>Sample Copyediting <P>Submission Form <P>Agreement Form
262Women's Worlds: The Mcgraw-Hill Anthology of Women's WritingRobyn Warhol-Down0Robyn Warhol-Down, Diane Price Herndl (Editor), Mary Lou Ketewomens-worldsrobyn-warhol-down97800725640200072564024$4.00PaperbackMcGraw-Hill Companies, TheDecember 20071st EditionWomen Authors - Literature Anthologies, English & Irish Literature Anthologies, American Literature Anthologies20806.00 (w) x 9.10 (h) x 1.77 (d)<p><i>Women’s Worlds</i>, a new anthology of women’s writing, makes available a broad range of women’s voices from across time, across classes, and across the globe in a slimmer, more flexible, and more affordable format. This new anthology includes selections from the 14th through the 21st centuries, from the first text by a woman published in English (Julian of Norwich’s <i>Revelation of Divine Love)</i> to selections by contemporary writers like Barbara Kingsolver, Alison Bechdel, and Zadie Smith. The selections are drawn from Britain and North America, but also from Africa, Asia, Oceania, the Middle East, and the Caribbean—wherever English is spoken. While classics of fiction, poetry, and drama are provided, the text also includes essays, song lyrics, letters, diary entries—even excerpts from domestic handbooks and a graphic memoir—to represent the full range of women’s voices. And Cultural Coordinates essays provide insights into customs and costumes from purdah to life before the Pill. To expand the choice of novels instructors wish to assign, McGraw-Hill also offers works from Library of Women's Literature at a discount.</p><p><P><i>Women&#8217;s Worlds</i>, a new anthology of women&#8217;s writing, makes available a broad range of women&#8217;s voices from across time, across classes, and across the globe in a slimmer, more flexible, and more affordable format. This new anthology includes selections from the 14th through the 21st centuries, from the first text by a woman published in English (Julian of Norwich&#8217;s <i>Revelation of Divine Love)</i> to selections by contemporary writers like Barbara Kingsolver, Alison Bechdel, and Zadie Smith. The selections are drawn from Britain and North America, but also from Africa, Asia, Oceania, the Middle East, and the Caribbean&#151;wherever English is spoken. While classics of fiction, poetry, and drama are provided, the text also includes essays, song lyrics, letters, diary entries&#151;even excerpts from domestic handbooks and a graphic memoir&#151;to represent the full range of women&#8217;s voices. And Cultural Coordinates essays provide insights into customs and costumes from purdah to life before the Pill. To expand the choice of novels instructors wish to assign, McGraw-Hill also offers works from Library of Women's Literature at a discount.</p><P>List of Illustrations<br><br>General Introduction<br><br>THE FOURTEENTH THROUGH SEVENTEENTH CENTURIES<br><br>A Historical Overview, 1300-1700<br><br>Women's Place in Society: The Dispossessed<br><br>Owning Their Words: Women's Writing, 1300-1700<br><br>Timeline<br></p>Julian of Norwich (c. 1342&#8211;c. 1416; England)<br></p>From Revelation of Divine Love<br></p>Chapter 3 The illness thus obtained from God<br></p>Chapter 5 God is all that is good<br></p>Chapter 59 Wickedness is transformed into blessedness<br></p>Chapter 60 We are brought back and fulfilled by our Mother Jesus<br></p>Margery Kempe (c. 1373&#8211;c. 1438; England)<br></p>From The Book of Margery Kempe<br></p>Chapter 1 Margery&#8217;s First Vision<br></p>Chapter 11 Margery Reaches a Settlement with Her Husband<br></p>Chapter 46 Margery&#8217;s encounter with the Mayor of Leicester<br></p>Anne Askew (c. 1521&#8211;1546; England)<br></p>The Ballad Which Anne Askew Made and Sang when She Was in Newgate<br></p>From The Latter Examination<br></p>The Sum of my Examination afore the King&#8217;s Council at Greenwich<br></p>Cultural Coordinates: Needlework<br></p>Queen Elizabeth I (1533&#8211;1603; England)<br></p>The Dread of Future Woes<br></p>A Song Made by Her Majesty<br></p>Isabella Whitney (c. 1540s&#8211;c. 1578; England)<br></p>The Manner of Her Will, and What She Left to London and to All Those In It, At Her Departing<br></p>Mary Sidney Herbert, Countess of Pembroke (1561&#8211;1621; England)<br></p>A Dialogue Between Two Shepherds. Thenot and Piers, in Praise of Astraea<br></p>Aemilia Lanyer (1569&#8211;1645; England)<br></p>From Salve Deus Rex Judaeorum /<br></p>To the Virtuous Reader<br></p>Eve&#8217;s Apology in Defence of Women<br></p>The Description of Cooke-ham<br></p>Cultural Coordinates: Household Space<br></p>Lady Margaret Cunningham (c. 1580&#8211;c. 1622; Scotland)<br></p>From A Part of the Life of Lady Margaret Cuninghame, Daughter of the Earl of Glencairn, That She Had with Her First Husband, the Master of Evandale<br></p> [An account of domestic abuse]<br></p>Lady Mary Wroth (c. 1586&#8211;c. 1651; England)<br></p>From Pamphilia to Amphilanthus:<br></p>1 [When night&#8217;s black mantle could most darkness prove]<br></p>13 [Cloyed with the torments of a tedious night]<br></p>15 [Dear famish not what you yourself gave food]<br></p>16 [Am I thus conquered]<br></p>22 [Come darkest night]<br></p>25 [Like to the Indians, scorched with the sun]<br></p>Lady Anne Clifford (1590&#8211;1676; England)<br></p>From The Diary of Lady Anne Clifford (1616&#8211;1619):<br></p>February 1616 [Meeting with the Archbishop of Canterbury]<br></p>March 1616 [A refusal to capitulate]<br></p>April 1616 [From London to Knole]<br></p>May 1616 [Her mother dies]<br></p>Cultural Coordinates: Scolds<br></p>Dorothy Leigh (Active c. 1616; England)<br></p>From The Mothers Blessing:<br></p>To My Beloved Sons, George, John, and William Leigh, All Things Pertaining to Life and Godliness<br></p>Chapter 2, The First Cause of Writing Is a Motherly Affection<br></p>Chapter 13, It Is Great Folly For a Man to Mislike His Own Choice<br></p>Elizabeth Brooke Jocelin (c. 1595&#8211;1622; England)<br></p>From The Mother&#8217;s Legacy to Her Unborn Child<br></p>Epistle Dedicatory: To My Truly Loving and Most Dearly Loved Husband, Turrell Jocelin<br></p>Cultural Coordinates: Women&#8217;s Community in Childbirth Rooms (illus.)<br></p>Anne Bradstreet (1612&#8211;1672; England, American colonies)<br></p>From The Tenth Muse Lately Sprung up in America<br></p>The Prologue<br></p>The Author to Her Book<br></p>Before the Birth of one of her Children<br></p>In Memory of my Dear Grandchild Elizabeth Bradstreet<br></p>Some Verses upon the Burning of Our House<br> </p>To My Dear and Loving Husband<br></p>Margaret Fell Fox (1614&#8211;1702; England)<br></p>From Women&#8217;s Speaking Justified<br></p> [The Church of Christ Is a Woman]<br></p>Lady Anne Halkett (c. 1622&#8211;1699; England)<br></p>From Memoirs:<br></p> [Her mother threatens to disown her]<br></p>Margaret Lucas Cavendish, Duchess of Newcastle (1623&#8211;1674; England)<br></p>From Philosophical and Physical Opinions<br></p>Epistle: To the most famously learned<br></p>From Philosophical Letters: or, Modest Reflections<br></p>Letter XXXVI [Other Creatures May Be as Wise as Men]<br></p>Mary Boyle Rich (c. 1624&#8211;1678; Ireland, England)<br></p>From Diary<br></p> [Events of 1624-43, Including a Complicated Romantic Affair]<br></p>Cultural Coordinates: Women&#8217;s Spiritual Diaries (illus.)<br></p>Elizabeth Cavendish Egerton (1626&#8211;1663; England)<br></p>From Loose Papers<br></p>When I Lost My Dear Girl Kate<br></p>Katherine Fowler Philips (c. 1631&#8211;1664; England)<br></p>A Married State<br></p>Upon the Double Murder of K. Charles I<br></p>On the Death of My First and Dearest Child, Hector Philips<br></p>Friendship&#8217;s Mystery, To My Dearest Lucasia<br></p>To My Excellent Lucasia, On Our Friendship<br></p>Orinda to Lucasia<br></p>Mary Rowlandson (c. 1637&#8211;1711; England, American colonies)<br></p>From A Narrative of the Captivity and Restoration of Mrs. Mary Rowlandson<br></p>The First Remove<br></p>The Third Remove<br></p>From The Twentieth Remove<br></p>Aphra Behn (c. 1640&#8211;1689; England)<br></p>The Rover<br></p>Cultural Coordinates: Restoration Actresses (illus.)<br></p>Anne Killigrew (c. 1660&#8211;1685; England)<br></p>A Farewell to Worldly Joys<br></p>Upon the Saying That My Verses Were Made by Another<br></p>The Discontent<br></p>Anne Finch (1661&#8211;1720; England)<br></p>A Letter to Daphnis<br></p>The Introduction<br></p>Ardelia to Melancholy<br></p>To the Nightingale<br></p>The Apology<br></p>A Nocturnal Reverie<br></p>Cultural Coordinates: Menstruation and Misogyny<br></p>Jane Sharp (Active c. 1671; England)<br></p>From The Midwives Book<br></p>Of the Fashion and Greatness of the Womb, and of the Parts It Is Made Of<br><br>THE EIGHTEENTH CENTURY<br><br>TIMELINE: EIGHTEENTH CENTURY<br></p>Lady Mary Wortley Montagu (1689&#8211;1762; England)<br></p>From Turkish Embassy Letters<br></p>Letter XXVII [A Visit to a Turkish Bath]<br></p>Letter XLI [Sultana Halfise]<br></p>Eliza Haywood (c.1693&#8211;1756; England)<br></p>The Dangers of Tea<br></p>Mary Leapor (1722&#8211;1746: England)<br></p>Crumble Hall<br></p>An Essay on Woman<br></p>The Headache<br></p>Mercy Otis Warren (1728&#8211;1814; United States)<br></p>An Address to the Inhabitants of the United States<br></p>Janet Schaw (c. 1734&#8211;1801; Scotland)<br></p>From Journal of a Lady of Quality: Being a Narrative of a Journey from Scotland to the West Indies<br></p> [Society in Antigua]<br></p> [A Visit to Olovaze]<br></p>Cultural Coordinates: At Sea (illus.)<br></p>Mary Collier (Active 1739&#8211;1760; England)<br></p>The Woman&#8217;s Labour<br></p>Anna Laetitia Akin Barbauld (1743&#8211;1825; England)<br></p>The Rights of Woman<br></p>To a Little Invisible Being Who Is Expected Soon to Become Visible<br></p>Washing-Day<br></p>Abigail Adams (1744&#8211;1818; United States)<br></p>From The Adams Family Correspondence<br></p> [The Nature of Woman&#8217;s Experience]<br></p> [Remember the Ladies]<br></p> [Education in the New Republic]<br></p>Cultural Coordinates: Bluestockings (illus.)<br></p>Hannah More (1745&#8211;1833; England)<br></p>From Strictures on a Modern System of Female Education<br></p>Chapter 1, An Address to Women of Rank and Fortune<br></p>The Black Slave Trade<br></p>The White Slave Trade<br></p>Cultural Coordinates: The Hoop-Petticoat (illus.)<br></p>Frances Burney (d&#8217;Arblay) (1752&#8211;1840; England)<br></p>From The Early Journals and Letters of Frances Burney<br></p> [A Young Writer&#8217;s Diary]<br></p> [The Publication of Evelina]<br></p>From Diary and Letters of Madame d&#8217;Arblay<br></p> [Life at Court of George III]<br></p>From Evelina, or the History of a Young Lady&#8217;s Entrance into the World<br></p>Letter X [Evelina arrives in London]<br></p>Letter XI [Evelina at the Ball]<br></p>Letter XII [A Trip to Ranelagh]<br></p>Letter XV [A Dangerous Walk in Vauxhall]<br></p>Cultural Coordinates: Shopping (illus.)<br></p>Phillis Wheatley (c. 1754&#8211;1784; United States)<br></p>On Being Brought from Africa to America<br></p>On the Death of the Reverend Mr. George Whitefield<br></p>To S. M. a Young African Painter, on Seeing His Works<br></p>To the Excellent George Washington<br></p>Jane Cave (Active c. 1786; England)<br></p>Written by the Desire of a Lady, on an Angry, Petulant Kitchen-Maid<br></p>Written a Few Hours Before the Birth of a Child<br></p>Eliza Fay (1756&#8211;1816; England)<br></p>From Original Letters from India<br></p>Letter XIV [Madras]<br></p>Letters XV&#8211;XVI, XX [Calcutta]<br></p>Mary Darby Robinson (1758&#8211;1800; England)<br></p>London&#8217;s Summer Morning<br></p>January, 1795<br></p>Cultural Coordinates: Prostitution (illus.)<br></p>Mary Wollstonecraft (1759&#8211;1797; England)<br></p>From A Vindication of the Rights of Woman with Strictures on Political and Moral Subjects<br></p>Author&#8217;s Introduction<br></p>Chapter 2, The Prevailing Opinion of a Sexual Character Discussed<br></p>Chapter 9, Of the Pernicious Effects Which Arise from the Unnatural Distinctions Established in Society<br></p>Cultural Coordinates: Breastfeeding and the Wet Nurse<br></p>Janet Little (1759&#8211;1813; Scotland)<br></p>Given to a Lady Who Asked Me to Write a Poem<br></p>Maria Edgeworth (1767&#8211;1849; Ireland, England)<br></p>From Letters for Literary Ladies<br></p>Letters of Julia and Caroline<br></p>Dorothy Wordsworth (1771&#8211;1855; England)<br></p>From The Grasmere Journals<br></p>[A Brother&#8217;s Departure, May 14, 1800]<br></p>[Daffodils, April 1802]<br></p>[Good Friday, April 16, 1802]<br></p>[William Marries, September 24, 1802]<br></p>Mary Birkett (1774&#8211;1817; Ireland)<br></p>A Poem on the African Slave Trade<br></p>Cultural Coordinates: The Tea Table (illus.)<br></p>Mary Prince (1788&#8211;c. 1833; Bermuda, Turk Islands, Antigua, England)<br></p>The History of Mary Prince, a West Indian Slave, Related by Herself<br></p>Elizabeth Hands (Active 1789; England)<br></p>Written, Originally Extempore, on Seeing a Mad Heifer Run through the Village Where the Author Lives<br></p>A Poem on the Supposition of the Book Having Been Published and Read<br></p>Anna Maria Falconbridge (Active 1790s; England)<br></p>From Two Voyages to Sierra Leone<br></p>[A Trip to Bance Island]<br><br>THE NINETEENTH CENTURY<br><br>TIMELINE: NINETEENTH CENTURY<br></p>Cultural Coordinates: The First Australian Woman Writer<br></p>Susanna Rowson (1762&#8211;1824; England, United States)<br></p>Charlotte Temple<br></p>Cultural Coordinates: The Corset, or Why Heroines Faint so Often (illus.)<br></p>Jane Austen (1775&#8211;1817; England)<br></p>From Northanger Abbey<br></p>Chapters 4&#8211;5 [Catherine and Isabella Become Friends]<br></p>Library of Women&#8217;s Literature: Pride and Prejudice<br></p>Cultural Coordinates: Cassandra&#8217;s Sketch and &#8220;Gentle Jane&#8221; (illus.)<br></p>Catharine Maria Sedgwick (1789&#8211;1867; United States)<br></p>Cacoethes Scribendi<br></p>Lydia Howard Huntley Sigourney (1791&#8211;1865; United States)<br></p>To a Shred of Linen<br></p>Unspoken Language<br></p>Eve<br></p>Felicia Dorothea Brown Hemans (1793&#8211;1835; England)<br></p>England&#8217;s Dead<br></p>Bring Flowers<br></p>Casabianca<br></p>Mary Shelley (1797&#8211;1851; England, Italy)<br></p>From Frankenstein<br></p>Chapters 11-17 [The Monster&#8217;s Narrative]<br></p>Sojourner Truth (c.1797&#8211;1883; United States)<br></p>From The Narrative of Sojourner Truth<br></p>Her Birth and Parentage<br></p>Accommodations<br></p>Her Brothers and Sisters<br></p>Sojourner Truth&#8217;s &#8220;Ar&#8217;n&#8217;t I a Woman&#8221; Speech (as reported in the Anti-Slavery Bugle)<br></p>Sojourner Truth&#8217;s &#8220;Ar&#8217;n&#8217;t I a Woman&#8221; Speech (as recorded in Reminiscences of Frances D. Gage)<br></p>Cultural Coordinates: Cartes de Visite (illus.)<br></p>Harriet Martineau (1802&#8211;1876; England)<br></p>From Morals of Slavery<br></p>Lydia Maria Child (1802&#8211;1880; United States)<br></p>From An Appeal in Favor of That Class of Americans Called Africans<br></p>Preface<br></p>Chapter 1, Brief History of Negro Slavery&#8212;Its Inevitable Effect upon All Concerned in It<br></p>From Letters from New York<br></p>Letter XXXIV [Women&#8217;s Rights]<br></p>Susanna Moodie (1803&#8211;1885; Canada)<br></p>From Roughing it in the Bush<br></p> [The Adventures of One Night]<br></p>Cultural Coordinates: How Did They Do It? The Mechanics of Writing (illus.)<br></p>Angelina Grimk&#233; (Weld) (1805&#8211;1879; United States)<br></p>From Appeal to the Christian Women of the South<br></p>Elizabeth Barrett Browning (1806&#8211;1861; England, Italy)<br></p>From Sonnets from the Portuguese<br></p>XIV [If thou must love me, let it be for nought]<br></p>XLIII [How do I love thee? Let me count the ways.]<br></p>From Aurora Leigh<br></p>Book I [Aurora&#8217;s Education]<br></p>Frances Dana Gage (1808&#8211;1880; United States)<br></p>Tales of Truth, No.1<br></p>Margaret Fuller (1810&#8211;1850; United States)<br></p>From Summer on the Lakes<br></p>Summer on the Lakes<br></p>To a Friend<br></p>Chapter 1 [Gateway to the West: Niagara Falls]<br></p>A Short Essay on Critics<br></p>From Woman in the Nineteenth Century<br></p>Preface<br></p> [Woman, Present and Future]<br></p>Cultural Coordinates: Niagara Falls (illus.)<br></p>Elizabeth Gaskell (1810&#8211;1865; England)<br></p>The Three Eras of Libbie Marsh<br></p>Harriet Beecher Stowe (1811&#8211;1896; United States)<br></p>From Uncle Tom&#8217;s Cabin<br></p>Chapter 1, In Which the Reader is Introduced to a Man of Humanity<br></p>Chapter 5, Showing the Feelings of Living Property on Changing Owners<br></p>Chapter 7, The Mother&#8217;s Struggle<br></p>Chapter 14, Evangeline<br></p>Chapter 22, &#8220;The Grass Withereth&#8212;The Flower Fadeth&#8221;<br></p>Chapter 32, Dark Places<br></p>Chapter 40, The Martyr<br></p>Cultural Coordinates: The Realism of Stereotypes (illus.)<br></p>Frances (Fanny) Locke Osgood (1811&#8211;1850; United States)<br></p>Ellen Learning to Walk<br></p>The Little Hand<br></p>He Bade Me Be Happy<br></p>Forgive and Forget<br></p>A Reply<br></p>Cultural Coordinates: The Invention of the Ladies&#8217; Magazine: Godey&#8217;s Lady&#8217;s Book (illus.)<br></p>Fanny Fern (Sara Payson Willis Parton) (1811&#8211;1872; United States)<br></p>Hints to Young Wives<br></p>Mrs. Stowe&#8217;s Uncle Tom<br></p>Shall Women Vote?<br></p>The Working Girls of New York<br></p>Elizabeth Cady Stanton (1815&#8211;1902; United States)<br></p>Declaration of Sentiments<br></p>The Solitude of Self<br></p>Cultural Coordinates: The Seneca Falls Convention, July 19&#8211;20, 1848 (illus.)<br></p>Charlotte Bront&#235; (1816&#8211;1855; England)<br></p> [We wove a web in childhood]<br></p>Library of Women&#8217;s Literature: Jane Eyre<br></p>Cultural Coordinates: Phrenology (illus.)<br></p>Emily Bront&#235; (1818&#8211;1848; England)<br></p>A.G.A: To the Bluebell<br></p>Song [O between distress and pleasure]<br></p>Love and Friendship<br></p> [Shall Earth no more inspire thee]<br></p>A.G. to G.S.<br></p>To Imagination<br></p> [No coward soul is mine]<br></p>Women Composers of Hymns, 1840&#8211;1899<br></p>Sarah Fuller Flower Adams (1805&#8211;1848; England)<br></p>Nearer, My God, to Thee<br></p>Anne Bront&#235; (1820&#8211;1849; England)<br></p>The Narrow Way<br></p>Julia Ward Howe (1819&#8211;1910; United States)<br></p>Battle Hymn of the Republic<br></p>Christina Rossetti (1830&#8211;1894; England)<br></p>In the Bleak Midwinter<br></p>Katharine Lee Bates (1859&#8211;1929; United States)<br></p>O Beautiful for Spacious Skies<br></p>Harriet Jacobs (c. 1813&#8211;1897; United States)<br></p>From Incidents in the Life of a Slave Girl Written by Herself<br></p>Preface by the Author<br></p>Introduction by the Editor<br></p>Chapter 1, Childhood<br></p>Chapter 2, The New Master and Mistress<br></p>Chapter 5, The Trials of Girlhood<br></p>Chapter 10, A Perilous Passage in the Slave Girl&#8217;s Life<br></p>Chapter 21, The Loophole of Retreat<br></p>Chapter 41, Free at Last<br></p>Cultural Coordinates: Reward for the Capture of Harriet Jacobs (illus.)<br></p>Susan Warner (1819&#8211;1885; United States)<br></p>From The Wide, Wide World<br></p>Chapter 1 [Ellen and Her Mother]<br></p>Chapter 3 [Ellen Goes Shopping]<br></p>George Eliot (Mary Ann Evans) (1819&#8211;1880; England)<br></p>Silly Novels by Lady Novelists<br></p>Cultural Coordinates: Spirit Rappers and Spiritualism (illus.)<br></p>Florence Nightingale (1820&#8211;1910; England)<br></p>From Cassandra<br></p>II [Intellect]<br></p>IV [Moral Activity and Marriage]<br></p>VII [The Dying Woman]<br></p>Mary Boykin Chesnut (1823&#8211;1886; United States)<br></p>From Civil War Journal<br></p>February 18, 1861 [I wanted them to fight and stop talking]<br></p>February 19, 1861 [We have to meet tremendous odds]<br></p>Harriet E. Wilson (1825?&#8211;1900?; United States)<br></p>From Our Nig; or, Sketches from the Life of a Free Black<br></p>Preface<br></p>Chapter 1, Mag Smith, My Mother<br></p>Chapter 2, My Father&#8217;s Death<br></p>Chapter 3, A New Home for Me<br></p>Catherine Helen Spence (1825&#8211;1910; Australia)<br></p>From Clara Morison<br></p>Chapter 8, At Service<br></p>Frances E. W. Harper (1825&#8211;1911; United Sates)<br></p>Eliza Harris<br></p>The Slave Mother<br></p>Aunt Chloe&#8217;s Politics<br></p>The Two Offers<br></p>Woman&#8217;s Political Future<br></p>Dinah Mulock Craik (1826&#8211;1887; England)<br></p>From A Woman&#8217;s Thoughts About Women<br></p>Chapter 1, Something to Do<br></p>Helen Hunt Jackson (1830&#8211;1885; United States)<br></p>My Tenants<br></p>September<br></p>The Victory of Patience<br></p>Chance<br></p>Emily Dickinson (1830&#8211;1886; United States)<br></p>6 [Frequently the woods are pink]<br></p>14 [One Sister have I in our house]<br></p>216 [Safe in their Alabaster Chambers]<br></p>241 [I like a look of Agony]<br></p>249 [Wild Nights---Wild Nights!]<br></p>252 [I can wade Grief]<br></p>258 [There&#8217;s a certain Slant of light]<br></p>280 [I felt a Funeral, in my brain]<br></p>288 [I&#8217;m Nobody! Who are you?]<br></p>341 [After great pain, a formal feeling comes]<br></p>365 [Dare you see a Soul at the White Heat?]<br></p>441 [This is my letter to the World]<br></p>444 [It feels shame to be Alive]<br></p>579 [I had been hungry, all the Years]<br></p>656 [The name&#8212;of it&#8212;is Autumn]<br></p>709 [Publication&#8212;is the Auction]<br></p>754 [My Life has stood&#8212;a Loaded Gun]<br></p>812 [A light exists in Spring]<br></p>912 [Peace is a fiction of our Faith]<br></p>986 [A narrow Fellow in the Grass]<br></p>1101 [Between the form of Life and Life]<br></p>1129 [Tell all the Truth but tell it slant]<br></p>1263 [There is no Frigate like a Book]<br></p>1580 [We shun it ere it comes]<br></p>Letters<br></p>To Susan Gilbert (Dickinson), early June 1852<br></p>To T. W. Higginson, 7 June 1862<br></p>To T. W. Higginson, February 1885<br></p>Christina Rossetti (1830&#8211;1894; England)<br></p>A Birthday<br></p>A Better Resurrection<br></p>Goblin Market<br></p>In an Artist&#8217;s Studio<br></p>Rebecca Harding Davis (1831&#8211;1910; United States)<br></p>Life in the Iron-Mills<br></p>Anna Leonowens (1831&#8211;1914; England, Colonial: India, Thailand, and Canada)<br></p>From The Romance of the Harem<br></p>Chapter 2, Tuptim: A Tragedy of the Harem<br></p>Louisa May Alcott (1832&#8211;1888; United States)<br></p>A Double Tragedy: An Actor&#8217;s Story<br></p>Library of Women&#8217;s Literature: Little Women<br></p>Hannah Crafts (Active 1850s, United States)<br></p>From The Bondswoman&#8217;s Narrative<br></p>Preface<br></p>Chapter 1, In Childhood<br></p>Isabella Beeton (1836&#8211;1865; England)<br></p>From Mrs. Beeton&#8217;s Book of Household Management<br></p> [Sample Recipes]: Lark Pie (An Entr&#233;e), Boiled Asparagus, Christmas Plum Pudding (Very Good)<br></p> [Sample Bills of Fare]: Plain Family Dinners for January<br></p> [Sample Sections from &#8220;Household Management&#8221;]: Duties of the Valet, The Wet-Nurse<br></p>Cultural Coordinates: Level Measures (illus)<br></p>Sarah Winnemucca Hopkins (c. 1844&#8211;1891; Paiute: United States)<br></p>From Life Among the Piutes<br></p>Chapter 1, First Meeting of Piutes and Whites<br></p>Emma Lazarus (1849&#8211;1887; United States)<br></p>In the Jewish Synagogue at Newport<br></p>1492<br></p>The New Colossus<br></p>Cultural Coordinates: The Sewing Machine (illus)<br></p>Sarah Orne Jewett (1849&#8211;1909; United States)<br></p>A White Heron<br></p>Kate Chopin (1850&#8211;1904; United States)<br></p>The Awakening<br></p>Rosa Praed (1851&#8211;1935; Australia)<br></p>From Policy and Passion<br></p>An Australian Explorer<br></p>Mary E. Wilkins Freeman (1852&#8211;1930; United States)<br></p>A Poetess<br></p>Pandita Ramabai Saraswati (1858&#8211;1922; India)<br></p>From The High Caste Hindu Woman<br></p>Chapter 5 [Suttee]<br></p>Charlotte Perkins Gilman (1860&#8211;1935; United States)<br></p>The Yellow Wallpaper<br></p>Cultural Coordinates: Nervousness and the Rest Cure<br></p>Mary Kingsley (1862&#8211;1900; England)<br></p>From Travels in West Africa<br></p> [A West African River and a Canoe]<br><br>THE TWENTIETH THROUGH THE TWENTY&#8211;FIRST CENTURIES<br><br>TIMELINE: TWENTIETH&#8211;TWENTY-FIRST CENTURIES<br></p>Annie Besant (1847&#8211;1933; England, India)<br></p>From A Nation&#8217;s Rights<br></p> [The Foundations of Rights]<br></p>Cultural Coordinates: The Bra (illus.)<br></p>Edith Wharton (1862&#8211;1937; United States, France)<br></p>Roman Fever<br></p>Library of Women&#8217;s Literature: The House of Mirth<br></p>Edith Maud Eaton (Sui Sin Far) (1865&#8211;1914; United States)<br></p>In the Land of the Free<br></p>Cultural Coordinates: Chinese Women and U.S. Immigration<br></p>Cornelia Sorabji (1866&#8211;1954; India, England)<br></p>From India Calling<br></p>Chapter 2, Preparation and Equipment: in India and England<br></p>Katherine Mayo (1867&#8211;1940; United States)<br></p>From Mother India<br></p>Chapter 8, Mother India<br></p>Cultural Coordinates: The Memsahib (illus)<br></p>Ellen Glasgow (1873&#8211;1945; United States)<br></p>Jordan&#8217;s End<br></p>Willa Cather (1873&#8211;1947; United States)<br></p>A Wagner Matinee<br></p>Gertrude Stein (1874&#8211;1946; United States, France)<br></p>Ada<br></p>Preciosilla<br></p>Susie Asado<br></p>From Patriarchal Poetry<br></p>[Their origin and their history]<br></p>Cultural Coordinates: Two Women Writers in Paris, Never Meeting (illus.)<br></p>Alice Dunbar&#8211;Nelson (1875&#8211;1935; United States)<br></p>Sister Josepha<br></p>I Sit and Sew<br></p>Zitkala Sa (Gertrude Simmons Bonnin) (1876&#8211;1938; Sioux: United States)<br></p>From School Days of an Indian Girl<br></p>The Cutting of My Long Hair<br></p>Why I Am a Pagan<br></p>Cultural Coordinates: Indian Boarding Schools (illus.)<br></p>Margaret Cousins (1875&#8211;1954; Ireland, India)<br></p>From The Awakening of Asian Womanhood<br></p>Chapter 2, Indian Womanhood: A National Asset<br></p>Sarojini Naidu (1879&#8211;1949; India)<br></p>The Gift of India<br></p>The Indian Gypsy<br></p>Bangle-sellers<br></p>Rokeya Sakhawat Hossain (1880&#8211;1932; India)<br></p>Sultana&#8217;s Dream<br></p>Cultural Coordinates: Purdah (illus.)<br></p>Mourning Dove (Humishuma/Christine Quintasket) (1882?&#8211;1936; Colville-Okanaga: United States)<br></p>From Cogwea, the Half-Blood<br></p> [The Indian Dancers]<br></p>Virginia Woolf (1882&#8211;1941; England)<br></p>Kew Gardens<br></p>Mrs. Dalloway in Bond Street<br></p>Library of Women&#8217;s Literature: Mrs. Dalloway<br></p>From A Room of One's Own<br></p> [Shakespeare&#8217;s Sister]<br></p> [Peroration: Women Write!]<br></p>A Haunted House<br></p>Susan Glaspell (1876&#8211;1948; United States)<br></p>Trifles<br></p>Anzia Yezierska (c. 1885&#8211;1921; Poland/Russia, United States)<br></p>Soap and Water<br></p>Cultural Coordinates: Sweatshops (illus)<br></p>Isak Dinesen (Karen Blixen) (1885&#8211;1962; Denmark, Kenya)<br></p>The Blank Page<br></p>H. D. [Hilda Doolittle] (1886&#8211;1961; United States, Switzerland)<br></p>From The Walls Do Not Fall<br></p>9 [Thoth, Hermes, the stylus]<br></p>10 [But we fight for life]<br></p>From Tribute to the Angels<br></p>8 [Now polish the crucible]<br></p>9 [Bitter, bitter jewel]<br></p>11 [O swiftly, re-light the flame]<br></p>12 [Swiftly re-light the flame]<br></p>13 [&#8220;What is the jewel colour?&#8221; ]<br></p>19 [We see her visible and actual]<br></p>20 [Invisible, indivisible Spirit]<br></p>21 [There is no rune nor riddle]<br></p>23 [We are part of it]<br></p>28 [I had been thinking of Gabriel]<br></p>35 [So she must have been pleased with us]<br></p>36 [Ah (you say), this is Holy wisdom]<br></p>39 [But nearer than Guardian Angel]<br></p>From The Flowering of the Rod<br></p>5 [Satisfied, unsatisfied]<br></p>6 [So I would rather drown, remembering]<br></p>Marianne Moore (1887&#8211;1972; United States)<br></p>The Fish<br></p>The Paper Nautilus<br></p>In Distrust of Merits<br></p>Willa Muir (1890&#8211;1970; Scotland)<br></p>From Imagined Corners<br></p>Chapter 3 [Elizabeth Ramsay and Elizabeth Shand]<br></p>Jean Rhys (1890&#8211;1979; Dominica, England)<br></p>Library of Women&#8217;s Literature:Wide Sargasso Sea<br></p>From Smile, Please<br></p>My Mother<br></p>Black/White<br></p>Carnival<br></p>Katherine Anne Porter (1890&#8211;1980; United States)<br></p>Virgin Violeta<br></p>African American Women&#8217;s Blues<br></p>Gertrude &#8220;Ma&#8221; Rainey (1886&#8211;1939; United States)<br></p>Louisiana Hoodoo Blues<br></p>Prove It on Me Blues<br></p>Alberta Hunter (1895&#8211;1984; United States)<br></p>I Got Myself a Workin' Man<br></p>You Gotta Reap What You Sow<br></p>Bessie Smith (1898?&#8211;1937; United States)<br></p>Preachin' the Blues<br></p>Poor Man's Blues<br></p>Cultural Coordinates: A Blues Life: Billie Holiday (illus.)<br></p>Zora Neale Hurston (1891&#8211;1960; United States)<br></p>Sweat<br></p>Nella Larsen (1891&#8211;1964; United States)<br></p>Sanctuary<br></p>Cultural Coordinates: Anti-Lynching Campaigns<br></p>Edna St. Vincent Millay (1892&#8211;1950; United States)<br></p> [I, Being Born a Woman and Distressed]<br></p>From Sonnets from an Ungrafted Tree<br></p>I [So she came back into his house again]<br></p>X [She had forgotten how the August night]<br></p>Justice Denied in Massachusetts<br></p>From Fatal Interview<br></p>XX [Think not, nor for a moment let your mind]<br></p>XXVI [Women have loved before as I love now]<br></p>Djuna Barnes (1892&#8211;1982; United States)<br></p>Mother<br></p>Dorothy Parker (1893&#8211;1967; United States)<br></p>Lady with a Lamp<br></p>Cultural Coordinates: Margaret Sanger, Abortion, and Birth Control (illus.)<br></p>Meridel LeSueur (1900&#8211;1996; United States)<br></p>Rite of Ancient Ripening<br></p>Eudora Welty (1909&#8211;2001; United States)<br></p>A Still Moment<br></p>Tillie Olsen (1912&#8211;2007; United States)<br></p>Silences<br></p>Attia Hosain (1913&#8211;1998; India)<br></p>After the Storm<br></p>Gwendolyn Brooks (1917&#8211;2000; United States)<br></p>the mother<br></p>a song in the front yard<br></p>The Sundays of Satin-Legs Smith<br></p>The Lovers of the Poor<br></p>the white troops had their orders but the Negroes looked like men<br></p>Louise Bennett Coverley (1919&#8211;2006; Jamaica, Canada)<br></p>Homesickness<br></p>America<br></p>Doris Lessing (1919&#8211; ; Colonial: Iran, Rhodesia/Zimbabwe, England)<br></p>A Sunrise on the Veld<br></p>Hisaye Yamamoto (1921&#8211; ; United States)<br></p>Seventeen Syllables<br></p>Nadine Gordimer (1923&#8211; ; South Africa)<br></p>Town and Country Lovers: One and Two<br></p>Denise Levertov (1923&#8211;1997; England, United States)<br></p>Advent 1966<br></p>Tenebrae<br></p>Witness<br></p>Mitsuye Yamada (1923&#8211; ; Japan, United States)<br></p>P.O.W.<br></p>Cincinnati<br></p>Another Model<br></p>Mirror Mirror<br></p>Beryl Gilroy (1924&#8211;2001; Guyana, England)<br></p>From Black Teacher<br></p>[Inside London Schools]<br></p>Anne Ranasinghe (1925&#8211; ; Germany, England, Sri Lanka)<br></p>Auschwitz from Colombo<br></p>Nayantara Sahgal (1927&#8211; ; India)<br></p>From Prison and Chocolate Cake<br></p>[Walking with Gandhi]<br></p>Maya Angelou (1928&#8211; ; United States)<br></p>From I Know Why the Caged Bird Sings<br></p>[Words]<br></p>Marjorie Oludhe Macgoye (1928&#8211; ; England, Kenya)<br></p>From Coming to Birth<br></p>Chapter 1 [Lost in the City]<br></p>Anne Sexton (1928&#8211;1974; United States)<br></p>Little Girl, My String Bean, My Lovely Woman<br></p>Sylvia&#8217;s Death<br></p>The Ballad of the Lonely Masturbator<br></p>Cynthia Ozick (1928&#8211; ; United States)<br></p>The Shawl<br></p>Ursula Le Guin (1929&#8211; ; United States)<br></p>The Space Crone<br></p>Adrienne Rich (1929&#8211; ; United States)<br></p>Diving into the Wreck<br></p>A Woman Dead in her Forties<br></p>From Twenty-One Love Poems<br></p>I [Wherever in this city, screens flicker]<br></p>XI [Every peak is a crater]<br></p>It Is the Lesbian in Us . . .<br></p>Vesuvius at Home: The Power of Emily Dickinson<br></p>Lorraine Hansberry (1930&#8211;1965; United States)<br></p>Library of Women&#8217;s Literature: A Raisin in the Sun<br></p>Grace Ogot (1930&#8211; ; Kenya)<br></p>Elizabeth<br></p>Toni Morrison (1931&#8211; ; United States)<br></p>Recitatif<br></p>Library of Women&#8217;s Literature: Beloved<br></p>Nobel Lecture<br></p>Alice Munro (1931&#8211; ; Canada)<br></p>Dance of the Happy Shades<br></p>Sylvia Plath (1932&#8211;1963; United States, England)<br></p>Metaphors<br></p>Daddy<br></p>Ariel<br></p>Lady Lazarus<br></p>Three Women: A Poem for Three Voices<br></p>Cultural Coordinates: The Pill (illus.)<br></p>Audre Lord
263New York Stories: The Best Writing from Four Decades of New York MagazineSteve Fishman0Steve Fishman, John Homans (Editor), Adam Moss (Editor), Tom Wolfenew-york-storiessteve-fishman97808129799230812979923$14.98PaperbackRandom House Publishing GroupSeptember 2008Places - Literary Anthologies, Regional American Anthologies6246.20 (w) x 9.10 (h) x 1.40 (d)<b>The magazine that is the city that is the world</b> <p>Just in time for its fortieth anniversary, <i>New York</i> magazine presents a stunning collection of some of its best and most influential articles, stories that captured the spectacle, the turbulence, and the cultural realignments of the past four decades.</p> <p>Covering subjects from “Radical Chic” to Gawker.com, written by some of the country’s most renowned authors, here are works that broke news, perfectly captured the moment, or set trends in motion. In <i>New York Stories</i>, Gloria Steinem (whose <i>Ms. Magazine</i> was introduced in <i>New York</i>) broaches the subject of women’s liberation; Tom Wolfe coins “The Me Decade”; and Steve Fishman piercingly portrays the unwanted martyrdom of the 9/11 widows. Cutting edge features that invented terms like “brat pack” and “grup”; profiles of defining cultural figures including Joe Namath, Truman Capote, and long-shot presidential candidate Bill Clinton; and reports that inspired the acclaimed movies <i>Saturday Night Fever, GoodFellas</i>, and <i>Grey Gardens</i>–all are included in this one-of-a-kind compilation.</p> <p>The writers who chronicled the times that began with Nixon’s campaign and end with Obama’s are at their best in <i>New York Stories</i>. It’s an irresistible anthology from a magazine that, like the city itself, is still making stars, setting standards, and going strong.</p><p><P><b>The magazine that is the city that is the world</b><br><br>Just in time for its fortieth anniversary, <i>New York</i> magazine presents a stunning collection of some of its best and most influential articles, stories that captured the spectacle, the turbulence, and the cultural realignments of the past four decades.<br><br>Covering subjects from &#8220;Radical Chic&#8221; to Gawker.com, written by some of the country&#8217;s most renowned authors, here are works that broke news, perfectly captured the moment, or set trends in motion. In <i>New York Stories</i>, Gloria Steinem (whose <i>Ms. Magazine</i> was introduced in <i>New York</i>) broaches the subject of women&#8217;s liberation; Tom Wolfe coins &#8220;The Me Decade&#8221;; and Steve Fishman piercingly portrays the unwanted martyrdom of the 9/11 widows. Cutting edge features that invented terms like &#8220;brat pack&#8221; and &#8220;grup&#8221;; profiles of defining cultural figures including Joe Namath, Truman Capote, and long-shot presidential candidate Bill Clinton; and reports that inspired the acclaimed movies <i>Saturday Night Fever, GoodFellas</i>, and <i>Grey Gardens</i>&#8211;all are included in this one-of-a-kind compilation.<br><br>The writers who chronicled the times that began with Nixon&#8217;s campaign and end with Obama&#8217;s are at their best in <i>New York Stories</i>. It&#8217;s an irresistible anthology from a magazine that, like the city itself, is still making stars, setting standards, and going strong.</p><h3>Publishers Weekly</h3><p>In a delightful foreword, Tom Wolfe hits the ground running with a chronicle of New York Magazine's humble beginnings, as a supplement to The New York Herald Tribune, and its growth, at the hands of fearless editor Clay Felker, to rival the untouchable New Yorker. For the mag's 40th anniversary, the editors have collected some of its most memorable essays, including Mark Jacobsen's 1975 "Night-Shifting for the Hip Fleet" (which loosely inspired the television show Taxi, Nik Cohn's Tribal Rights of the New Saturday Night and, in turn, the film Saturday Night Fever), two Gloria Steinem essays (including her brilliant 1969 manifesto, "After Black Power, Women's Lib"), and other articles from the likes of Jay McInerney, George Plimpton, Nora Ephron, Joe Klein, and current New York regulars Kurt Anderson and Emily Nussbaum. More recent favorites include Steve Fishman's "The Dead Wives Club, or Char in Love," about a group profile of Staten Island firemen's wives widowed on 9/11, and Mark Jacobson's "The $2,000-an-Hour Woman," a 2005 piece on "America's No. 1 escort" (whose colleague would later bring down Gov. Eliot Spitzer). Highlights abound, including Wolfe's classic 1976 "The 'Me' Decade," which details the yuppy phenomenon's "great religious wave" of narcissistic self-discovery for "dreary little bastards" with money. A pleasure to read, this book will satisfy anyone wishing to reminisce about New York City and the birth of New Journalism. <BR>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p><br>Foreword&nbsp;&nbsp;&nbsp;Tom Wolfe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xi<br>Introduction&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xxxi<br>Matters of Class<br>Radical Chic: That Party at Lenny's&nbsp;&nbsp;&nbsp;Tom Wolfe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3<br>The Revolt of the White Lower Middle Class&nbsp;&nbsp;&nbsp;Pete Hamill&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;47<br>Up with Grups&nbsp;&nbsp;&nbsp;Adam Sternbergh&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;58<br>How Not to Be Humiliated in Snob Restaurants&nbsp;&nbsp;&nbsp;Gael Greene&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;74<br>David and His Twenty-six Roommates&nbsp;&nbsp;&nbsp;Debbie Nathan&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;82<br>The Secret of Grey Gardens&nbsp;&nbsp;&nbsp;Gail Sheehy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;92<br>The Price of Perfection&nbsp;&nbsp;&nbsp;Michael Wolff&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;110<br>Everybody Sucks&nbsp;&nbsp;&nbsp;Vanessa Grigoriadis&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;120<br>The Rise, the Fall<br>Namath All Night Long&nbsp;&nbsp;&nbsp;Jimmy Breslin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;139<br>Comedy Isn't Funny&nbsp;&nbsp;&nbsp;Chris Smith&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;147<br>Hard to Be Rich&nbsp;&nbsp;&nbsp;John Taylor&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;165<br>Hollywood's Brat Pack&nbsp;&nbsp;&nbsp;David Blum&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;183<br>The Memory Addict&nbsp;&nbsp;&nbsp;Sam Anderson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;192<br>Bess Myerson Is One Tough Customer&nbsp;&nbsp;&nbsp;Susan Berman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;206<br>Unanswered Prayers: The Death and Life of Truman Capote&nbsp;&nbsp;&nbsp;Julie Baumgold&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;216<br>Woody and Me&nbsp;&nbsp;&nbsp;Nancy Jo Sales&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;234<br>I Run to Win&nbsp;&nbsp;&nbsp;Jimmy Breslin&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;241<br>Cultures, Sub- and Otherwise<br>Tribal Rites of the New Saturday Night&nbsp;&nbsp;&nbsp;Nik Cohn&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;255<br>Night-Shifting for the Hip Fleet&nbsp;&nbsp;&nbsp;Mark Jacobson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;273<br>The Death of (the Idea of) the Upper East Side&nbsp;&nbsp;&nbsp;Jay McInerney&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;284<br>One Brief, Scuzzy Moment&nbsp;&nbsp;&nbsp;Gary Indiana&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;297<br>Critics in the World of the Rising Souffle (or Is It the Rising Meringue?)&nbsp;&nbsp;&nbsp;Nora Ephron&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;307<br>The Boo Taboo&nbsp;&nbsp;&nbsp;John Simon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;321<br>If You've Been Afraid to Go to Elaine's These Past Twenty Years, Here's What You've Missed&nbsp;&nbsp;&nbsp;George Plimpton&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;331<br>How to Do a Real Crossword Puzzle&nbsp;&nbsp;&nbsp;Stephen Sondheim&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;336<br>The Dead Wives Club, or Char in Love&nbsp;&nbsp;&nbsp;Steve Fishman&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;346<br>The Permanent Revolution<br>After Black Power, Women's Liberation&nbsp;&nbsp;&nbsp;Gloria Steinem&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;367<br>Race: The Issue&nbsp;&nbsp;&nbsp;Joe Klein&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;374<br>Female Chauvinist Pigs&nbsp;&nbsp;&nbsp;Ariel Levy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;388<br>Say Everything&nbsp;&nbsp;&nbsp;Emily Nussbaum&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;400<br>Swapping&nbsp;&nbsp;&nbsp;Judith Viorst&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;416<br>My Breast: One Woman's Cancer Story&nbsp;&nbsp;&nbsp;Joyce Wadler&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;418<br>The "Me" Decade&nbsp;&nbsp;&nbsp;Tom Wolfe&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;434<br>Criminal Acts<br>The Crack in the Shield&nbsp;&nbsp;&nbsp;Michael Daly&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;459<br>The Headmistress and the Diet Doctor&nbsp;&nbsp;&nbsp;Anthony Haden-Guest&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;477<br>The {dollar}2,000-an-Hour Woman&nbsp;&nbsp;&nbsp;Mark Jacobson&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;491<br>Wiseguy&nbsp;&nbsp;&nbsp;Nicholas Pileggi&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;510<br>Sid Vicious and Nauseating Nancy: A Love Story&nbsp;&nbsp;&nbsp;Ron Rosenbaum&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;522<br>The National Interest<br>In Your Heart, You Know He's Nixon&nbsp;&nbsp;&nbsp;Gloria Steinem&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;535<br>Wallace Agonistes&nbsp;&nbsp;&nbsp;Garry Wills&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;536<br>The Luck of Spiro Agnew&nbsp;&nbsp;&nbsp;David Halberstam&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;540<br>Jerry Ford and His Flying Circus: A Presidential Diary&nbsp;&nbsp;&nbsp;Richard Reeves&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;543<br>Bill Clinton: Who Is This Guy?&nbsp;&nbsp;&nbsp;Joe Klein&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;549<br>Oh, the Humility&nbsp;&nbsp;&nbsp;Kurt Andersen&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;551<br>The Meme Prisoner&nbsp;&nbsp;&nbsp;John Heilemann&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;555<br>Is John McCain Bob Dole?&nbsp;&nbsp;&nbsp;John Heilemann&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;559<br>Dreaming of Obama&nbsp;&nbsp;&nbsp;Jennifer Senior&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;562<br>Acknowledgments&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;567<article> <h4>Publishers Weekly</h4>In a delightful foreword, Tom Wolfe hits the ground running with a chronicle of New York Magazine's humble beginnings, as a supplement to The New York Herald Tribune, and its growth, at the hands of fearless editor Clay Felker, to rival the untouchable New Yorker. For the mag's 40th anniversary, the editors have collected some of its most memorable essays, including Mark Jacobsen's 1975 "Night-Shifting for the Hip Fleet" (which loosely inspired the television show Taxi, Nik Cohn's Tribal Rights of the New Saturday Night and, in turn, the film Saturday Night Fever), two Gloria Steinem essays (including her brilliant 1969 manifesto, "After Black Power, Women's Lib"), and other articles from the likes of Jay McInerney, George Plimpton, Nora Ephron, Joe Klein, and current New York regulars Kurt Anderson and Emily Nussbaum. More recent favorites include Steve Fishman's "The Dead Wives Club, or Char in Love," about a group profile of Staten Island firemen's wives widowed on 9/11, and Mark Jacobson's "The $2,000-an-Hour Woman," a 2005 piece on "America's No. 1 escort" (whose colleague would later bring down Gov. Eliot Spitzer). Highlights abound, including Wolfe's classic 1976 "The 'Me' Decade," which details the yuppy phenomenon's "great religious wave" of narcissistic self-discovery for "dreary little bastards" with money. A pleasure to read, this book will satisfy anyone wishing to reminisce about New York City and the birth of New Journalism. <br> Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. </article> <article> <h4>Library Journal</h4><p>To celebrate its 40th anniversary, <i>New York</i> magazine editors Fishman, Adam Moss, and John Homans present the most thought-provoking and culturally influential articles from the past four decades of the magazine. Founded by Clay Felker in 1968, the magazine highlighted life, culture, and politics in New York City and later included American society at large. Felker strived to compete with the prestigious <i>New Yorker</i> as the purveyor of ideas and culture among the Manhattan literati. More edgy and hip than its competitor, <i>New York</i> featured the writings of such notables as Gloria Steinem, Gail Sheehy, and Tom Wolfe. Its influence on popular culture is evident in several selections in this anthology. Nicholas Pileggi's "Wiseguy" and Nik Cohn's "Tribal Rites of the New Saturday Night" became the groundbreaking films <i>Goodfellas</i> and <i>Saturday Night Fever</i>, respectively. This is not just a collection of great stories from the past 40 years; it is a study of the historical and sociological ideas and events that shaped the nation during that time. Highly recommended, especially for larger public libraries and academic libraries.<br> —Donna Marie Smith</p> </article>
264The Columbia Anthology of American PoetryJay Parini0<p><P>JAY PARINI is Axinn Professor of English at Middlebury College. A former Guggenheim Fellow and Visiting Fellow at Christ Church College, Oxford, Parini has written three volumes of poetry, four novels, a critical evaluation of Theodore Roethke's work, and a biography of John Steinbeck. He has written for <i>The Columbia Literary History of the United States,</i> and edited <i>Gore Vidal&#58; A Retrospective</i> and <i>The Columbia History of American Poetry,</i> all published by Columbia University Press.</P></p>Jay Parinithe-columbia-anthology-of-american-poetryjay-parini97802310812210231081227$34.24HardcoverColumbia University PressJuly 1995Poetry Anthologies, American Poetry, American Literature Anthologies7576.48 (w) x 9.52 (h) x 1.63 (d)<p>In the nineteenth century, Alexis de Tocqueville suggested that the poetry of the new American democratic state, free from the staggering weight of centuries of European aristocracy and tradition, would focus on "man alone... his passions, his doubts, his rare properties and inconceivable wretchedness."</p> <p>For hundreds of years, American poets have presented their various images of the land and its people. But what is "American poetry?" Is there truly such a thing as an American poetic tradition, spanning over nearly four centuries from colonial times to the turn of the millennium? In <i>The Columbia Anthology of American Poetry,</i> Jay Parini, a respected American poet and critic in his own right, offers an authoritative survey of the elusive category that is the poetry of the American people.</p> <p><i>The Columbia Anthology of American Poetry</i> covers all of the canonical American poets, from the colonial to the contemporary-Anne Bradstreet, Walt Whitman, T.S. Eliot, Ezra Pound, and Adrienne Rich are all included.</p> <p>But Parini has also selected a broad sampling of poetry from voices that have been heard as widely over the years. Here, for the first time, is a thorough collection of nineteenth- and twentieth-century poetry by women, Native American, and African Americans. Within these pages readers will find the many different traditions that make up the expansive collage of American poetry. Here are the Transcendentalists-Ralph Waldo Emerson, Margaret Fuller, and Henry David Thoreau; and the Imagists-William Carlos Williams, Amy Lowell, H.D., and Carl Sandburg.</p> <p>Readers will discover also the early twentieth-century movement of African-American poetic expression, known as the Harlem Renaissance-James Weldon Johnson, Countee Cullen, Gwendolyn Bennett, and Langston Hughes are all solidly represented in <i>The Columbia Anthology of American Poetry.</i></p> <p>Jay Parini's introduction deftly guides us into the rich tradition of poetry in our country. Whether in search of a well-known classic or a poem that is not yet considered part of the American poetic tradition, readers will find much to enjoy in <i>The Columbia Anthology of American Poetry.</i></p> <p> Columbia University Press</p> <p>American poetry from pre-Revolutionary times to the present excluding the work of poets born after WWII is sampled in The Columbia Anthology of American Poetry, edited by poet and teacher Jay Parini. Leading poets from three centuries are well-represented, with the works of less well-recognized writers, e.g., Frances Sargent Osgood and Alice Carey in the 19th century, Claude McKay and Jean Toomer in the 20th, sprinkled throughout. Although this is a hefty, comprehensive compilation, Parini accurately observes in his excellent introduction, "I have merely skimmed the cream, as I see it, of American poetry." </p><p><P>This major anthology includes all of the major American poets&#151;Anne Bradstreet, Walt Whitman, T.S. Eliot, Ezra Pound, Adrienne Rich&#151;but also a broad sampling from voices that have not been widely heard&#151;Native Americans, African Americans, women.</P></p><h3>Harvard Review</h3><p>Rich in pleasures . . . In a bright-indeed, brilliant-introduction, Parini supplies a whirlwind tour of American poetry.</p><p>Introduction</p> <p>Anne Bradstreet (1612-1672)ContemplationsBefore the Birth of One of her ChildrenTo my Dear and Loving HusbandThe Author to Her BookIn Memory of my Dear Grandchild Elizabeth BradstreetOn my Dear Grandchild Simon BradstreetHer Follow some Verses upon the Burning of our HouseAs Wear Pilgrim</p> <p>Michael Wigglesworth (1631-1705)From the Day of Doom</p> <p>Edward Taylor (1642? - 1729)Let by RainThe ReflexionMeditation 8 (first series) ("I kenning through astronomy divine")Meditation 150 (second series) ("My Blessed Lord, how doth thy beautious spouse")Upon a Spider Catching a FlyHuswiferyUpon Wedlock, and Death of Children</p> <p>Philip Freneau (1752-1832)On the Emigration to AmericaThe Wild Honey SuckleThe Indian Burying GroundOn Mr. Paine's Rights of ManTo an AuthorOn Observing a Large Red-Streak Apple</p> <p>Phillis Wheatley (1753-1784)On Being Brought from Africa to AmericaOn the Death of Rev. Mr. George WhitefieldThoughts on the Works of ProvidenceTo S.M., a young African Painter, On Seeing his Works</p> <p>Joel Barlow (1754-1812)Advice to a Raven in Russia</p> <p>Richard Henry Wilde (1789-1847)The Lament of the Captive</p> <p>Lydia Huntley Sigourney (1791-1865)Indian NamesThe StarsTo the First Slave Ship</p> <p>William Cullen Bryant (1794-1878)To Cole, the Painter, Departing from EuropeA Winter PieceThe PrairiesThanatopsisTo a WaterfowlThe African Chief</p> <p>James Gates Percival (1795-1856)The Coral Grove</p> <p>Lydia Maria Child (1802-1880)The New England Boy's Song about Thanksgiving Day</p> <p>Sarah Helen Whitman (1803-1878)The Morning-GloryA November Landscape</p> <p>Ralph Waldo Emerson (1803-1882)Each and AllSea ShoreOde ("Though loath to grieve")Give all to LoveThine Eyes Still ShinedConcord HymnBrahmaFrom the RiverDays</p> <p>Elizabeth Oakes-Smith (1806-1893)Ode to Sappho</p> <p>John Greenleaf Whittier (1807-1892)To my old SchoolmasterTelling the BeesBarbara FrietchieSnow-Bound</p> <p>Henry Wadsworth Longfellow (1807-1882)From The Song of Hiawatha (Introduction)Mezzo CamminThe Jewish Cemetery at NewportThe Cross of SnowSeaweedAfternoon in FebruaryThe Arrow and the SongPaul Revere's Ride</p> <p>Lucretia Davidson (1808-1825)America</p> <p>Oliver Wendell Holmes (1809-1894)The Chambered Nautilus</p> <p>Edgar Allen Poe (1809-1849)To HelenThe City in the SeaSonnet-SilenceThe RavenEl DoradoFor AnnieAnnabel Lee</p> <p>Frances Sargent Osgood (1811-1850)Woman Ellen Learning to WalkAh! Woman Still</p> <p>Christopher Pearse Cranch (1813-1892)Cnosis The Pines and the Sea</p> <p>Jones Very (1817-1862)The ColumbineI was sick and in PrisonThe Lament of the FlowersNatureThe Sumach Leaves</p> <p>Henry David Thoreau (1817-1862)InspirationI am a Parcel of Vain Strivings TiedLight-Winged Smoke, Icarian BirdWithin the Circuit of this Plodding Life</p> <p>William Ellery Channing (1818-1901)From a Poet's Hope</p> <p>James Russell Lowell (1819-1891)To the Dandelion</p> <p>Walt Whitman (1819-1892)One's Self I SingFrom Song of MyselfI Saw in Louisiana a Live-Oak GrowingAs Adam early in the MorningCrossing Brooklyn FerryOut of the Cradle Endlessly RockingWhen I heard the Learn'd AstronomerVigil Strange I Kept on the Field one NightThe Wound-DresserWhen Lilacs Last in the Dooryard Bloom'dA Noiseless Patient Spider</p> <p>Julia Ward Howe (1819-1910)The PortentThe March Into VirginiaA Utalitarian View of the Monitor's FightShilohMalvern HillThe MartyrThe Maldive SharkThe BergArt</p> <p>Alice Cary (1820-1871)The Sea-Side Cave</p> <p>Frederick Goddard Tuckerman (1821-1873)Sonnet ("The starry flower, the flower-like stars that fade")Sonnet ("And so, as this great sphere")The Question</p> <p>Frances E.W. Harper (1825-1911)The Slave AuctionBury Me in a Free LandThe Slave Mother</p> <p>Henry Timrod (1828-1867)CharlestonOde ("Sleep Sweetly in your Humble Graves")</p> <p>Emily Dickinson (1830-1886)"Success is Counted Sweetest""A Wounded deer leaps highest""I felt a funderal in my brain""There's a certain slant of light""I can wade grief""Pain has an element of blank""A bird came down the walk""He fumbles at your spirit""I heard a fly buzz when I died""I started early, took my dog""Because I could not stop for death""A narrow fellow in the grass""The last night that she lived""My life closed twice before its close""Tell all the truth but tell it slant"</p> <p>Helen Hunt Jackson (1830-1885)My LighthousesPoppies on the Wheat</p> <p>Sidney Lanier (1842-1881)Song of the ChattahoocheeA Ballad of Trees and the MasterClover</p> <p>Sarah Orne Jewett (1849-1887)At Home from ChurchA Country Boy in WinterA Caged Bird</p> <p>Emma Lazarus (1849-1887)The New EzekielSouth</p> <p>Louise Imogen Guiney (1861-1920)The Wild RideWhen on the Marge of Evening</p> <p>Edgar Lee Masters (1868-1950)The HillPetit, the PoetThe Lost Orchard</p> <p>Edwin Arlington Robinson (1869-1935)John EvereldownRichard CoryMiniver CheevyMr. Flood's Party</p> <p>Stephen Crane (1871-1900)From The Black Riders (In the Desert)</p> <p>James Weldon Johnson (1871-1938)Oh Black and Unknown Bards</p> <p>Paul Laurence Dunbar (1872-1906)A Negro Love SongEre SLeep Comes Down to Sooth the Weary EyesShips that Pass in the NightLover's LaneThe DebtThe Haunted Oak</p> <p>Trumbull Stickney (1874-1904)Age in YouthPityRequiescamQuiet after the Rain of MorningIn the PastIn AmpezzoThe Departure</p> <p>Amy Lowell (1874-1925)Meeting-House HillMusicChinoiseries</p> <p>Robert Frost (1874-1963)Storm fearMowingHome BurialThe Wood-PileFire and IceStopping by Woods on a Snowy EveningNothing Gold Can StaySpring PoolsDesignThe Gift OutrightThe Silken Tent"Out, Out-"The Subverted FlowerDirective</p> <p>Carl Sandburg (1878-1967)The HarbourChicagoLanguagesBas-ReliefCool TombsGrass</p> <p>Vachel Lindsay (1879-1931)General William Booth Entern into Heaven</p> <p>Wallace Stevens (1879-1955)The Snow ManNomad ExquisiteOf Modern PoetryThirteen Ways of Looking at a BlackbirdSunday MorningAncedote of A JarThe Idea of Order at Key WestFrom Notes Toward A Supreme Fiction (it must be abstract)To an Old Philosopher in RomeFinal Soliloquy of the Interior Paramour</p> <p>William Carlos Williams (1883-1963)Woman WalkingIt is a Small PlantTo a Poor Old WomanThe Sadness of the SeaSpring and allThe Red WheelbarrowThe Young HousewifeTo Ford Madox Ford in HeavenMists over the RiverFrom Paterson (The Falls)</p> <p>Sarah Teasdale (1884-1933)Open WindowsOver the Roofs</p> <p>Ezra Pound (1885-1972)Sestma: AltaforteThe VirginalThe ReturnThe River-Merchant's Wife: A LetterA PactIn a Station of the MetroFrom Hugh Selwyn Mauberley (1: "The tea-rose tea-grown, etc.") (2: "These fought in any way")Canto I ("And then went down to the ship")Canto XLV ("With Usura")</p> <p>"H.D." (Hilda Doolittle) (1886-1961)Pear TreeOreadAt IthacaThe ShrineHelenAt Baia</p> <p>Robinson Jeffers (1887-1962)To the Stone-CuttersNightShine, Perishing RepublicHurt Hawks Rock and HawkBut I am Growing Old and Indolent</p> <p>Elinor Wylie (1887-1928)Wild PeachesLet no Chantable HopeMalediction Upon MyselfCastilian</p> <p>Marianne Moore (1887-1972)The FishPoetryMarriageThe Steeple-JackIn Distrust of MeritsWhen I Buy Pictures</p> <p>John Crowe Ransom (1888-1974)Bells for John Ehiteside's DaughterPiazza PieceBlue GirlsJanet Waking</p> <p>T.S. Eliot (1888-1965)The Love Song of J. Alfred PrufrockGerontionThe Waste Land</p> <p>Conrad Aiken (1889-1973)Dear Uncle StrangerHatteras CallingSolitaire</p> <p>Claude McKay (1890-1948)The LynchingIf We Must DieHarlem Shadows</p> <p>Archibald MacLeish (1892-1983)Ars PoeticaYou, Andrew Marvell</p> <p>Edna St.Vincent Millay (1892-1950)RenascenceFrom: Sonnets from an Ungrafted Tree (1:"So she came back into his house again")The Buck in the SnowFrom: Fatal Interview (36: "Hearing a word, and not a word among them")Ragged Island</p> <p>Charles Reznikoff (1894-1976)From: Testimony</p> <p>Jean Toomer (1894-1967)ReapersNovember Cotton Flower</p> <p>e.e.cummings (1894-1962)"you shall above all things be glad and young""anyone lived in a pretty how town""i sing of Okaf glad and big""my father moved through dooms of love"</p> <p>Louise Bogan (1897-1970)Winter SwanMen Loved Wholly beyond WisdomM., Singing</p> <p>Melvin Beanearus Tolson (1898-1966)African ChinaDark Symphony</p> <p>Hart Crane (1899-1932)Repose of RiversVoyagesFrom: The Bridge (To Brooklyn Bridge)To Emily DickinsonTher Broken Tower</p> <p>Leonie Adams (1899-1988)Lght at EquinoxApril Mortallity</p> <p>Allen Tate (1899-1979)Ode to the Confederate DeadMr. Pope</p> <p>Yvor Winters (1900-1968)Summer Noon: 1941The Slow Pacific Swell</p> <p>Laura Riding Jackson (1901-1991)PrismsHelen's BurningAll Thingshe World and INothing so Far</p> <p>Gwendolyn B. Bennett (1902-1981)To a Dark GirlHeritageHatred</p> <p>Langston Hughes (1902-1967)The Weary BluesThe Negro Speaks of RiversJazzoniaCrossPo' Boy BluesEsthete in HarlemAs I grew OlderTheme for English B</p> <p>Arna Bontemps (1902-1973)A Black Man Talks ReapingNocturne of the WharvesBlightGod Give to Men</p> <p>Countee Cullen (1903-1946)HeritageFrom the Dark TowerTimed Lover</p> <p>Lous Zukofsky (1904-1978)"A"-11 ("River that must turn full after I stop dying")</p> <p>Richard Eberhart (1904-)For a LambTher Fury of Aerial BombardmentA Loon Call</p> <p>Stanley Kunitz (1905-)The Science of the NightThe Snakes of September</p> <p>Robert Penn Warren (1905-1989)Bearded OaksBlow, West WindEvenig HawkHeart of AutumnAmazing Grace in the BAck CountryWhat Voice at Moth-HourVermont Ballad: Change of Season</p> <p>Theodore Roethke (1908-1963)Cuttings ("Sticks-in-a-drowse droop over sugary loam")Cuttings (Later) ("This urge, wrestle, resurrection of dry sticks")Root CellarOrchidsBig WindMy Papa's WaltzElegy for JaneThe Far Field</p> <p>Charles Olson (1910-1970)From: The Maximus Poems, Book III (Poem 143: The Festival Apect)</p> <p>Josephine Miles (1911-1985)BeliefConceptionAlbum</p> <p>Elizabeth Bishop (1911-1979)SeascapeA Cold SpringThe MapLittle ExerciseIn the Waiting RoomThe ArmadilloQuestions of Travel</p> <p>Muriel Rukeyser (1912-1980)IrisThen I Saw What the Calling Was</p> <p>Robert Hayden (1913-1980)Night, Death, MississippiA Road in KentuckyThose Winter SundaysMiddle Passage</p> <p>Delmore Schwartz (1913-1966)The Heavy Bear Who Goes With Me</p> <p>William Stafford (1914-1993)Traveling through the DarkThe Rescued YearAt the Bomb Testing Site</p> <p>John Berryman (1914-1972)From: Homage to Mistress BradstreetFrom: The Dream Songs (1. "Huffy Henry hid the day") (4. "Filling her compact and delicious body') (5. "Henry sats in de bar &amp; was odd") (14. "Life, friends, is boring")Henry's Fate</p> <p>Randall Jarell (1914-1965)The Death of the Ball Turret GunnerThe Knight, Death, and the DevilThe Woman at the Washington Zoo</p> <p>Robert Lowell (1917-1977)The Quaker Graveyard in NantucketMr. Edwards and the SpiderGrandparentsMan and WifeSkunk HourFor the Union DeadHistory</p> <p>Gwendolyn Brooks (1917- )Negro HeroNotes from the Childhood and the GirlhoodJessie Mitchell's MotherOf Robert FrostLangston Hughes</p> <p>Robert Duncan (1919-1988)Often I Am Permitted to Return to MeadowPassage over Water</p> <p>Howard Nemerov (1920-1991)Blue SuburbanThe Western ApproachesThe War in the Air</p> <p>Amy Clampitt (1920-1994)A Baroque Sunburst</p> <p>Mona Van Duyn (1921- )Moose in the Morning. Northern Maine</p> <p>Richard Wilbur (1921- )A Baroque Wall-Fountain in the Villa SciarraStill, Citizen SparrowLove Calls Us to the Things of this WorldMind</p> <p>James Dickey (1923- )The Heaven of AnimalsThe Dusk of HorsesCherrylog Road</p> <p>Anthony Hecht (1923- )JasonThe Gardens of the Villa D'Este</p> <p>Galway Kinnell (1927- )The BearAfter Making Love We Hear footsteps</p> <p>James Wright (1927-1980)Sparrwos in a Hillside DriftMilkweedAutumn Begins in Martins Ferry, OhioLying in a Hammock at Wiliam Duffy's Farm in Pine Island, MinnesotaBeginning</p> <p>Anne Sexton (1928-1974)Music Swims Back to MeThe Truth the Dead KnowThe Starry NightWanting to Die</p> <p>Peter Davison (1928- )Cross Cut</p> <p>Philip Levine (1928- )Animals Are Passing From Our LivesAngel ButcherLater StillBell Isle, 1949SnowBelief</p> <p>John Hollander (1929- )The Great BearMorning in the IslandsThe Mad Potter</p> <p>Robert Pack (1929- )The Trasher in the Willow by the LakeProton Decay</p> <p>Adrienne Rich (1929- )Aunt Jennifer's TigersIn the EveningDiving into the WreckPowerIntegrityTattered Kaddish</p> <p>Gary Snyder (1930- )Mid-August at Sourdough Mountain LookoutAxel HandlesThe Snow on Saddle Mountain</p> <p>Sylvia Plath (1932-1963)Morning SongDaddFever 103"Anel</p> <p>Anne Stevenson (1933- )The Spirit Is Too Blunt an InstrumentIn the Orchard</p> <p>Imamu Amiri Baraka (1934 - )Return of the NativeLegacy</p> <p>Mark Strand (1934- )The KiteThe GardenShooting Whales</p> <p>N.Scoot Momaday (1934-1992)Carners of the Dream WhellWinter Holding odf the Coast of North America</p> <p>Audre Lorde (1935- )The Night-blooming Jasmine</p> <p>Mary Oliver (1935- )Some Questios You Might AskWhen Death Comes</p> <p>Charles Wright (1935- )Virgo DescendingSnowStone Canyon NocturneSitting at Night on the Front PorchPorstriat of the Artist with La PoCalifornia Spring</p> <p>Nancy Williard (1936- )Angels in Winter</p> <p>Charles Simic (1838- )ForkAgainst Whatever It is That's EncroachingAncient AutumnClouds Gathering</p> <p>Robert Pinsky (1940- )First Early Mornings TogetherSerpent KnowledgeThe QuestionsShirt</p> <p>Erica Jong (1941- )The Buddha in the Womb</p> <p>Robert Hass (1941- )Meditation at Lagunitas</p> <p>Simon J. Ortiz (1941- )The Creation: According to CoyoteThe Serenity in Stones</p> <p>Dave Smith (1942- )The Roundhouse VoicesAugust, on the Rented Farm</p> <p>Marilyn Hacker (1942- )Rondeau after a Transatlantic Telephone Call</p> <p>James Tate (1942- )The Lost Pilot</p> <p>Louise Glueck (1943- )The PondThe School ChildrenMessengersMount AraratThe Wild Iris</p> <p>AcknowledgmentsIndex of AuthorsIndex of Titles and First Lines</p> <p> Columbia University Press</p><article> <h4>New York Times Book Review</h4><p>The Columbia Anthology of American Poetry interrogates the poetic tradition of the United States and dismantles it in a manner that encourages readers to reassemble that tradition in new and provocative ways.</p> </article> <article> <h4>Harvard Review</h4>Rich in pleasures . . . In a bright-indeed, brilliant-introduction, Parini supplies a whirlwind tour of American poetry. </article><article> <h4>Catharine R. Stimpson</h4>Like poetry or dislike it, use and enjoy the new <i>Columbia History of American Poetry.</i> There are riches here for all intellects and imaginations. </article> <article> <h4>Library Journal</h4>The recent torrent of specialized anthologies spotlighting individual styles, ethnicities, periods, and themes argues for at least one new omnibus that embraces the 400-year spectrum of American poetry with ecumenism. Ranging from Anne Bradstreet to Louise Glck, editor Parini aims to represent "the main schools of poetry that have co-existed in the United States...in proportion to their influence," including more poetry by women and minorities "than one generally finds" in older anthologies. One grants him the latter assertion prima facie-pieces by neglected poets like Lone Adams and Claude McKay are welcome-but the former claim, vague as it is, invites debate, especially since the 20th-century selections seem unduly constrained by a bland, university-press conservatism. How else can one explain the presence of academic contemporaries Dave Smith and Robert Pack at the expense of important avant-garde influences such as George Oppen and William Everson? Or accept Anne Stevenson in the absence of Barbara Guest? The familiar essentials aside, such questionable inclusions and omissions render American poetry in a dimmer light than it deserves. Recommended for large collections only.-Fred Muratori, Cornell Univ. Lib., Ithaca, N.Y. </article> <article> <h4>Booknews</h4>To the canonical poets, from the colonial to the contemporary, Parini has added a welcome collection of 19th- and 20th-century poetry by women, Native Americans, and African Americans (including a solid representation of the Harlem Renaissance). Cavils will no doubt follow from the narrow-minded and the mean-spirited, but this is the anthology to own in our time. Essential for every collection. (RC) Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
265New Playwrights: The Best Plays of 2008Lawrence Harbison0Lawrence Harbison (Editor), John Carianinew-playwrightslawrence-harbison97815752561841575256185$19.95PaperbackSmith & Kraus, Inc.February 2009Drama Anthologies, American Drama, American Literature Anthologies3845.40 (w) x 8.40 (h) x 0.80 (d)No one I think can disagree that the theatrical season 2007-2008 was one of the strongest in terms of new plays in recent memory. Amazingly, more than a handful escaped the critics' clutches, though some fine new plays deserved better than the drubbing they received. One thinks of Theresa Rebeck's Mauritius, Stephen Adly Guirgis's The Little Flower of East Orange, and Roberto Aguirre-Sacasa's Good Boys and True-though none of these excellent plays would have made this book, as none are by new playwrights. Of the plays included herein, only one was produced outside New York. Usually, I try to include at least three plays produced by regional theaters. This year I read several, but I just couldn't get as worked up about them as I did the plays I selected. It was also a good year for comedy, lately generally unwelcome on our stages unless it's dark, satiric, and cynical. It is hard for me, usually, to find comedies worthy of inclusion in my new playwrights book. Not this year! <p><i>The Butcher of Baraboo, Election Day</i>, and <i>Spain</i> are comedies. The first two plays were produced by Second Stage as part of their summer series. <i>The Butcher of Baraboo</i> is about a small-town woman whose husband has disappeared under mysterious circumstances, and the town gossips suspect that she done it. <i>Election Day</i> is about a local mayoral election and examines with amusing dexterity why we vote the way we do. <i>Spain</i> was produced Off Broadway by MCC at the Lucille Lortel Theatre. It's about a young woman who believes that there's a sixteenth-century Spanish conquistador in her living room. <i>Harvest</i> is a touching drama about a farmer who refuses to give up his farm, even ashe is going under. He manages to hold onto his farm but not his wife, who didn't bargain for a life of poverty and struggle. <i>Neighborhood 3: Requisition of Doom</i> is a drama about a group of teenagers in a suburban neighborhood obsessed with an online video game set in their community, who come to believe that they are being invaded by aliens from outer space-who look suspiciously like their parents. It was produced to acclaim by Actors Theatre of Louisville at their 2008 Humana Festival and subsequently at the 2008 Summer Play Festival in New York. <i>100 Saints You Should Know</i> comes to us from Playwrights Horizons and is about a single mom looking for something to believe in and a Catholic priest who has decided to leave the church as he has lost his faith. <i>Unconditional</i> was produced by LAByrinth Theater Company at The Public Theater. Of its three disparate stories, the central one is about a human resources worker who becomes enraged when he is laid off after many years on the job and just a short while from retirement and the pension he was counting on.</p> <p>All these plays represent the best of American playwriting. I hope you like them as much as I do, but more important, I hope you produce them!</p> <p>-Lawrence Harbison<br> Brooklyn, New York</p><p>No one I think can disagree that the theatrical season 2007-2008 was one of the strongest in terms of new plays in recent memory. Amazingly, more than a handful escaped the critics' clutches, though some fine new plays deserved better than the drubbing they received. One thinks of Theresa Rebeck's Mauritius, Stephen Adly Guirgis's The Little Flower of East Orange, and Roberto Aguirre-Sacasa's Good Boys and True-though none of these excellent plays would have made this book, as none are by new playwrights. Of the plays included herein, only one was produced outside New York. Usually, I try to include at least three plays produced by regional theaters. This year I read several, but I just couldn't get as worked up about them as I did the plays I selected. It was also a good year for comedy, lately generally unwelcome on our stages unless it's dark, satiric, and cynical. It is hard for me, usually, to find comedies worthy of inclusion in my new playwrights book. Not this year!<P><I>The Butcher of Baraboo, Election Day</I>, and <I>Spain</I> are comedies. The first two plays were produced by Second Stage as part of their summer series. <I>The Butcher of Baraboo</I> is about a small-town woman whose husband has disappeared under mysterious circumstances, and the town gossips suspect that she done it. <I>Election Day</I> is about a local mayoral election and examines with amusing dexterity why we vote the way we do. <I>Spain</I> was produced Off Broadway by MCC at the Lucille Lortel Theatre. It's about a young woman who believes that there's a sixteenth-century Spanish conquistador in her living room. <I>Harvest</I> is a touching drama about a farmer who refuses to give up his farm, even ashe is going under. He manages to hold onto his farm but not his wife, who didn't bargain for a life of poverty and struggle. <I>Neighborhood 3: Requisition of Doom</I> is a drama about a group of teenagers in a suburban neighborhood obsessed with an online video game set in their community, who come to believe that they are being invaded by aliens from outer space-who look suspiciously like their parents. It was produced to acclaim by Actors Theatre of Louisville at their 2008 Humana Festival and subsequently at the 2008 Summer Play Festival in New York. <I>100 Saints You Should Know</I> comes to us from Playwrights Horizons and is about a single mom looking for something to believe in and a Catholic priest who has decided to leave the church as he has lost his faith. <I>Unconditional</I> was produced by LAByrinth Theater Company at The Public Theater. Of its three disparate stories, the central one is about a human resources worker who becomes enraged when he is laid off after many years on the job and just a short while from retirement and the pension he was counting on.<P>All these plays represent the best of American playwriting. I hope you like them as much as I do, but more important, I hope you produce them!<P>-Lawrence Harbison<br>Brooklyn, New York</p>
266The Jazz Poetry AnthologySascha Feinstein0Sascha Feinstein, Yusef Komunyakaathe-jazz-poetry-anthologysascha-feinstein97802532063740253206375$19.34PaperbackIndiana University PressJune 19911Poetry Anthologies, Poetry - General & Miscellaneous, American Poetry, American Literature Anthologies3206.12 (w) x 9.23 (h) x 1.00 (d)<p>"... in a class by itself... sensitive, moving, and powerful jazz imagery... the perfect companion to listening to good jazz." —Jazziz Magazine</p> <p>"In the course of the history of jazz, there have been only a few articles that get to the core of the meaning of jazz. These poems hit it right on the head, and the book is certainly essential for anyone who is interested in our music." —Dizzy Gillespie</p> <p>"To those interested in the impact of jazz upon the poetry of our century I recommend this anthology altogether without reservation." —John Lucas, JazzTimes</p> <p>"... essential... Its virtues are varied and copious, and not the least among them is discovering a writer whose work is new to you." —Los Angeles Reader</p> <p>"What makes this work most enjoyable is knowing the music and musicians and using that knowledge to understand and judge the poets’ reactions to the elements in the music that please and inspire us." —MultiCultural Review</p> <p>"Filled with a variety of form, rhythm, and sound, this anthology is an absolute MUST for anyone who is even remotely interested in jazz and modern literature." —David Baker</p> <p>Since the turn of the century, poets have responded to jazz in all its musical and cultural overtones. The poems here cover the range of jazz itself: from early blues to free jazz and experimental music. Among the 132 poets included are James Baldwin, Lawrence Ferlinghetti, Langston Hughes, Jack Kerouac, Mina Loy, Ishmael Reed, and Sonia Sanchez. This anthology represents the broad appreciation for jazz as poetic inspiration, not only from the Beat movement but from writers across the decades and around the world.</p><p><P>"... in a class by itself... sensitive, moving, and powerful jazz imagery... the perfect companion to listening to good jazz." &#151; Jazziz Magazine<P>"In the course of the history of jazz, there have been only a few articles that get to the core of the meaning of jazz. These poems hit it right on the head, and the book is certainly essential for anyone who is interested in our music." &#151; Dizzy Gillespie<P>"To those interested in the impact of jazz upon the poetry of our century I recommend this anthology altogether without reservation." &#151; John Lucas, JazzTimes<P>"... essential... Its virtues are varied and copious, and not the least among them is discovering a writer whose work is new to you." &#151; Los Angeles Reader<P>"What makes this work most enjoyable is knowing the music and musicians and using that knowledge to understand and judge the poets' reactions to the elements in the music that please and inspire us." &#151; MultiCultural Review<P>"Filled with a variety of form, rhythm, and sound, this anthology is an absolute MUST for anyone who is even remotely interested in jazz and modern literature." &#151; David Baker<P>Since the turn of the century, poets have responded to jazz in all its musical and cultural overtones. The poems here cover the range of jazz itself&#58; from early blues to free jazz and experimental music. Among the 132 poets included are James Baldwin, Lawrence Ferlinghetti, Langston Hughes, Jack Kerouac, Mina Loy, Ishmael Reed, and Sonia Sanchez. This anthology represents the broad appreciation for jazz as poetic inspiration, not only from the Beat movement but from writers across the decades and around the world.</p><h3>Library Journal</h3><p>While individual poets have often been linked to jazz, this music's influence on 20th-century writing has rarely been seen in perspective. Unfortunately, this first large-scale international attempt to explore the relationship between the two forms disappoints. Some 132 poets are arranged alphabetically. Among them are Sterling A. Brown, Robert Creeley, Lawrence Ferlinghetti, Langston Hughes, Carl Sandburg, and Leopold Senghor. The selection, however, is both too inclusive and too diverse. Dana Goia describes Bix Beiderbecke, but his stilted lines conflict with the music's rhythms; Heather McHugh's formal approach feels equally superficial. Individual poems seldom interact to form a larger statement; the ``music appendix,'' historically situating these selections, might have been a better organizational device. The statement of poetics, gathered from less than half the poets, are this volume's most valuable asset.-- Rochelle Ratner, formerly Poetry Editor, ``Soho Weekly News,'' New York</p><article> <h4>Library Journal</h4>While individual poets have often been linked to jazz, this music's influence on 20th-century writing has rarely been seen in perspective. Unfortunately, this first large-scale international attempt to explore the relationship between the two forms disappoints. Some 132 poets are arranged alphabetically. Among them are Sterling A. Brown, Robert Creeley, Lawrence Ferlinghetti, Langston Hughes, Carl Sandburg, and Leopold Senghor. The selection, however, is both too inclusive and too diverse. Dana Goia describes Bix Beiderbecke, but his stilted lines conflict with the music's rhythms; Heather McHugh's formal approach feels equally superficial. Individual poems seldom interact to form a larger statement; the ``music appendix,'' historically situating these selections, might have been a better organizational device. The statement of poetics, gathered from less than half the poets, are this volume's most valuable asset.-- Rochelle Ratner, formerly Poetry Editor, ``Soho Weekly News,'' New York </article>
267New Playwrights: The Best Plays of 2006D. L. Lepidus0<p>D. L. LEPIDUS is a freelance critic and editor who has covered the New York theater scene for more than twenty-five years.<p></p>D. L. Lepidus (Editor), Chungmi Kimnew-playwrightsd-l-lepidus97815752555901575255596$19.95PaperbackSmith & Kraus, Inc.January 2007Drama Anthologies, American Drama, American Literature Anthologies3935.40 (w) x 8.40 (h) x 1.00 (d)The latest in this prestigious series, this enticing anthology contains seven amazing new plays by new playwrights, including: Almost, Maine John Cariani. Suite of interrelated short comedies about the unforgettable denizens of a tiny town in Maine. A hit Off-Broadway at the Daryl Roth Theatre. War in Paramus Barbara Dana. Realistic drama about a troubled teenaged girl in a New Jersey family during the Vietnam era. Off-Broadway success directed by Austin Pendleton at Abingdon Theatre Co. Bulrusher Eisa Davis. Inventive and poetic drama about a mysterious California orphan. Produced Off-Broadway by Urban Stages. Indoor/Outdoor Kenny Finkle. Hilarious and poignant comedy about the travails of a house cat named Samantha. Originally produced by the Hangar Theatre. Subsequently an Off-Broadway success at the DR2 Theatre. Cowboy Versus Samurai Michael Golamco. Delightful comedy about the only two Asian-American guys in a small town in Wyoming and what happens when the first Asian-American woman arrives there to live. Produced Off-Broadway by National Asian American Theatre Co. In the Continuum Danai Gurira and Nikkole Salter. Off-Broadway success about several American and African woman dealing with the reality of AIDS In their lives. Originally produced off-Broadway at Primary Stages, then transferred for a successful commercial run Off-Broadway and has toured all over the world. Six Years Sharr White. Compelling drama from the Humana Festival that follows the lives of a husband and wife from just after the Second World War up into the Vietnam era.<p>The latest in this prestigious series, this enticing anthology contains seven amazing new plays by new playwrights, including: Almost, Maine John Cariani. Suite of interrelated short comedies about the unforgettable denizens of a tiny town in Maine. A hit Off-Broadway at the Daryl Roth Theatre. War in Paramus Barbara Dana. Realistic drama about a troubled teenaged girl in a New Jersey family during the Vietnam era. Off-Broadway success directed by Austin Pendleton at Abingdon Theatre Co. Bulrusher Eisa Davis. Inventive and poetic drama about a mysterious California orphan. Produced Off-Broadway by Urban Stages. Indoor/Outdoor Kenny Finkle. Hilarious and poignant comedy about the travails of a house cat named Samantha. Originally produced by the Hangar Theatre. Subsequently an Off-Broadway success at the DR2 Theatre. Cowboy Versus Samurai Michael Golamco. Delightful comedy about the only two Asian-American guys in a small town in Wyoming and what happens when the first Asian-American woman arrives there to live. Produced Off-Broadway by National Asian American Theatre Co. In the Continuum Danai Gurira and Nikkole Salter. Off-Broadway success about several American and African woman dealing with the reality of AIDS In their lives. Originally produced off-Broadway at Primary Stages, then transferred for a successful commercial run Off-Broadway and has toured all over the world. Six Years Sharr White. Compelling drama from the Humana Festival that follows the lives of a husband and wife from just after the Second World War up into the Vietnam era.<p></p><h3>Larry Schwartz - Library Journal</h3><p><P>Reading a new play is not as exciting as seeing the first production, but there's still a frisson when the cover is turned-and the added benefit that frustration does not require leaving at intermission but just hurling the book aside. Alas, the latest collection of plays from the Humana Festival met the floor several times. Except for Eric Coble's <i>Natural Selection</i>, Adam Bock's <i>Three Guys and a Brenda</i>, and Sharr White's <i>Six Years</i>(also included in <i>New Playwrights</i>), the works are disappointing. <i>Natural Selection</i>, set at a time when the world outdoors is viewed with fear and suspicion, is funny and off balance-a sort of sequel to Thornton Wilder's <i>The Skin of Our Teeth. Three Guys</i>bends gender like a damp willow branch (a theme also taken up with some subtlety by Jordan Harrison's <i>Act a Lady</i>). <i>Six Years</i>tracks the integration, disintegration, and reintegration (maybe) of the marriage of Phil and Meredith. It's deeply disturbing, tragic, and moving and would make for a very satisfying night at the theater.</P><P>Lepidus brings forth the ninth volume of Smith &amp; Kraus's "Best Plays" series, and it's mighty fine. The seven works are all full-length plays, and every one of them deserves production-from university theater to community theater to professional companies. The common theme among these works seems to be outsiders seeking love. Michael Golamco's <i>Cowboy Versus Samurai</i>, about three (and the only) Asians in a Wyoming town, speaks at operatic intensity to the "only" out there, wherever they are. And then there's John Cariani's <i>Almost, Maine</i>, a wonderful play made up of four actors, 19 roles, 11 interconnectedscenes, a rural setting, love in the air, and shooting stars. If your library has the run of the series to which these volumes belong, there's no reason not to get the latest issue. <i>New Playwrights</i>is strongly recommended for academic and public libraries; <i>Humana Festival 2006</i>would be better appreciated by theater departments in an academic setting.</p>Almost, Maine John Cariani. Suite of interrelated short comedies about the unforgettable denizens of a tiny town in Maine. A hit Off-Broadway at the Daryl Roth Theatre.<br>War in Paramus Barbara Dana. Realistic drama about a troubled teenaged girl in a New Jersey family during the Vietnam era. Off-Broadway success directed by Austin Pendleton at Abingdon Theatre Co.<br>Bulrusher Eisa Davis. Inventive and poetic drama about a mysterious California orphan. Produced Off-Broadway by Urban Stages.<br>Indoor/Outdoor Kenny Finkle. Hilarious and poignant comedy about the travails of a house cat named Samantha. Originally produced by the Hangar Theatre. Subsequently an Off-Broadway success at the DR2 Theatre.<br>Cowboy Versus Samurai Michael Golamco. Delightful comedy about the only two Asian-American guys in a small town in Wyoming and what happens when the first Asian-American woman arrives there to live. Produced Off-Broadway by National Asian American Theatre Co.<br>In the Continuum Danai Gurira and Nikkole Salter. Off-Broadway success about several American and African woman dealing with the reality of AIDS In their lives. Originally produced off-Broadway at Primary Stages, then transferred for a successful commercial run Off-Broadway and has toured all over the world.<br>Six Years Sharr White. Compelling drama from the Humana Festival that follows the lives of a husband and wife from just after the Second WorldWar up into the Vietnam era.<p><article> <h4>Library Journal</h4><p>Reading a new play is not as exciting as seeing the first production, but there's still a frisson when the cover is turned-and the added benefit that frustration does not require leaving at intermission but just hurling the book aside. Alas, the latest collection of plays from the Humana Festival met the floor several times. Except for Eric Coble's <i>Natural Selection</i>, Adam Bock's <i>Three Guys and a Brenda</i>, and Sharr White's <i>Six Years</i>(also included in <i>New Playwrights</i>), the works are disappointing. <i>Natural Selection</i>, set at a time when the world outdoors is viewed with fear and suspicion, is funny and off balance-a sort of sequel to Thornton Wilder's <i>The Skin of Our Teeth. Three Guys</i>bends gender like a damp willow branch (a theme also taken up with some subtlety by Jordan Harrison's <i>Act a Lady</i>). <i>Six Years</i>tracks the integration, disintegration, and reintegration (maybe) of the marriage of Phil and Meredith. It's deeply disturbing, tragic, and moving and would make for a very satisfying night at the theater.</p> <p>Lepidus brings forth the ninth volume of Smith &amp; Kraus's "Best Plays" series, and it's mighty fine. The seven works are all full-length plays, and every one of them deserves production-from university theater to community theater to professional companies. The common theme among these works seems to be outsiders seeking love. Michael Golamco's <i>Cowboy Versus Samurai</i>, about three (and the only) Asians in a Wyoming town, speaks at operatic intensity to the "only" out there, wherever they are. And then there's John Cariani's <i>Almost, Maine</i>, a wonderful play made up of four actors, 19 roles, 11 interconnectedscenes, a rural setting, love in the air, and shooting stars. If your library has the run of the series to which these volumes belong, there's no reason not to get the latest issue. <i>New Playwrights</i>is strongly recommended for academic and public libraries; <i>Humana Festival 2006</i>would be better appreciated by theater departments in an academic setting.<br> —Larry Schwartz</p> </article>
268The Last Best Place: A Montana AnthologyWilliam Kittredge0William Kittredge (Editor), Annick Smiththe-last-best-placewilliam-kittredge97802959697490295969741$26.56PaperbackUniversity of Washington PressJune 2003American Literature Anthologies11585.87 (w) x 9.46 (h) x 2.58 (d)The Last Best Place includes over 230 stories, poems, reminiscences, and reports written by 140 men and women. The book is divided into eight sections with introductory essays by William Bevis, Mary Blew, William Kittredge, William Lang, Richard Roeder, Annick Smith, and James Welch.<br> <p>This collection of vivid and compelling literature ranges across Montana's literary landscape in descriptions of explorers' discoveries, stories from mining and agricultural frontiers, and powerful memoirs from Native Americans, as well as unforgettable images created by contemporary writers. </p><p>The Last Best Place includes over 230 stories, poems, reminiscences, and reports written by 140 men and women. The book is divided into eight sections with introductory essays by William Bevis, Mary Blew, William Kittredge, William Lang, Richard Roeder, Annick Smith, and James Welch.<br></p><h3>Booknews</h3><p>Montana's literary landscape in descriptions of explorers' discoveries, stories from the mining and agricultural frontiers, and memoirs from Native Americans. Includes writers Meriwether Lewis and William Clark, Charlie Russell, Wallace Stegner, Dorothy Johnson, A.B. Guthrie, Jr. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><article> <h4>Booknews</h4>Montana's literary landscape in descriptions of explorers' discoveries, stories from the mining and agricultural frontiers, and memoirs from Native Americans. Includes writers Meriwether Lewis and William Clark, Charlie Russell, Wallace Stegner, Dorothy Johnson, A.B. Guthrie, Jr. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
269A Place Apart: A Cape Cod ReaderRobert Finch0<p><b>Robert Finch</b> is the author of five collections of essays and co-editor of <b>The Norton Book of Nature Writing</b>. He broadcasts a weekly commentary on NPR and serves on the faculty of the MFA in Writing Program at Spalding University in Louisville, KY. He lives in Wellfleet, MA.</p>Robert Fincha-place-apartrobert-finch97808815085980881508594$21.95PaperbackCountryman Press, TheJune 2009OriginalLiterary Collections, American<p><b>A Place Apart</b> features essays and firsthand accounts of notable experiences throughout Cape Cod, including native Wampanoag creation myths; eyewitness accounts of the landing of the Pilgrims in 1620; candid stories of early life in the Old Colony; fascinating and often-harrowing accounts of the whaling and fishing industries; and so much more.</p>
270Prison Writings in 20th-Century AmericaH. Bruce Franklin0<p>Tom Wicker covered American politics at <b>The New York Times</b> from 1960 to the early 1990s, when he succeeded Arthur Krock as writer of the “In the Nation” column. He is the author of several books of nonfiction, including <b>One of Us: Richard Nixon and the American Dream</b>, and <b>JFK and LBJ</b>, as well as several novels.</p>H. Bruce Franklin, Tom Wickerprison-writings-in-20th-century-americah-bruce-franklin97801402730520140273050$16.34PaperbackPenguin Group (USA) IncorporatedJune 1998Prisons & Prison Life, American Literature Anthologies3685.15 (w) x 7.80 (h) x 0.83 (d)<p>"Harrowing in their frank detail and desperate tone, the selections in this anthology pack an emotional wallop...Should be required reading for anyone concerned about the violence in our society and the high rate of recidivism."—<i>Publishers Weekly</i>. Includes work by: Jack London, Nelson Algren, Chester Himes,Jack Henry Abbott, Robert Lowell, Malcolm X, Mumia Abu-Jamal, and Piri Thomas.</p><p>This unique collection dramatizes the history of the modern American prison and offers a harrowing vision of prison life in America today. H. Bruce Franklin, a leading authority on American prison writing, has gathered more than sixty selections from some of the most powerful works - memoirs, stories, novels, poemswritten in the last hundred years.</p><h3>Publishers Weekly</h3><p>Harrowing in their frank detail and desperate tone, the more than 60 selections in this anthology of writings about the prison experience in America pack an emotional wallop. According to Wicker's outspoken foreword, "prisons and the violence and despair they symbolize... are a blot on American life and history." The U.S. penal system contains a population greater than that of New Hampshire, and even the pretense of rehabilitation was long ago subsumed by the need to punish. Beginning with accounts of the victims of Jim Crow and Black Code laws in the segregationist South and going through the contemporary journalism of Dannie Martin and Mumia Abu-Jamal, these views from behind the bars should be required reading for anyone concerned about the violence in our society and the high rate of recidivism. Franklin, in his introduction, argues that the institution of slavery has its modern counterpart in penal servitude While he sometimes seems stuck in the clichs of a New Left rhetoric, he has done a fine job of rediscovering the prison writers of the 1920s (a period of real flowering among convict writers, supported by H.L. Mencken's American Mercury magazine) like Jim Tully, Chester Himes and Ernie Booth. In this context, the more famous works of writers such as Nelson Algren, Malcolm X and Jack Henry Abbot, gain a fuller resonance. The book also highlights writers, like Piri Thomas, who are alive today but neglected. If the test of an anthology is whether it makes the reader want to pursue the works of the authors it presents, this provocative volume definitely qualifies. (June)</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autobiography of an Imprisoned Peon (1904)</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Songs of the Prison Plantation</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Go Down Old Hannah"</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Midnight Special"</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Easy Rider"</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"'Pinched': A Prison Experience" and "The Pen: Long Days in a County Penitentiary" (1907)</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from My Life in Prison (1912)</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Cell Mates" (1920)</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Crime and Criminals (1921)</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A California Holiday" (1928)</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Ladies in Durance Vile" (1931)</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"To What Red Hell?" (1934)</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"El Presidente de Mejico" (1947)</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Memories of West Street and Lepke" (1959)</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Autobiography of Malcolm X (1965)</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Soledad Brother (1970)</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Naked Soul of Iceberg Slim (1971)</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Formula for Attica Repeats" (1974)</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Seven Long Times (1974)</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from In the Belly of the Beast (1981)</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Assata (1987)</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from On the Yard (1967)</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Warden Said to Me the Other Day" (1968)</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hard Rock Returns to Prison from the Hospital for the Criminal Insane" (1968)</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"For Freckle-Faced Gerald" (1968)</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Quarry/Rock: A Reality Poem in the Tradition of Genet" (1969)</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Always We Watch Them" (1970)</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Shakedown & More" (1971)</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In Santa Cruz" (1972)</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Gone One" (1973)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Sestina to San Quentin" (1973)</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Poetry" (1973)</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Who's Bitter?" (1973)</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Spring" (1975)</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Confessions of a Jailhouse Lawyer" (1975)</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Lower Court" (1979)</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"35 Years a Correctional Officer" (1979)</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Being Counted" (1979)</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The New Warden" (1979)</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The County Jail" (1979)</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Applied for the Board" (1982)</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Easy to Kill" (1975)</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Bus Ride" (1983)</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Little Boy Blue (1981)</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%">280</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from House of Slammers (1983)</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Of Cold Places" (1984)</TD><TD WIDTH="10%" ALIGN="RIGHT">292</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Autumn Yard" (1985)</TD><TD WIDTH="10%" ALIGN="RIGHT">292</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"First Day of Hanukkah" (1986)</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sing Soft, Sing Loud" (1989)</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Notes from the Country Club (1993)</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Diamond Bob" (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Blues Merchant" (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Nobody's Hoss" (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">322</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Barracuda and Sheryl" (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">324</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Shing-a-Ling and China" (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">324</TD><TR><TD WIDTH="20%">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Our Skirt" (1997)</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Call" (1997)</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD><TR><TD WIDTH="20%">337</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"AIDS: The View from a Prison Cell" (1986)</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Prescription for Torture" (1990)</TD><TD WIDTH="10%" ALIGN="RIGHT">341</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Mount Everest of Time" (1990)</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%">350</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"B-Block Days and Nightmares" (1990)</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Skeleton Bay" (1993)</TD><TD WIDTH="10%" ALIGN="RIGHT">354</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Already Out of the Game" (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">356</TD><TR><TD WIDTH="20%">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Past Present" (1992)</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD></TABLE><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Harrowing in their frank detail and desperate tone, the more than 60 selections in this anthology of writings about the prison experience in America pack an emotional wallop. According to Wicker's outspoken foreword, "prisons and the violence and despair they symbolize... are a blot on American life and history." The U.S. penal system contains a population greater than that of New Hampshire, and even the pretense of rehabilitation was long ago subsumed by the need to punish. Beginning with accounts of the victims of Jim Crow and Black Code laws in the segregationist South and going through the contemporary journalism of Dannie Martin and Mumia Abu-Jamal, these views from behind the bars should be required reading for anyone concerned about the violence in our society and the high rate of recidivism. Franklin, in his introduction, argues that the institution of slavery has its modern counterpart in penal servitude While he sometimes seems stuck in the clichs of a New Left rhetoric, he has done a fine job of rediscovering the prison writers of the 1920s (a period of real flowering among convict writers, supported by H.L. Mencken's American Mercury magazine) like Jim Tully, Chester Himes and Ernie Booth. In this context, the more famous works of writers such as Nelson Algren, Malcolm X and Jack Henry Abbot, gain a fuller resonance. The book also highlights writers, like Piri Thomas, who are alive today but neglected. If the test of an anthology is whether it makes the reader want to pursue the works of the authors it presents, this provocative volume definitely qualifies. (June) </article> <article> <h4>Beverly\ Gage</h4>I'd rather read one page by a man who had been in Hell than all of Dante," writer Jim Tully once intoned. If any single ideal necessitates an anthology like <i>Prison Writing in 20th-Century America</i>, it's this belief that personal experience inspires uniquely powerful literature. By their own accounts, each of the three dozen authors excerpted in this new collection has taken a trip to hell by way of prison -- and lived to write about it. Their vigorous and often surprising stories, essays and poems indict as well as humanize the taxpayer-funded underworld of the American criminal justice system. <p>As defined here by editor H. Bruce Franklin, the term "prison writing" includes anything written by a prisoner about prison -- often but not always written in prison. As Franklin notes in his introduction, this definition excludes much of what is written behind bars. O. Henry, for instance, wouldn't be considered a "prison writer" although he honed his skills at the Ohio State Penitentiary. On the whole, however, the anthology's criteria yield a remarkable variety of pieces from the famous once-incarcerated: Jack London, who spent a month behind bars for vagabondage; Robert Lowell, who did a year for resisting the World War II draft; Malcolm X, who got seven years for burglary; and Nelson Algren, who cooled his heels for a month after stealing a typewriter. The range, style and substance even among these four almost obscures the fact that they're all writing about the same basic institution. Lowell, for instance, offers a quietly beautiful account of the execution of a prisoner: "Flabby, bald, lobotomized,/he drifted in a sheepish calm,/where no agonizing reappraisal/jarred his concentration on the electric chair." By contrast, Malcolm X polemicizes against prison's inhumanity: "Any person who claims to have deep feeling for other human beings should think a long, long time before he votes to have other men kept behind bars -- caged."</p> <p>While the more famous authors generally live up to their reputations, much of the most creative and insightful writing in the collection can be found in the works of the less well-established. Iceberg Slim (Robert Beck) offers a scorchingly complex portrait of a newly politicized pimp who's trying to quit the life without angering his ex-whore: "She didn't know I was determined not to join that contemptible group of aging pimps I had seen through the years and pitied as they went their pathetic way with a wild dream of new glory and a big fast stable of young freak mud kickers."</p> <p>Like Slim and many of the other authors in the anthology, Patricia McConnel explores the private fantasies that are the stuff of survival behind bars. In "Sing Soft, Sing Loud," McConnel invokes a prisoner's dream of "all them alkies and junkies and hookers and boosters raising the jailhouse roof with song ... Of course I know not even all of us singing at the top of our lungs woulda changed a goddam thing in that goddam jail, but it tickles me to think of it."</p> <p>For all of the importance of a collection like this, though, there's something disorienting about reading any single work as an example of "prison writing." The label -- for better and for worse -- changes the work. Lowell's <i>Memories of West Street and Lepke</i> read in the context of a dozen Lowell poems, for instance, is an entirely different creature from that same poem read alongside other works on prison or on draft resistance. Similarly, <i>The Autobiography of Malcolm X</i> read as a prison work is different from <i>The Autobiography of Malcolm X</i> read as autobiography.</p> <p>On an individual level, it is a gross underestimation of these authors' talents to label them simply "prison writers," subtly implying that their personal experience of prison is the most important aspect of their work. Yet the anthology itself is undeniably powerful. The combined eloquence of these authors evokes the eternal sameness and the vast diversity of prison experience as no single author could. As Tom Wicker points out in the book's foreword, prisons are meant "to keep us out as well as them in." <i>Prison Writing in 20th-Century America</i> allows us all a chance to peer inside -- and to decide whether we like what we see. --<i>Salon</i> Sept. 1, 1998</p> </article>
271The Color of Gratitude: And Other Spiritual SurprisesRobert Morneau0Robert Morneauthe-color-of-gratituderobert-morneau97815707584611570758468$12.74PaperbackOrbis BooksSeptember 2009Poetry, Inspirational & Religious1685.50 (w) x 8.22 (h) x 0.34 (d)
272I Thought My Father Was God: And Other True Tales from NPR's National Story ProjectPaul Auster0<p>Paul Auster's unique novels are often like Chinese boxes, continually opening further to reveal new layers. He approaches his writing as he has approached his life, to an extent: as something of a nomad in a perpetually changing, mysterious landscape.</p>Paul Auster, Paul Austeri-thought-my-father-was-godpaul-auster97800608741170060874112$34.95Compact DiscHarperCollins PublishersSeptember 2005AbridgedLiterary Collections<p>A truly captivating collection of 180 real stories written by NPR radio listeners&#151;stories that, in editor Paul Auster's words, defy "our expectations about the world and reveal[ed] the mysterious and unknowable forces at work in our lives." <P>Annotation &copy; Book News, Inc., Portland, OR</p><h3>Book Magazine</h3><p>Two years ago, on National Public Radio's "Weekend All Things Considered," Auster introduced the National Story Project. In an attempt "to put together an archive of facts, a museum of American reality," he welcomed anyone to submit a story, following two rules: it must be true and it must be short. This book collects 179 stories-Auster calls them "reports from the frontlines of personal experience"-picked from over 4,000 entries. There is the unassuming yet beautiful portrait of a summer afternoon in a 1960s Manhattan neighborhood; the story of a man given leave after fifteen years in prison to attend his grandmother's funeral; and a homeless woman's account of her living situation. There are impossible coincidences, eerie omens and visions, and tales of love and war and family and death. <BR> Ted Waitt <BR> <BR></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Chicken</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rascal</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Yellow Butterfly</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Python</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pooh</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New York Stray</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pork Chop</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">B</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Loves</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rabbit Story</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carolina</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Andy and the Snake</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blue Skies</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Exposure</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vertigo</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Star and Chain</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Radio Gypsy</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Bicycle Story</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandmother's China</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bass</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother's Watch</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Case Closed</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Photo</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">MS. Found in an Attic</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tempo Primo</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lesson Not Learned</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Family Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Rocking Chair</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Unicycle</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moccasins</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Striped Pen</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Doll</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Videotape</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Purse</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Gift of Gold</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rainout</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Isolation</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Connections</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wednesday Before Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How My Father Lost His Job</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Danny Kowalski</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Revenge</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chris</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Put Your Little Foot</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aunt Myrtle</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">American Odyssey</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Plate of Peas</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wash Guilt</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Double Sadness</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Picture of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Margie</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Thousand Dollars</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Taking Leave</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Act of Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bicoastal</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Felt Fedora</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Man vs. coat</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">That's Entertainment</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cake</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Riding With Andy</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sophisticated Lady</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My First Day in Priest Clothes</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jewish Cowboy</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Win Friends and Influence People</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Your Father Has the Hay Fever</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lee Ann and Holly Ann</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Am Antifur</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Airport Story</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tears and Flapdoodle</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Club Car</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bronx Cheer</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Day in Higley</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dancing on Seventy-fourth Street</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Bill</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Greyhounding</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Little Story about New York</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mistake</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Forwarding Address</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The New Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Iceman of Market Street</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Me and the Babe</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lives of the Poets</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Land of the Lost</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rainbow</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rescued by God</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Story</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Small World</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Morning, 1949</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brooklyn Roberts</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">$1,380 per Night, Double Occupancy</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Shot in the Light</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snow</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fastest Man in the Union Army</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas, 1862</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mount Grappa</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Savenay</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fifty Years Later</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Was the Same Age as My Sister</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Betting on Uncle Louie</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ten-Goal Player</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Hand</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">August 1945</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Autumn Afternoon</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Thought My Father Was God</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Celebration</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas, 1945</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Trunk Full of Memories</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Walk in the Sun</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Shot in the Dark</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Confessions of a Mouseketeer</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Forever</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Utah, 1975</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What If?</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mysteries of Tortellini</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Involuntary Assistant</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Plot</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mathematical Aphrodisiac</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Table for Two</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Suzy's Choosy</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Top Button</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lace Gloves</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Susan's Greetings</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Edith</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Souls Fly Away</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Awaiting Delivery</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Day Paul and I Flew the Kite</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lesson in Love</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballerina</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fortune Cookie</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ashes</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Harrisburg</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Something to Think About</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good Night</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Charlie the Tree Killer</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dead Man's Bluff</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Best Friend</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Didn't Know</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cardiac Arrests</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandmother's Funeral</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">High Street</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Failed Execution</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ghost</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heart Surgery</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Crying Place</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lee</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">South Dakota</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Connecting with Phil</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">310</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dress Rehearsal</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Anonymous Deciding Factor</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">4:05 a.m</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Middle of the Night</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">T321 Interpretation of Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">322</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Half-Ball</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Friday Night</TD><TD WIDTH="10%" ALIGN="RIGHT">325</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Farrell</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Jill"</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">D-day</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wall</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heaven</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Father's Dream</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Parallel Lives</TD><TD WIDTH="10%" ALIGN="RIGHT">337</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Anna May</TD><TD WIDTH="10%" ALIGN="RIGHT">340</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Long Time Gone</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sewing Lessons</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sunday Drive</TD><TD WIDTH="10%" ALIGN="RIGHT">350</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mayonnaise Sandwiches</TD><TD WIDTH="10%" ALIGN="RIGHT">354</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seaside</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After a Long Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Martini with a Twist</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nowhere</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where in the World Is Era Rose Rodosta?</TD><TD WIDTH="10%" ALIGN="RIGHT">363</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Peter</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Early Arithmetic</TD><TD WIDTH="10%" ALIGN="RIGHT">368</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflections on a Hubcap</TD><TD WIDTH="10%" ALIGN="RIGHT">371</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homeless in Prescott</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Being There</TD><TD WIDTH="10%" ALIGN="RIGHT">376</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Average Sadness</TD><TD WIDTH="10%" ALIGN="RIGHT">378</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Authors</TD><TD WIDTH="10%" ALIGN="RIGHT">381</TD></TABLE>
273Growing up Poor: A Literary AnthologyRobert Coles0Robert Coles, Randy (Ed.) Testa, Michael (Ed.) Coles, Randy Testa (Editor), Michael Colesgrowing-up-poorrobert-coles9781565847446156584744X$16.95PaperbackNew Press, TheJune 20021st EditionAmerican Literature Anthologies3045.54 (w) x 8.18 (h) x 0.81 (d)A searingly candid look at growing up "without," edited by the Pulitzer Prize-winning author of the <i>Children of Crisis</i> series. In a land of seemingly endless plenty, <i>Growing Up Poor</i> offers a startling and beautiful collection of stories, poems, and essays about growing up without. Searing in their candor, understated, and often unexpectedly moving, the selections range from a young girl's story of coming of age in the slums of New York at the turn of the twentieth century and a southern family's struggles during the Depression, to contemporary stories of urban and rural poverty by some of our foremost authors. Divided into four thematically organized sections (on the material circumstances of poverty, denigration at the hands of others, the working poor, and moments of resolve and resiliency), the book mixes the work of experienced authors—many of whom write autobiographically about poverty they have experienced first-hand—with the work of students and other contemporary writers. Edited and with an introduction by Pulitzer Prize-winning child psychiatrist Robert Coles, <i>Growing Up Poor</i> gives eloquent voice to those judged not by who they are, but by what they lack.<br> <br> <p>Contributors include:<br> </p> <p>Sherman Alexie<br> Dorothy Allison<br> Raymond Carver<br> Sandra Cisneros<br> Ralph Ellison<br> Richard Ford<br> Langston Hughes<br> Zora Neale Hurston<br> Luis Rodriguez<br> Betty Smith<br> Gary Soto<br> Mildred Taylor<br> Sylvia Watanabe<br> William Carlos Williams<br> </p><p>A searingly candid look at growing up "without," edited by the Pulitzer Prize-winning author of the <I>Children of Crisis</I> series. In a land of seemingly endless plenty, <I>Growing Up Poor</I> offers a startling and beautiful collection of stories, poems, and essays about growing up without. Searing in their candor, understated, and often unexpectedly moving, the selections range from a young girl's story of coming of age in the slums of New York at the turn of the twentieth century and a southern family's struggles during the Depression, to contemporary stories of urban and rural poverty by some of our foremost authors. Divided into four thematically organized sections (on the material circumstances of poverty, denigration at the hands of others, the working poor, and moments of resolve and resiliency), the book mixes the work of experienced authors&#151;many of whom write autobiographically about poverty they have experienced first-hand&#151;with the work of students and other contemporary writers. Edited and with an introduction by Pulitzer Prize-winning child psychiatrist Robert Coles, <I>Growing Up Poor</I> gives eloquent voice to those judged not by who they are, but by what they lack.<BR><br><P> Contributors include&#58;<br> <P> Sherman Alexie<br> Dorothy Allison<br> Raymond Carver<br> Sandra Cisneros<br> Ralph Ellison<br> Richard Ford<br> Langston Hughes<br> Zora Neale Hurston<br> Luis Rodriguez<br> Betty Smith<br> Gary Soto<br> Mildred Taylor<br> Sylvia Watanabe<br> William Carlos Williams<br></p><h3>Time Out New York</h3><p>[C]ontributors to this volume speak in crisp, clear voices that demand&#151;and deserve&#151;to be heard.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother to Son</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From White Mule</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Tree Grows in Brooklyn</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The House on Mango Street</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Big Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Invisible Man</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Way Out</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Question of Class</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Who Will Speak for Lizzy?</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From City Kids, City Teachers</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Beat Within</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Indian Education</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother and Daughter</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Children of Crisis: A Study of Courage and Fear</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Optimists</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Grammar of Silk</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cannery Town in August</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Field Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Night Shift at St. Regis</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Photograph of My Father in His Twenty-second Year</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Their Eyes Were Watching God</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Doing What It Takes to Survive</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Roll of Thunder, Hear My Cry</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ghost of Fred Astaire</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Full Circle</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Children of Crisis: Migrants, Sharecroppers, Mountaineers</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Show and Tell</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD></TABLE><article> <h4>Chicago Tribune</h4>[R]emarkable moments of determination and resolve experienced by some wonderful authors. </article> <article> <h4>Marian Wright Edelman</h4>A remarkable selection. </article><article> <h4>Time Out New York</h4>[C]ontributors to this volume speak in crisp, clear voices that demand—and deserve—to be heard. </article> <article> <h4>Voice of Youth Advocates</h4>A stirring and accurate portrayal. </article> <article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Stories, poems, essays and even a mock IQ test are included in Growing Up Poor, a worthwhile and varied anthology edited by Robert Coles, Randy Testa and Michael Coles. Its wide range of contributors includes icons of the past and present from Zora Neale Hurston and Ralph Ellison to Dorothy Allison and Richard Ford as well as a New York City high school student, the first female Navajo surgeon in the U.S. and three teens incarcerated in California detention facilities. It aims "to bring readers closer to understanding... a group so readily turned into a `they' in a world of shrill materialism," and hits its mark. ( Mar. 1) Copyright 2001 Cahners Business Information. </article> <article> <h4>KLIATT</h4>For anyone interested in reading about real America, this book offers glimpses of what life is like at the low end of the economic spectrum. Though most of the excerpts are fictional, they are fiction based strongly in the reality of life for America's poorest citizens, and they ring as true as the biographical writings. From young to old, these voices illuminate the shadowy lives of our most marginal citizens, and show to readers pictures that are disturbing to anyone with a heart. Through prose and poetry, we see through the eyes of poor Hispanic children living in rough places and rural Appalachian children whose lives are just as tough, and hear black voices who show us not only poverty but ignorance, prejudice, and injustice. We hear from adults who have triumphed over many obstacles to become successful adults; we also hear from and about those who have been overcome by the obstacles, and defeated by the injustices that society heaps on the poor. We are saddened by the young voices who express much despair and little hope and by the older voices who look back on troubled lives filled with unsuccessful attempts to overcome the stigma of being poor. We read about the unheard pleas of foster children, losing out to a system that doesn't work for them and is sometimes fatal to their humanity. There are Native American voices, white, black and Hispanic voices, and gay voices. There are male and female voices, old and young voices. It is historical and it is current. This collection will move the heart of anyone who reads it, for it shows just how much our society is failing a great number of our citizens. It is especially heart-wrenching to see what our children must endure. For students(and adults) who want to make a difference in the world and don't know where the problems are that need attention, this is an eye-opening book. For any readers who care about our society and our world, this is a must-read. Even though parts are fictional, this book should be part of every sociology class, social issues class, American history class, or current events class. This book provides an excellent portrait of a part of America that is often ignored. Category: Collections. KLIATT Codes: SA*—Exceptional book, recommended for senior high school students, advanced students, and adults. 2001, Norton, The New Press, 279p., , Mifflintown, PA </article> <article> <h4>VOYA</h4>This collection of short stories, essays, and poetry illustrates the daily struggle to survive faced by many Americans. Betty Smith, Sandra Cisneros, Ralph Ellison, and Mildred Taylor as well as the young, strong voices of Young Tay B2 and Danielle Joseph create a stirring and accurate portrayal of the trials the poor must endure in America. The term "growing up" accurately describes the works included in this book. Childhood is an innocent word that fails to describe the life of Francie in A Tree Grows in Brooklyn, of Frank in The Optimists, or of Little Man in Roll of Thunder Hear My Cry. Francie learns that people talk about her in her presence without realizing that she can understand their insults. Frank sees his father kill a man with his bare hands. Little Man gets angry because the affluent white kids ride the school bus that intentionally splashes mud on the poorer kids every day as they walk to school. Poverty is often graphic, and so are these works. The editors not only attempt to describe children living in poverty, but they also offer the story of the strong personalities and successful people that have developed from it. Children of the ghetto who have succeeded are described as "the few who make it out." This anthology makes the point that being poor can help a person succeed, not in spite of their difficulties but because of their difficulties. This fact is worth learning not only by those struggling with poverty but also by those who have distanced themselves from it. VOYA CODES: 4Q 3P S A/YA (Better than most, marred only by occasional lapses; Will appeal with pushing; Senior High, defined as grades 10 to 12; Adult and Young Adult). 2001, The New Press, 304p, .Ages 16 to Adult. Reviewer: Leann Niebuhr SOURCE: VOYA, June 2001 (Vol. 24, No. 2) </article> <article> <h4>School Library Journal</h4>Adult/High School-This anthology of stories, poems, essays, and excerpts from longer works offers cross-cultural commentary about growing up in poverty in the American land of plenty. The selections represent in part a "who's who" of 20th-century ethnic American writers, from Langston Hughes and Zora Neale Hurston to Sandra Cisneros, Gary Soto, and Cathy Song. Lesser-known writers are also included. Sylvia Watanabe writes about growing up in the small villages around Maui's sugar plantations, and Andrew Lam writes from his own experiences as a Vietnamese refugee. Still other selections come from young people currently living in poverty in New York or behind bars in California detention centers. Short biographical sketches of the writers precede the selections and provide a framework for understanding their perspective. This is a powerful collection of experiences, insights, and emotions. Within these pages, the poor speak with a simplicity and eloquence that touch the soul. The book provides excellent selections to accompany American history and literature courses. In addition, the entries will provide powerful oral presentations as well as thought-provoking introductions to class discussions and debate.-Becky Ferrall, Stonewall Jackson High School, Manassas, VA Copyright 2001 Cahners Business Information. </article>
274Drinking, Smoking and Screwing: Great Writers on Good TimesSara Nickles0<p>Bob Shocochis is the award-winning author of several short-story collections and novels, including Swimming in the Volcano.<p>Sara Nickles is a screenwriter and author who lives in Berkeley, California.</p>Sara Nickles (Editor), Bob Shacochis (Illustrator), Bob Shocochisdrinking-smoking-and-screwingsara-nickles97808118078450811807843$13.43PaperbackChronicle Books LLCAugust 19941Sexology & Sexual Behavior - General & Miscellaneous, Food - Sociocultural Aspects, United States History - Social Aspects, Cooking & Food History, American Literature Anthologies2245.50 (w) x 8.50 (h) x 0.25 (d)Before the notion of "political correctness" encroached on the ways people spoke, wrote, and conducted themselves in public and private, some of America's best writers embraced unsafe sex, excessive alcohol, and a good cigar. From the classically libidinous Henry Miller to the hilariously contemporary Fran Lebowitz, <i>Drinking, Smoking and Screwing</i> includes novel excerpts, essays, poems, and short stories in a bawdy and thoroughly entertaining anthology with no warnings -- and no apologies.<p>Before the notion of "political correctness" encroached on the ways people spoke, wrote, and conducted themselves in public and private, some of America's best writers embraced unsafe sex, excessive alcohol, and a good cigar. From the classically libidinous Henry Miller to the hilariously contemporary Fran Lebowitz, <I>Drinking, Smoking and Screwing</I> includes novel excerpts, essays, poems, and short stories in a bawdy and thoroughly entertaining anthology with no warnings -- and no apologies.</p><h3>Library Journal</h3><p>This collection of 24 poems, essays, short stories, and excerpts from novels written between 1917 and 1986 has been put together to show readers that there was a time when Americans enjoyed drinking, smoking, and screwing rather than worrying, as do many writers in the 1990s, about how these activities threaten their health. However, though many selections are amusing, most stress the problems and frustrations that result from these activities rather than the joy. Authors include Dorothy Parker, Erica Jong, Mary McCarthy, Vladimir Nabokov, J.P. Donleavy, and Henry Miller, and most of what is collected here is well known. Nothing in the organization of the material or in the introduction provides insight into either familiar or unfamiliar writings. Not recommended.-Judy Mimken, Boise, Id.</p><article> <h4>Library Journal</h4>This collection of 24 poems, essays, short stories, and excerpts from novels written between 1917 and 1986 has been put together to show readers that there was a time when Americans enjoyed drinking, smoking, and screwing rather than worrying, as do many writers in the 1990s, about how these activities threaten their health. However, though many selections are amusing, most stress the problems and frustrations that result from these activities rather than the joy. Authors include Dorothy Parker, Erica Jong, Mary McCarthy, Vladimir Nabokov, J.P. Donleavy, and Henry Miller, and most of what is collected here is well known. Nothing in the organization of the material or in the introduction provides insight into either familiar or unfamiliar writings. Not recommended.-Judy Mimken, Boise, Id. </article>
275Literature and Science in the Nineteenth Century: An AnthologyLaura Otis0<p><P>Laura Otis was awarded a MacArthur Fellowship for her interdisciplinary studies of the nervous system, and is currently working at the Max Planck Institute for the History of Science in Berlin.</p>Laura Otisliterature-and-science-in-the-nineteenth-centurylaura-otis9780199554652019955465X$13.49PaperbackOxford University Press, USAAugust 2009ReissueEnglish & Irish Literature Anthologies, American Literature Anthologies6245.00 (w) x 7.50 (h) x 1.60 (d)<br> Although we are used to thinking of science and the humanities as separate disciplines, in the nineteenth century this division was not recognized. As the scientist John Tyndall pointed out, not only were science and literature both striving to better "man's estate", they shared a common language and cultural heritage. The quest for "origins", the nature of the relationship between society and the individual, and what it meant to be human were subjects that occupied both the writing of scientists and novelists. <p>This anthology brings together a generous selection of scientific and literary material to explore the exchanges and interactions between them. Fed by a common imagination, scientists and creative writers alike used stories, imagery, style, and structure to convey their meaning, and to produce works of enduring power. It includes writing by Charles Babbage, Charles Darwin, Sir Humphry Davy, Charles Dickens, George Eliot, Michael Faraday, Thomas Malthus, Louis Pasteur, Edgar Allan Poe, Mary Shelley, Mark Twain and many others. Also included are introductions and notes to guide the reader.</p> <p><strong>About the Series:</strong> For over 100 years <strong>Oxford World's Classics</strong> has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.</p><p>This selection of writings from plays, novels, poetry, textbooks, and scientific articles demonstrates the excitement and exchange of ideas experienced by scientists and literary authors at a time when science and humanities were not considered separate disciplines. Otis (English, Hofstra U.) edits hundreds of selections from the work of Darwin, Dickens, Eliot, Faraday, Poe, Twain, and many others. The reference includes an introduction and a chronology of the included works. It does not include an index. Annotation (c)2003 Book News, Inc., Portland, OR</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Select Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronology</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sonnet - To Science (1829)</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Belfast Address (1874)</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Science and Culture (1880)</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Literature and Science (1882)</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sketch of the Analytical Engine (1843)</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Formal Logic (1847)</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From An Investigation of the Laws of Thought (1854)</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Logic of Chance (1866)</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Through the Looking-Glass (1871)</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Game of Logic (1886)</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Daniel Deronda (1876)</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Time Machine (1895)</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From On the Power of Penetrating into Space by Telescopes (1800)</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Past and Present (1843)</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Outlines of Astronomy (1849)</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Experimental Researches in Electricity (1839-55) (1852)</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Age of the Sun's Heat (1862)</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Chemical Rays, and the Light of the Sky (1869)</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Scientific Use of the Imagination (1870)</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Theory of Heat (1871)</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To the Chief Musician upon Nabla: A Tyndallic Ode (1874)</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Professor Tait, Loquitur (1877)</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Answer to Tait</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Hermann Stoffkraft (1878)</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sorting Demon of Maxwell (1879)</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Two on a Tower (1882)</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Photographic Eyes of Science (1883)</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On a New Kind of Rays (1895)</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to Hon. Levi Woodbury, Secretary of the US Treasury, 27 September 1837</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Telephone from Westminster Review (1878)</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mental Telegraphy (1891)</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Deep-Sea Cables (1896)</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Cage (1898)</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From On the Economy of Machinery and Manufactures (1832)</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Dombey and Son (1847-8)</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Conservation of Force (1847)</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Erewhon (1872)</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To a Locomotive in Winter (1876)</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From De Viribus Electricitatis (1791)</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Discourse, Introductory to a Course of Lectures on Chemistry (1802)</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Frankenstein (1818)</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Sing the Body Electric [1855] (1867)</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From General Anatomy (1801)</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Cellular Pathology (1858)</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Middlemarch (1871-2)</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Physical Basis of Mind (1877)</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Last Man (1826)</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Inquiry into the Sanitary Condition of the Labouring Population of Great Britain (1842)</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mask of the Red Death (1842)</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Contagiousness of Puerperal Fever (1843)</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Organized Bodies Which Exist in the Atmosphere (1861)</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Illustrations of the Antiseptic System (1867)</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dr. Koch on the Cholera (1884)</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stolen Bacillus (1895)</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From An Introduction to the Study of Experimental Medicine (1865)</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vivisection: Its Pains and Its Uses (1881)</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vivisection and Its Two-Faced Advocates (1882)</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Heart and Science (1883)</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Island of Dr. Moreau (1896)</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Zoological Philosophy (1809)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Principles of Geology (1830-3)</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Philosophy of the Inductive Sciences (1840)</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Princess (1847)</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Origin of Species (1859)</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Mill on the Floss (1860)</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Physical Basis of Life (1869)</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Story of an African Farm (1883)</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Mental Evolution in Man (1888)</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From In Memoriam, LIII-LV, CXVIII (1850)</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Principles of Biology (1864-7)</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hap (1866)</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Pair of Blue Eyes (1873)</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Evolution of Man (1874)</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Unconscious Memory (1880)</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Evolution (1880)</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Essays on Heredity (1881-5)</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lay of the Trilobite (1885)</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature is a Heraclitean Fire (1888)</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Pride and Prejudice (1813)</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Descent of Man and Selection in Relation to Sex (1871)</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From She (1887)</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Natural Selection (1887)</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Tess of the D'Urbervilles (1891)</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Confessions of an English Opium-Eater (1822)</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Reflex Function (1833)</TD><TD WIDTH="10%" ALIGN="RIGHT">334</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Treatise on Insanity (1835)</TD><TD WIDTH="10%" ALIGN="RIGHT">337</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Birthmark (1846)</TD><TD WIDTH="10%" ALIGN="RIGHT">341</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Bartleby the Scrivener (1856)</TD><TD WIDTH="10%" ALIGN="RIGHT">346</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Mind and Brain (1860)</TD><TD WIDTH="10%" ALIGN="RIGHT">349</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Lady Audley's Secret (1862)</TD><TD WIDTH="10%" ALIGN="RIGHT">353</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Case of George Dedlow (1866)</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Body and Mind (1870)</TD><TD WIDTH="10%" ALIGN="RIGHT">364</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Principles of Mental Physiology (1874)</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Principles of Psychology (1890)</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Elements of Phrenology (1824)</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Phrenology in Connection with the Study of Physiognomy (1826)</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Jane Eyre (1847)</TD><TD WIDTH="10%" ALIGN="RIGHT">386</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Lifted Veil (1859)</TD><TD WIDTH="10%" ALIGN="RIGHT">389</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Facts in Mesmerism (1840)</TD><TD WIDTH="10%" ALIGN="RIGHT">391</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Surgical Operations without Pain in the Mesmeric State (1843)</TD><TD WIDTH="10%" ALIGN="RIGHT">396</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mesmeric Revelation (1844)</TD><TD WIDTH="10%" ALIGN="RIGHT">401</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Letters on Mesmerism (1845)</TD><TD WIDTH="10%" ALIGN="RIGHT">406</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Mesmerism in India (1847)</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mesmerism (1855)</TD><TD WIDTH="10%" ALIGN="RIGHT">415</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Moonstone (1868)</TD><TD WIDTH="10%" ALIGN="RIGHT">419</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Thou Sleepest (1837)</TD><TD WIDTH="10%" ALIGN="RIGHT">422</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Unconscious Cerebration: A Psychological Study (1871)</TD><TD WIDTH="10%" ALIGN="RIGHT">424</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Strange Case of Dr. Jekyll and Mr. Hyde (1886)</TD><TD WIDTH="10%" ALIGN="RIGHT">428</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Address to the German Chemical Society (1890)</TD><TD WIDTH="10%" ALIGN="RIGHT">431</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Elsie Venner (1861)</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Wear and Tear, or Hints for the Overworked (1872)</TD><TD WIDTH="10%" ALIGN="RIGHT">436</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Yellow Wall-Paper (1892)</TD><TD WIDTH="10%" ALIGN="RIGHT">438</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Panopticon (1791)</TD><TD WIDTH="10%" ALIGN="RIGHT">449</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Manual of Political Economy (1793)</TD><TD WIDTH="10%" ALIGN="RIGHT">452</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From An Essay on the Principle of Population (1798)</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Dictionary, Practical, Theoretical, and Historical of Commerce and Commercial Navigation (1832)</TD><TD WIDTH="10%" ALIGN="RIGHT">456</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Bleak House (1852-3)</TD><TD WIDTH="10%" ALIGN="RIGHT">458</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Positive Philosophy (1853)</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Hard Times (1854)</TD><TD WIDTH="10%" ALIGN="RIGHT">466</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Utilitarianism (1861)</TD><TD WIDTH="10%" ALIGN="RIGHT">469</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Jude the Obscure (1895)</TD><TD WIDTH="10%" ALIGN="RIGHT">472</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Races of Men (1850)</TD><TD WIDTH="10%" ALIGN="RIGHT">475</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Inquiries into Human Faculty and Its Development (1883)</TD><TD WIDTH="10%" ALIGN="RIGHT">478</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Yellow Face (1894)</TD><TD WIDTH="10%" ALIGN="RIGHT">483</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Condition of the Working Class in England (1845)</TD><TD WIDTH="10%" ALIGN="RIGHT">488</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From London Labour and the London Poor (1851)</TD><TD WIDTH="10%" ALIGN="RIGHT">493</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From North and South (1855)</TD><TD WIDTH="10%" ALIGN="RIGHT">496</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">East London (1867)</TD><TD WIDTH="10%" ALIGN="RIGHT">501</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">West London</TD><TD WIDTH="10%" ALIGN="RIGHT">502</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autobiography of a Thief in Thieves' Language (1879)</TD><TD WIDTH="10%" ALIGN="RIGHT">502</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Mrs. Warren's Profession (1898)</TD><TD WIDTH="10%" ALIGN="RIGHT">506</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From East London (1899)</TD><TD WIDTH="10%" ALIGN="RIGHT">511</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Criminal Man (1876)</TD><TD WIDTH="10%" ALIGN="RIGHT">516</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Nether World (1889)</TD><TD WIDTH="10%" ALIGN="RIGHT">519</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Picture of Dorian Gray (1890)</TD><TD WIDTH="10%" ALIGN="RIGHT">521</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Degeneration (1892)</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Heavenly Twins (1893)</TD><TD WIDTH="10%" ALIGN="RIGHT">530</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Dracula (1897)</TD><TD WIDTH="10%" ALIGN="RIGHT">535</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prose and Verse (1857)</TD><TD WIDTH="10%" ALIGN="RIGHT">538</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Explanatory Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">541</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Publisher's Acknowledgements</TD><TD WIDTH="10%" ALIGN="RIGHT">576</TD></TABLE>
276Show &amp; Tell: Writers on Writing, Sixth EditionDept of Creative Writing0Dept of Creative Writingshow-telldept-of-creative-writing97809823382090982338201$19.95PaperbackPublishing Laboratory UNC Wilmington, TheAugust 20096th EditionLiterary Criticism, American<p><P>Newly revised and expanded, the sixth edition of this collection features stories, memoir, and poems by award-winning faculty, visiting writers, and alumni of the University of North Carolina Wilmington. An essential guide for novice writers and readers, <i>Show & Tell</i> has wide application in the classroom as well as for personal study, as a point of entry for beginning writers or a useful review for the more experienced.<P>Contributors have been anthologized in the Best American and Pushcart Prize series and include a finalist for the National Magazine Award. It features new stories by Clyde Edgerton, Nina de Gramont, and Derek Nikitas; new essays by Wendy Brenner, David Gessner, and Brad Land; new poems by Mark Cox, Sebastian Matthews, and Sharan Strange.</p><h3>Library Journal</h3><p>Newly revised and expanded, the sixth edition of this collection bundles together short stories, creative nonfiction, and poetry and binds them with essays on the craft of writing written by award-winning faculty, visiting writers, and alumni of the University of North Carolina, Wilmington. The bow on top is the final section featuring tips and tricks for writers. The writing advice is followed by samples of the authors' work. For example, Clyde Edgerton's essay on voice in a story is accompanied by his short story "Send Me to the Electric Chair." Each sample includes a brief explanation of why the piece was written. VERDICT Comparable to Roy Peter Clark's Writing Tools and Lee Gutkind's The Art of Creative Nonfiction, Show and Tell offers a perfect portable writing workshop for novices and experienced writers.&mdash;Joyce Sparrow, JWB Children's Svcs. Council, Clearwater, FL</p>
277Mother California: A Story of Redemption Behind BarsKenneth E. Hartman0<p><b>Kenneth E. Hartman</b> has served over 29 continuous years in the California Department of Corrections and Rehabilitation on a life without the possibility of parole sentence. An award-winning writer and prison reform activist, he helped establish the Honor Program at California State Prison-Los Angeles County. He is currently leading a grassroots campaign to abolish life sentences.</p>Kenneth E. Hartmanmother-californiakenneth-e-hartman97819346331991934633194$17.20HardcoverAtlas & Co.November 2009Penology & Correctional Studies - General & Miscellaneous, Prisoners & Accused Persons - Biography, United States Studies - General & Miscellaneous, Prisons & Prison Life, American Literature Anthologies2085.20 (w) x 7.20 (h) x 0.90 (d)<p>"The fierce and affecting memoir of a convicted murderer, whose growing self-awareness enables him to understand his crime and achieve redemption. In 1980, Kenneth Hartman murdered a homeless man in a Los Angeles park after a drug-fueled binge. Sentenced to life without parole by the state of California, Hartman was soon considered a potent force by the system's most brutal convicts. To the hellish chaos of a maximum-security prison he brought his own limitless propensity for violence - he often spent months at a time in solitary confinement, "the Hole." "After years in the cold embrace of the state prison system, Hartman discovered a vocation for writing; he also met, through a chance phone call, the woman he would marry and have a child by. With poignancy and self awareness, Hartman chronicles the anarchy and brutish moral code that rules in some of the world's most infamous prisons, where physical punishment is the only form of control. Over time, Hartman evolves into a sentient being; follows his newly discovered spiritual and literary inclinations; and learns to deal with his demanding responsibilities as a family man. The final chapter describes his development of the Honor Program, which helps motivated prisoners escape the ravages of incarceration." Mother California is the story of a man who did not succumb to the darkness of the only world left to him. It offers definite proof that there is no such thing as a life beyond redemption.</p><p>"A magnificent inquiry into the human condition."&mdash;<b>Publishers Weekly</b>, starred review</p><h3>Publishers Weekly</h3><p>Starred Review. <P>In this memoir, a magnificent inquiry into the human condition, a man serving a life sentence in the California prison system documents the brutality and inhumanity of life "inside," where criminals are victimized rather than rehabilitated, and chaos flowers among the despairing. Hartman, an eloquent, middle-aged prisoner convicted of murder at 19, tells a sad but unsentimental story: a rough childhood and a wish for invincibility fueled Hartman's youth and downfall, but in the time since, he has married in prison, fathered a child, and currently works to improve the broken U.S. prison system. Hartman discovered his talent in a writing class, after having abandoned drugs; using it, he examines up close the "mad, violent circus" of prison life, his place in it, and the fate of his fellow prisoners: "Under the big tent of this brutally unnatural environment, few of us ever take the frightening step of analyzing our deeper motives." <BR>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p><article> <h4>Publishers Weekly</h4>Starred Review. <p>In this memoir, a magnificent inquiry into the human condition, a man serving a life sentence in the California prison system documents the brutality and inhumanity of life "inside," where criminals are victimized rather than rehabilitated, and chaos flowers among the despairing. Hartman, an eloquent, middle-aged prisoner convicted of murder at 19, tells a sad but unsentimental story: a rough childhood and a wish for invincibility fueled Hartman's youth and downfall, but in the time since, he has married in prison, fathered a child, and currently works to improve the broken U.S. prison system. Hartman discovered his talent in a writing class, after having abandoned drugs; using it, he examines up close the "mad, violent circus" of prison life, his place in it, and the fate of his fellow prisoners: "Under the big tent of this brutally unnatural environment, few of us ever take the frightening step of analyzing our deeper motives."<br> Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p> </article>
278Richard Wright: Later Works (Black Boy, American Hunger, The Outsider)Richard Wright26<p>A trailblazing African-American novelist, playwright, and memoirist, Richard A. Wright brought the experiences of the twentieth-century ghetto into the realm of high art with his blockbuster 1940 novel <i>Native Son</i>. He went on to mix autobiography and fiction, and to become one of the most celebrated writers -- black or white -- of his era.</p>Richard Wright, Arnold Rampersadrichard-wrightrichard-wright97809404506770940450674$26.80HardcoverLibrary of AmericaOctober 19911st EditionPeoples & Cultures - American Anthologies, African Americans - Fiction & Literature8875.14 (w) x 8.16 (h) x 1.16 (d)The library of America is dedicated to publishing America's best and most significant writing in handsome, enduring volumes, featuring authoritative texts. Hailed as the "finest-looking, longest-lasting editions ever made" (The New Republic), Library of America volumes make a fine gift for any occasion. Now, with exactly one hundred volumes to choose from, there is a perfect gift for everyone.<p>The library of America is dedicated to publishing America's best and most significant writing in handsome, enduring volumes, featuring authoritative texts. Hailed as the "finest-looking, longest-lasting editions ever made" (The New Republic), Library of America volumes make a fine gift for any occasion. Now, with exactly one hundred volumes to choose from, there is a perfect gift for everyone.</p>
279Double-Take: A Revisionist Harlem Renaissance AnthologyVenetria Patton0Venetria Patton (Editor), Maureen Honeydouble-takevenetria-patton97808135293010813529301$26.88PaperbackRutgers University PressDecember 20011st EditionPlaces - Literary Anthologies, Regional American Anthologies, Peoples & Cultures - American Anthologies, American Literature Anthologies, African American Art6707.00 (w) x 10.00 (h) x 1.00 (d)In this important new anthology, Venetria K. Patton and Maureen Honey bring together a comprehensive selection of texts from the Harlem Renaissance-a key period in the literary and cultural history of the United States. The collection revolutionizes our way of viewing this era, since it redresses the ongoing emphasis on the male writers of this time. Double-Take offers a unique, balanced collection of writers-men and women, gay and straight, familiar and obscure. Arranged by author, rather than by genre, this anthology includes works from major Harlem Renaissance figures as well as often-overlooked essayists, poets, dramatists, and artists. <p>The editors have included works from a wide variety of genres-poetry, short stories, drama, and essays-allowing readers to understand the true interdisciplinary quality of this cultural movement. Biographical sketches of the authors are provided and most of the pieces are included in their entirety. Double-Take also includes artwork and illustrations, many of which are from original journals and have never before been reprinted. Significantly, Double-Take is the first Harlem Renaissance title to include song lyrics to illustrate the interrelation of various art forms.</p><p>Arranged by author, 23 essays and 155 creative pieces represent the artistic and intellectual range of the Harlem Renaissance. Featuring the work of women and men in equal numbers, and including overlooked writers as well as the major figures of the period, the book assembles poetry, short stories, drama, essays, and song lyrics. Artwork and illustrations from periodicals of the time are also included. Essays discuss the history of Harlem, jazz, discrimination against African Americans, and sexism. Brief biographies precede the work of each writer. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><h3>Library Journal</h3><p>With this new anthology of Harlem Renaissance literature, Patton (Women in Chains: The Legacy of Slavery in Black Women's Fiction) and Honey (editor, Shadowed Dreams: Women's Poetry of the Harlem Renaissance), both at the University of Nebraska, Lincoln, attempt to "restore and underline the importance of women's writing" and sexual orientation to the Harlem Renaissance. The balanced selection of women and men is similar to that found in Henry Louis Gates's Norton Anthology of African American Literature (LJ 2/01/97), but the inclusion of lesser-known figures and works is aimed at focusing on the ideology of the renaissance, gay and lesbian themes, and differences in gender-based issues. Countee Cullen, Nella Larsen, and Zora Neale Hurston are among the authors represented, and the selected works include essays, poetry, prose, and drama, with lyrics and visual art used as illustration. The editors also break with the tendency to define the beginning and end of the renaissance with political events by focusing on specific literary works, which allows them to broaden the period to 1916-37. Both editors have done previous research in the field of African American women's literature and include a biographical sketch of each writer to underline how their gender, class, and sexual orientation shaped their work. Necessary for all academic libraries. Paolina Taglienti, Long Island Univ. Lib., Brooklyn, NY Copyright 2001 Cahners Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">List of Illustrations and Song Lyrics</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Note on the Text</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronology</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The New Negro</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The New Negro - What Is He?</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Negro in American Literature</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Closed Doors: A Study in Segregation</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Harlem: The Culture Capital</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Point of View: An Opportunity Dinner Reaction</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Negro-Art Hokum</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Negro Artist and the Racial Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Langston Hughes: I Am a Negro - and Beautiful</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Criteria of Negro Art</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blueprint for Negro Writing</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Characteristics of Negro Expression</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Impressions of the Second Pan-African Congress</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Africa for the Africans</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gift of the Black Tropics</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Caucasian Storms Harlem</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Task of Negro Womanhood</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Being Young - a Woman - and Colored</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman's Most Serious Problem</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Problems Facing Negro Young Women</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Legacy of the Ancestral Arts</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jazz at Home</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The American Negro Paints</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Creation</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother Night</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The White Witch</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My City</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Violets</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You! Inez!</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Sit and Sew</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Proletariat Speaks</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">His Great Career</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Heart of a Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Motherhood</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Octoroon</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Escape</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Runner</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wishes</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Want to Die While You Love Me</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tramp Love</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Plumes: A Folk Tragedy</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Beso</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Finger</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Want of You</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dusk</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Mona Lisa</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tenebris</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Goldie</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rachel</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White Things</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lady, Lady</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to My Sister</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grapes: Still-Life</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Man o'Mine</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Oriflamme</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Here's April!</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Words! Words!</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Touche</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La Vie C'Est la Vie</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mary Elizabeth</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bronze Legacy (To a Brown Boy)</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Exodus</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bird in the Cage</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Quilt</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Requiem</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Haiti Is Riot of Color-</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fog</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Cruiter</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Banjo Player</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Scarlet Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tired</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Harlem Dancer</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If We Must Die</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Africa</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">America</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Baptism</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Harlem Shadows</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To O.E.A.</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Like a Strong Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tropics of New York</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mattie and Her Sweetman</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Chip Woman's Fortune</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Flight of the Natives</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wash Day</TD><TD WIDTH="10%" ALIGN="RIGHT">314</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Definition</TD><TD WIDTH="10%" ALIGN="RIGHT">314</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Baby</TD><TD WIDTH="10%" ALIGN="RIGHT">316</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Faces</TD><TD WIDTH="10%" ALIGN="RIGHT">316</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Negro Laughter</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Old Women A-Shopping Go! A Story of Man, Marriage and Poverty</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Passion</TD><TD WIDTH="10%" ALIGN="RIGHT">324</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spunk</TD><TD WIDTH="10%" ALIGN="RIGHT">325</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sweat</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Color Struck</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sanctuary</TD><TD WIDTH="10%" ALIGN="RIGHT">353</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Undertow</TD><TD WIDTH="10%" ALIGN="RIGHT">360</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song of the Son</TD><TD WIDTH="10%" ALIGN="RIGHT">372</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Georgia Dusk</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Portrait in Georgia</TD><TD WIDTH="10%" ALIGN="RIGHT">374</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blood-Burning Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">375</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">And What Shall You Say?</TD><TD WIDTH="10%" ALIGN="RIGHT">381</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Is It Because I Am Black?</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sonnet to Negro Soldiers</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rain Music</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Fields of France</TD><TD WIDTH="10%" ALIGN="RIGHT">384</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The City of Refuge</TD><TD WIDTH="10%" ALIGN="RIGHT">388</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miss Cynthie</TD><TD WIDTH="10%" ALIGN="RIGHT">400</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Voodoo's Revenge</TD><TD WIDTH="10%" ALIGN="RIGHT">411</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Riding the Goat</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Boy's Story</TD><TD WIDTH="10%" ALIGN="RIGHT">434</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pot Maker</TD><TD WIDTH="10%" ALIGN="RIGHT">444</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ma Rainey</TD><TD WIDTH="10%" ALIGN="RIGHT">451</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sam Smiley</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Southern Road</TD><TD WIDTH="10%" ALIGN="RIGHT">454</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strong Men</TD><TD WIDTH="10%" ALIGN="RIGHT">456</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Negro Speaks of Rivers</TD><TD WIDTH="10%" ALIGN="RIGHT">460</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Danse Africaine</TD><TD WIDTH="10%" ALIGN="RIGHT">460</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jazzonia</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song to a Negro Wash-Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dream Variation</TD><TD WIDTH="10%" ALIGN="RIGHT">462</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Desire</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem [2]</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Weary Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Midnight Nan at Leroy's</TD><TD WIDTH="10%" ALIGN="RIGHT">465</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lullaby</TD><TD WIDTH="10%" ALIGN="RIGHT">466</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Listen Here Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">466</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bound No'th Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">468</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song for a Dark Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">469</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blues I'm Playing</TD><TD WIDTH="10%" ALIGN="RIGHT">469</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mulatto: A Tragedy of the Deep South</TD><TD WIDTH="10%" ALIGN="RIGHT">476</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heritage</TD><TD WIDTH="10%" ALIGN="RIGHT">508</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To a Dark Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">508</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hatred</TD><TD WIDTH="10%" ALIGN="RIGHT">509</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Advice</TD><TD WIDTH="10%" ALIGN="RIGHT">509</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fantasy</TD><TD WIDTH="10%" ALIGN="RIGHT">510</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wedding Day</TD><TD WIDTH="10%" ALIGN="RIGHT">511</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tokens</TD><TD WIDTH="10%" ALIGN="RIGHT">516</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Citadel</TD><TD WIDTH="10%" ALIGN="RIGHT">521</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">God's Edict</TD><TD WIDTH="10%" ALIGN="RIGHT">521</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cordelia the Crude</TD><TD WIDTH="10%" ALIGN="RIGHT">523</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Emma Lou</TD><TD WIDTH="10%" ALIGN="RIGHT">526</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Golgotha Is a Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">539</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Length of Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">541</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nocturne at Bethesda</TD><TD WIDTH="10%" ALIGN="RIGHT">541</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Black Man Talks of Reaping</TD><TD WIDTH="10%" ALIGN="RIGHT">544</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">God Give to Men</TD><TD WIDTH="10%" ALIGN="RIGHT">544</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Return</TD><TD WIDTH="10%" ALIGN="RIGHT">545</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Summer Tragedy</TD><TD WIDTH="10%" ALIGN="RIGHT">546</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heritage</TD><TD WIDTH="10%" ALIGN="RIGHT">555</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sacrament</TD><TD WIDTH="10%" ALIGN="RIGHT">558</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tableau</TD><TD WIDTH="10%" ALIGN="RIGHT">558</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yet Do I Marvel</TD><TD WIDTH="10%" ALIGN="RIGHT">559</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the Dark Tower</TD><TD WIDTH="10%" ALIGN="RIGHT">559</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Colored Blues Singer</TD><TD WIDTH="10%" ALIGN="RIGHT">561</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Certain Critics</TD><TD WIDTH="10%" ALIGN="RIGHT">562</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Little Sonnet to Little Friends</TD><TD WIDTH="10%" ALIGN="RIGHT">562</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rainy Season Love Song</TD><TD WIDTH="10%" ALIGN="RIGHT">564</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Serving Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">564</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lullaby</TD><TD WIDTH="10%" ALIGN="RIGHT">565</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Palm Wine Seller</TD><TD WIDTH="10%" ALIGN="RIGHT">565</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Images</TD><TD WIDTH="10%" ALIGN="RIGHT">568</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dust</TD><TD WIDTH="10%" ALIGN="RIGHT">568</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Radical</TD><TD WIDTH="10%" ALIGN="RIGHT">569</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shadow</TD><TD WIDTH="10%" ALIGN="RIGHT">571</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sahdji</TD><TD WIDTH="10%" ALIGN="RIGHT">573</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Smoke, Lilies, and Jade!</TD><TD WIDTH="10%" ALIGN="RIGHT">574</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sahdji, an African Ballet</TD><TD WIDTH="10%" ALIGN="RIGHT">583</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Typewriter</TD><TD WIDTH="10%" ALIGN="RIGHT">591</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Dress</TD><TD WIDTH="10%" ALIGN="RIGHT">597</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Race</TD><TD WIDTH="10%" ALIGN="RIGHT">601</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Magalu</TD><TD WIDTH="10%" ALIGN="RIGHT">601</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Road</TD><TD WIDTH="10%" ALIGN="RIGHT">602</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother</TD><TD WIDTH="10%" ALIGN="RIGHT">602</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bottled</TD><TD WIDTH="10%" ALIGN="RIGHT">602</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">604</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sonnet to a Negro in Harlem</TD><TD WIDTH="10%" ALIGN="RIGHT">605</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dusk</TD><TD WIDTH="10%" ALIGN="RIGHT">607</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heritage</TD><TD WIDTH="10%" ALIGN="RIGHT">608</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Insatiate</TD><TD WIDTH="10%" ALIGN="RIGHT">608</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem ... for a Lover</TD><TD WIDTH="10%" ALIGN="RIGHT">609</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">611</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Credits</TD><TD WIDTH="10%" ALIGN="RIGHT">615</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Writers and Artists</TD><TD WIDTH="10%" ALIGN="RIGHT">617</TD></TABLE><article> <h4>Library Journal</h4>With this new anthology of Harlem Renaissance literature, Patton (Women in Chains: The Legacy of Slavery in Black Women's Fiction) and Honey (editor, Shadowed Dreams: Women's Poetry of the Harlem Renaissance), both at the University of Nebraska, Lincoln, attempt to "restore and underline the importance of women's writing" and sexual orientation to the Harlem Renaissance. The balanced selection of women and men is similar to that found in Henry Louis Gates's Norton Anthology of African American Literature (LJ 2/01/97), but the inclusion of lesser-known figures and works is aimed at focusing on the ideology of the renaissance, gay and lesbian themes, and differences in gender-based issues. Countee Cullen, Nella Larsen, and Zora Neale Hurston are among the authors represented, and the selected works include essays, poetry, prose, and drama, with lyrics and visual art used as illustration. The editors also break with the tendency to define the beginning and end of the renaissance with political events by focusing on specific literary works, which allows them to broaden the period to 1916-37. Both editors have done previous research in the field of African American women's literature and include a biographical sketch of each writer to underline how their gender, class, and sexual orientation shaped their work. Necessary for all academic libraries. Paolina Taglienti, Long Island Univ. Lib., Brooklyn, NY Copyright 2001 Cahners Business Information. </article>
280Hispanic-American Literature: A Brief Introduction and AnthologyNicolas Kanellos0Nicolas Kanellos, Nicholas Kanelloshispanic-american-literaturenicolas-kanellos97806734695640673469565$57.90PaperbackLongmanJanuary 19971st EditionLatinos, American & Canadian Literature, American Literature Anthologies, Latin American & Caribbean Literature3395.90 (w) x 8.90 (h) x 1.00 (d)Following a historical overview, this book presents works by Piri Thomas, Sandra Cisneros, Nicholasa Mohr, Robert Fernandez, Luis Omar Salinas, Angelo de Hoyos, Pat Mora, Sandra Maria Esteves, and Martin Espada, among others.<p>Following a historical overview, this book presents works by Piri Thomas, Sandra Cisneros, Nicholasa Mohr, Robert Fernandez, Luis Omar Salinas, Angelo de Hoyos, Pat Mora, Sandra Maria Esteves, and Martin Espada, among others.</p><P>Foreword by Ishmael Reed.<p>I. AUTOBIOGRAPHY.<p>Piri Thomas (b. 1928).<p><i>Prologue to Seven Long Times.</i><p>Floyd Salas (b. 1931).<p><i>Buffalo Nickel.</i><p>[The Water Tower].<p>[The Boxing Match].<p>Victor Villasenor (b. 1940).<p><i>Rain of Gold.</i><p>[The Confession].<p>Judith Ortiz Cofer (b. 1952).<p><i>Tales Told Under the Mango Tree.</i><p>Sandra Cisneros (b. 1954).<p><i>Ghosts and Voices&#58; Writing from Obsession.</i><p><i>Notes to a Younger Writer.</i><p>II. FICTION.<p>Rolando Hinojosa (b. 1929).<p><i>Into the Pit with Bruno Cano.</i><p>Lionel G. Garcia (b. 1935).<p><i>The Sergeant.</i><p>Nicholasa Mohr (b. 1935).<p><i>Aunt Rosana&rsquo;s Rocker.</i><p>Tomas Rivera (1935-1984).<p><i>First Communion.</i><p>Ed Vega (b. 1936).<p><i>The Kite.</i><p>Roberta Fernandez (b. 1940).<p><i>Zulema.</i><p>Alejandro Morales (b. 1944).<p><i>The Curing Woman.</i><p>Denise Chavez (b. 1948).<p><i>The Closet.</i><p>Roberto Fernandez (b. 1951).<p><i>Miracle at Eighth and Twelfth.</i><p><i>Retrieving Varadero.</i><p>Helena Maria Viramontes (b. 1954).<p><i>The Cariboo Cafe.</i><p>Virgil Suarez (b. 1962).<p><i>Dearly Beloved.</i><p>III. POETRY.<p>Gloria Vando (b. 1934).<p>Legend of the Flamboy&aacute;n.<p>Nuyorican Lament.<p>Luis Omar Salinas (b. 1937).<p><i>Ode to the Mexican Experience.</i><p><i>When This Life No Longer Smells of Roses.</i><p><i>My Father Is a Simple Man.</i><p><i>I Am America.</i><p>Angela de Hoyos (b. 1940).<p><i>You Will Grow Old.</i><p><i>Lesson in Semantics.</i><p><i>How to Eat Crow on a Cold Sunday Morning.</i><p>Miguel Algarin (b. 1941).<p><i>Taos Pueblo Indians&#58; 700 Strong According to Bobby&rsquo;s Last Census.</i><p>Ricardo Sanchez (b. 1941).<p><i>Soledad Was a Girl&rsquo;s Name.</i><p><i>Letters to My Ex-Texas Sanity.</i><p>Pat Mora (b. 1942).<p><i>Immigrants.</i><p><i>Gentle Communion.</i><p><i>Arte Popular.</i><p><i>Old Anger.</i><p><i>Curandera.</i><p>Miguel Pineor (1946-1988).<p><i>A Lower East Side Poem.</i><p><i>New York City Hard Time Blues.</i><p>Sandra Maria Esteves (b. 1948).<p><i>Resurrections.</i><p><i>Padrino.</i><p><i>Bautizo.</i><p><i>Ocha.</i><p>Pablo Medina (b. 1948).<p><i>Madame America.</i><p><i>The Apostate.</i><p><i>The Beginning.</i><p>Victor Hernanadez Cruz (b. 1949).<p><i>Today is a Day of Great Joy.</i><p><i>Energy.</i><p><i>The Latest Latin Dance Craze.</i><p><i>Loisaida.</i><p>Evangelina Vigil-Pinon (b. 1949).<p><i>Es Todo!</i><p><i>Tato Laviera (b. 1950).</i><p><i>Latero Story.</i><p><i>AmerRican.</i><p><i>Intellectual.</i><p><i>Boricua.</i><p>Gustavo Perez Firmat (b. 1950).<p><i>Lime Cure.</i><p><i>On Whether My Father Deserves a Poem.</i><p><i>The Poet&rsquo;s Mother Gives Him a Birthday Present.</i><p>Judith Ortiz Cofer (b. 1952).<p><i>Quinceanera.</i><p><i>Mamacita.</i><p><i>Exile.</i><p><i>Under the Knife.</i><p>Alberto Rios (b. 1952).<p><i>Five Indiscretions.</i><p><i>On January 5, 1984, El Santo The Wrestler Died, Possibly.</i><p>Jimmy Santiago Baca (b. 1952).<p><i>Matin III.</i><p>Lorna Dee Cervantes (b. 1954).<p><i>Refugee Ship.</i><p><i>Heritage.</i><p><i>The Poet is Served her Papers.</i><p><i>Pleiades from the Cables of Genocide.</i><p>Martin Espada (b. 1957).<p><i>Portrait of Real Hijo de Puta.</i><p><i>Revolutionary Spanish Lesson.</i><p><i>Colibir.</i><p>Carolina Hospital (B. 1957).<p><i>Miami Mimesis.</i><p><i>A Visit to West New York.</i><p><i>Alma Mater.</i><p><i>Finding Home.</i><p><i>The Old Order.</i><p>IV. DRAMA.<p>Delores Prida (b. 1943).<p><i>Beautiful Senoritas.</i><p>Alternate Table of Contents by Theme.<p>Selected Bibliography.<p>Index of Authors, Title, First Lies of Poetry.<p>Acknowledgments.
281Nineteenth-Century American PoetryVarious0<p>William C. Spengemann is the Hale Professor in Arts and Sciences and Professor of English Emeritus at Dartmouth College. He edited the Penguin Classics edition of <b>Nineteenth-Century American Poetry</b>.</p>Various, William Spengemannnineteenth-century-american-poetryvarious97801404358700140435875$19.19PaperbackPenguin Group (USA) IncorporatedOctober 1996Poetry Anthologies, American Poetry, American Fiction & Literature Classics, Classics By Subject, American Literature Anthologies4965.21 (w) x 7.79 (h) x 1.06 (d)This text features selections from Bryant, Longfellow, Lowell, Whittier and Holmes. It includes poems by Poe and Emerson as well as Whitman, Dickinson and Melville. The introduction discusses the impact of American intellectual, social and political trends on poetry.<p>Compiled to suggest what nineteenth-century America contributed to the history of poetry, rather than what poetry may contribute to a history of nineteenth-century America, this volume emphasizes those poets who have survived the Modernist revolution over those left behind. And so it is Whitman, Dickinson, and Melville who occupy the center of this anthology; these are the poets in whose ability to speak directly to our ears modern poetry has recognized its forebears. But only when these poetic innovators are read alongside the recognized giants of their day can we begin to see how truly extraordinary they are, and why they remained undervalued, unread, or altogether unknown in their own time. William C. Spengemann and Jessica F. Roberts have gathered nearly three hundred poems, spanning the course of the century: from Joel Barlow to Edwin Arlington Robinson, by way of Bryant, Emerson, Longfellow, Whittier, Poe, Holmes, Jones Very, Thoreau, Lowell, Lanier, and the largely forgotten Frederick Goddard Tuckerman and Sarah Morgan Piatt.</p><p class="null1">INTRODUCTION SUGGESTIONS FOR FURTHER READING A NOTE ON THE TEXTS</p> <p><b>JOEL BARLOW (1754–1812)</b><br> <i>from</i> The Columbiad: Book the Eighth</p> <p><b>WILLIAM CULLEN BRYANT (1794–1978)</b><br> Thanatopsis To a Waterfowl Mutation Hymn to the North Star To a Mosquito A Meditation on Rhode Island Coal The Prairies The Crowded Street Not Yet The Poet The Death of Lincoln</p> <p><b>RALPH WALDO EMERSON (1803–1882)</b><br> Each and All The Humble-Bee The Snow-Storm Grace Blight Motto to "The Poet"<br> The World-Soul Mithridates Hamatreya Ode, Inscribed to W.H. Channing Merlin I Motto to "Nature"<br> Days The Chartist's Complaint Two Rivers Motto to "Illusions"<br> Terminus</p> <p><b>HENRY WADSWORTH LONGFELLOW (1807–1882)</b><br> Mezzo Cammin The Warning The Day Is Done Dante Sand of the Desert in an Hour-Glass The Fire of Drift-Wood The Jewish Cemetery at Newport The Ropewalk The Golden Mile-Stone<br> <i>from</i> Hiawatha: The White Man's Foot Snow-Flakes The Legend of Rabbi Ben Levi The Rhyme of Sir Christopher</p> <p><b>JOHN GREENLEAF WHITTIER (1807–1892)</b><br> The Cities of the Plain The Farewell Official Piety The Haschish Skipper Ireson's Ride The Palm-Tree Brown of Ossawatomie A Word for the Hour Barbara Frietchie<br> <i>from</i> Tent on the Beach: [The Dreamer]<br> Overruled</p> <p><b>EDGAR ALLAN POE (1809–1849)</b><br> Dreams Sonnet: To Science Romance A Dream within a Dream The City in the Sea To One in Paradise Silence The Sleeper The Conqueror Worm Dreamland Stanzas The Raven A Valentine Ulalume Annabel Lee Eldorado</p> <p><b>OLIVER WENDELL HOLMES (1809–1894)</b><br> Old Ironsides Our Limitations Latter-Day Warnings The Chambered Nautilus Iris, Her Book Prologue Tartarus</p> <p><b>JONES VERY (1813–1880)</b><br> The New Birth The Son The Word The Spirit The Serpent The Robe The Winter Rain The Cross The Mountain The Promise The Birds of Passage The Silent The Indian's Retort Slavery The First Atlantic Telegraph The Slowness of Belief in a Spiritual World Forevermore</p> <p><b>HENRY DAVID THOREAU (1817–1862)</b><br> Sic Vita Brother Where Dost Thou Dwell On Ponkawtasset, Since, We Took Our Way Low-Anchored Cloud Woof of the Sun, Ethereal Gauze My Life Has Been the Poem I Would Have Writ Inspiration For Though the Eaves Were Rabbeted Pray to What Earth Does This Sweet Cold Belong A Winter and Spring Scene</p> <p><b>JAMES RUSSELL LOWELL (1819–1891)</b><br> A Contrast<br> <i>from</i> A Fable for Critics<br> <i>from</i> The Biglow Papers: The Pious Editor's Creed The Darkened Mind Sonnet: On Being Asked for an Autograph in Venice The Boss In a Copy of Omar Khayyam Science and Poetry</p> <p><b>WALT WHITMAN (1819–1892)</b><br> Song of Myself Crossing Brooklyn Ferry Out of the Cradle Endlessly Rocking I Saw in Louisiana a Live-Oak Growing Cavalry Crossing a Ford Beat! Beat! Drums!<br> As I Lay with My Head in Your Lap Camerado Years of the Modern When Lilacs Last in the Dooryard Bloom'd A Noiseless Patient Spider Passage to India Prayer of Columbus To a Locomotive in Winter</p> <p><b>HERMAN MELVILLE (1819–1891)</b><br> Immolated<br> <i>from</i> Battle-Pieces The Portent Misgivings The March into Virginia The Temeraire A Utilitarian View of the Monitor's Fight Stonewall Jackson: Mortally Wounded at Chancellorsville Stonewall Jackson: Ascribed to a Virginian The House-Top The College Colonel The Martyr The Apparition Iris<br> <i>from</i> Clarel<br> <i>from</i> Part I, canto xiii: The Arch Part II, canto vii: Guide and Guard<br> <i>from</i> Part II, canto xxiii: By the Jordan<br> <i>from</i> Part III, canto xx: Afterward<br> <i>from</i> Part III, canto xxix: Rolfe and the Palm<br> <i>from</i> Part IV, canto iii: The Island Part IV, canto xxxi: Dirge Part IV, canto xxxiv: Via Crucis Part IV, canto xxxv: Epilogue<br> <i>from</i> John Marr and Other Sailors Tom Deadlight The Aeolian Harp The Maldive Shark The Berg The Enviable Isles Pebbles<br> <i>from</i> Timoleon After the Pleasure Party The Night-March Art Herba Santa In a Bye-Canal The Attic Landscape The Parthenon In the Desert<br> <i>from</i> Weeds and Wildings, Chiefly; with a Rose or Two The Little Good Fellows The Chipmunk Time's Betrayal Rosary Beads Miscellaneous Poems The Rusty Man Camoens Fruit and Flower Painter In Shards the Sylvan Vases Lie To ––<br> Pontoosuce Billy in the Darbies</p> <p><b>FREDERICK GODDARD TUCKERMAN (1821–1873)</b><br> Sonnets: First Series Infatuation Rhotruda As Sometimes in a Grove Coralie The Cricket</p> <p><b>EMILY DICKINSON (1830–1886)</b><br> 49. I never lost as much but twice<br> 95. My nosegays are for Captivies––<br> 77. I never hear the word "escape"<br> 89. Some things that fly there be––<br> 135. Water, is taught by thirst<br> 185. "Faith" is a fine invention<br> 211. Come slowly––Eden!<br> 213. Did the Harebell loose her girdle<br> 243. I've known a Heaven, like a Tent–<br> 249. Wild Nights––Wild Nights!<br> 257. Delight is as the flight––<br> 258. There's a certain Slant of light<br> 281. 'Tis so appalling––it exhilarates––<br> 290. Of Bronze––and Blaze––<br> 301. I reason, Earth is short––<br> 307. The One who could repeat the Summer day––<br> 315. He fumbles at your Soul<br> 326. I cannot dance upon my Toes––<br> 328. A Bird came down the Walk––<br> 338. I know that He exists<br> 357. God is a distant––stately Lover––<br> 410. The first Day's Night had come––<br> 414. 'Twas like a Maelstrom, with a notch<br> 435. Much Madness is divinest Sense––<br> 448. This was a Poet––It is That<br> 501. This World is not Conclusion<br> 502. At least––to pray––is left––is left––<br> 506. He touched me, so I live to know<br> 519. 'Twas warm––at first––like Us––<br> 547. I've seen a Dying Eye<br> 556. The Brain, within its Groove<br> 577. If I may have it, when it's dead<br> 599. There is a pain––so utter––<br> 606. The Trees like Tassels––hit––and swung–<br> 612. It would have starved a Gnat––<br> 613. They shut me up in Prose––<br> 622. To know just how He suffered––would be dear––<br> 629. I watched the Moon around the House<br> 632. The Brain––is wider than the Sky––<br> 640. I cannot live with You––<br> 652. A Prison gets to be a friend––<br> 656. The Name––of it––is "Autumn"––<br> 657. I dwell in Possibility––<br> 670. One need not be a Chamber––to be Haunted––<br> 754. My Life had stood––a Loaded Gun––<br> 1053. It was a quiet way––<br> 1712. A Pit––but Heaven over it––<br> 525. I think the Hemlock likes to stand<br> 665. Dropped into the Ether Acre––<br> 709. Publication––is the Auction<br> 771. None can experience stint<br> 812. A Light exists in Spring<br> 824. The Wind begun to rock the Grass<br> 854. Banish Air from Air––<br> 915. Faith––is the Pierless Bridge<br> 925. Struck, was I, not yet by Lightning––<br> 949. Under the Light, yet under<br> 959. A loss of something ever felt I––<br> 997. Crumbling is not an instant's Act<br> 1056. There is a Zone whose even Years<br> 1090. I am afraid to own a Body––<br> 1128. These are the Nights that Beetles love––<br> 1173. The Lightning is a yellow Fork<br> 1235. Like Rain it sounded till it curved<br> 1247. To pile like Thunder to its close<br> 1311. This dirty––little––Heart<br> 1331. Wonder––is not precisely Knowing<br> 1575. The Bat is dun, with wrinkled Wings––<br> 1400. What mystery pervades a well!<br> 1433. How brittle are the Piers<br> 1445. Death is the supple Suitor<br> 1527. Oh give it Motion––deck it sweet<br> 1542. Come show thy Durham Breast<br> 1551. Those––dying then<br> 1670. In Winter in my Room<br> 1718. Drowning is not so pitiful<br> 1751. There comes an hour when begging stops</p> <p><b>SARAH MORGAN BRYAN PIATT (1836–1919)</b><br> The Palace-Burner A Doubt This World In Her Prison Answering a Child No Help In a Queen's Domain If I Had Made the World Stone for a Statue Army of Occupation A Lesson in a Picture A Pique at Parting Her Word of Reproach Sad Spring-Song</p> <p><b>SIDNEY LANIER (1842–1881)</b><br> Song for "The Jacquerie"<br> Nirvana To Beethoven To Richard Wagner The Revenge of Hamish To Bayard Taylor</p> <p><b>EDWIN ARLINGTON ROBINSON (1869–1935)</b><br> Walt Whitman John Evereldown Luke Havergal Three Quatrains The House on the Hill Aaron Stark Sonnet Verlaine Richard Cory Cliff Klingenhagen Reuben Bright The Tavern Octaves XV, XIX, XX</p> <p class="null1">EXPLANATORY NOTES</p>
282The Beat Book: Writings from the Beat GenerationAnne Waldman0Anne Waldman, Allen Ginsbergthe-beat-bookanne-waldman97815903045561590304551$15.32PaperbackShambhala Publications, Inc.July 2007RevisedAmerican Literature Anthologies4005.20 (w) x 8.36 (h) x 1.06 (d)<p>The Beat movement exploded into American culture in the early 1950s with the force of prophecy. Not just another literary school, it was an artistic and social revolution. William S. Burroughs proclaimed that the Beat writers were “real architects of change. There is no doubt that we’re living in a freer America as a result of the Beat literary movement, which is an important part of the larger picture of cultural and political change in this country during the last forty years, when a four-letter word couldn’t appear on the printed page and minority rights were ridiculous.”</p> <p>Anne Waldman, a renowned poet and longtime friend of many of these writers, has gathered in this volume a range of the best and most exemplary writings of the Beat poets and novelists. Selections from the Beat classics appear, as well as more recent prose and poetry demonstrating the continued vitality of the Beat experiment. Included are short biographies of the contributors, an extensive bibliography of Beat literature, and a unique guide to “Beat places” around the world—from Kerouac’s hometown of Lowell, Massachusetts, where his novel <i>Dr. Sax</i> takes place, to Tangier, where Burroughs wrote parts of <i>Naked Lunch.</i></p><p><P>The Beat movement exploded into American culture in the early 1950s with the force of prophecy. Not just another literary school, it was an artistic and social revolution. William S. Burroughs proclaimed that the Beat writers were &#8220;real architects of change. There is no doubt that we&#8217;re living in a freer America as a result of the Beat literary movement, which is an important part of the larger picture of cultural and political change in this country during the last forty years, when a four-letter word couldn&#8217;t appear on the printed page and minority rights were ridiculous.&#8221; <P>Anne Waldman, a renowned poet and longtime friend of many of these writers, has gathered in this volume a range of the best and most exemplary writings of the Beat poets and novelists. Selections from the Beat classics appear, as well as more recent prose and poetry demonstrating the continued vitality of the Beat experiment. Included are short biographies of the contributors, an extensive bibliography of Beat literature, and a unique guide to &#8220;Beat places&#8221; around the world&#8212;from Kerouac&#8217;s hometown of Lowell, Massachusetts, where his novel <i>Dr. Sax </i>takes place, to Tangier, where Burroughs wrote parts of <i>Naked Lunch. </i></p>
283Beat PoetsCarmela Ciuraru27<p><P>Carmela Ciuraru is the editor of the anthology <i>First Loves&#58; Poets Introduce the Essential Poems That Captivated and Inspired Them,</i> and the former editor of the<i> Journal of the Poetry Society of America</i>. A graduate of Columbia University's School of Journalism, she lives in New York City.</p>Carmela Ciuraru (Editor), Kevin Youngbeat-poetscarmela-ciuraru97803754133220375413324$10.63HardcoverKnopf Doubleday Publishing GroupJuly 2002Poetry Anthologies, American Poetry, American Literature Anthologies2564.40 (w) x 6.53 (h) x 0.77 (d)<p>This rousing anthology features the work of more than twenty-five writers from the great twentieth-century countercultural literary movement. Writing with an audacious swagger and an iconoclastic zeal, and declaiming their verse with dramatic flourish in smoke-filled cafés, the Beats gave birth to a literature of previously unimaginable expressive range.</p> <p>The defining work of Allen Ginsberg and Jack Kerouac provides the foundation for this collection, which also features the improvisational verse of such Beat legends as Gregory Corso, Lawrence Ferlinghetti, Gary Snyder, and Michael McClure and the work of such women writers as Diane DiPrima and Denise Levertov. LeRoi Jones’s plaintive “Preface to a Twenty Volume Suicide Note” and Bob Kaufman’s stirring “Abomunist Manifesto” appear here alongside statements on poetics and the alternately incendiary and earnest correspondence of Beat Generation writers.</p> <p>Visceral and powerful, infused with an unmediated spiritual and social awareness, this is a rich and varied tribute and, in the populist spirit of the Beats, a vital addition to the libraries of readers everywhere.</p><p><P>This rousing anthology features the work of more than twenty-five writers from the great twentieth-century countercultural literary movement. Writing with an audacious swagger and an iconoclastic zeal, and declaiming their verse with dramatic flourish in smoke-filled caf&#233;s, the Beats gave birth to a literature of previously unimaginable expressive range.<P>The defining work of Allen Ginsberg and Jack Kerouac provides the foundation for this collection, which also features the improvisational verse of such Beat legends as Gregory Corso, Lawrence Ferlinghetti, Gary Snyder, and Michael McClure and the work of such women writers as Diane DiPrima and Denise Levertov. LeRoi Jones&#8217;s plaintive &#8220;Preface to a Twenty Volume Suicide Note&#8221; and Bob Kaufman&#8217;s stirring &#8220;Abomunist Manifesto&#8221; appear here alongside statements on poetics and the alternately incendiary and earnest correspondence of Beat Generation writers. <P>Visceral and powerful, infused with an unmediated spiritual and social awareness, this is a rich and varied tribute and, in the populist spirit of the Beats, a vital addition to the libraries of readers everywhere.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Poems of Madness ("City Madness")</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hello</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Ode to Coit Tower</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Transformation & Escape</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Am 25</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poets Hitchhiking on the Highway</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Away One Year</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After Reading "In the Clearing"</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Writ on the Eve of My 32nd Birthday</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Second Night in N.Y.C. After 3 Years</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Trust yourself - but not too far"</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chasing the Bird</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dishonest Mailmen</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Know a Man</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The End</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hill</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rain</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Love</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Revolutionary Letter #1</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem in Praise of My Husband (Taos)</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Quarrel</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">April Fool Birthday Poem for Grandpa</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poetics</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">#9 ("Truth is not the secret of a few")</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">#13 ("It was a face which darkness could kill")</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">#22 ("crazy to be alive in such a strange world")</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">#39 ("A blockage in the bowel")</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Howl</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Back on Times Square, Dreaming of Times Square"</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Alba</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Malest Cornifici Tuo Catullo</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tears</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Kaddish</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Supermarket in California</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sunflower Sutra</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From America</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Parachutes, My Love, Could Carry Us Higher</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sunday Evening</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface to a Twenty Volume Suicide Note</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sex, like desire</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">War Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Political Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Enlightenment Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues for Sister Sally</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Junk/Angel</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Benediction</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">West Coast Sounds - 1956</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fragment</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ginsberg (for Allen)</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Abomunist Manifesto</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mexican Loneliness</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Meditate</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Sudden Sketch Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hymn</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Mexico City Blues</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I dreamed of a bum seven foot tall"</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"My muse goosed me"</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"It is lonely"</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"My father died this spring"</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">May 29</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"It's a great day"</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Hypodermic Light</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">High</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Man is in pain"</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gypsy's Window</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Flight</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Marriage</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Marriage (II)</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem from Manhattan</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Vacancy</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Flowers of Politics (I)</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Flowers of Politics (II)</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mad Sonnet 13</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the Untitled Epic Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">6th Raga: For Bob Alexander</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">15th Raga: For Bela Lugosi</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Picasso Visits Braque</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Would Not Recommend Love</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Have Always Liked George Gershwin More than Ernest Hemingway"</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Have Seen the Light and It Is My Mind</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hotel Nirvana</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Personal Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autobiographia Literaria</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Today</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Avenue A</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Now That I Am in Madrid and Can Think</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Having a Coke With You</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Peter's Jealous of Allen</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Writing poems is a Saintly thing"</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some One Liked Me When I Was Twelve</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Collaboration: Letter to Charlie Chaplin</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Take My Disproportionate Desire</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Matins & Lauds</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Communion of Saints: The Poor Bastard Under the Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Easter Saturday, NY, NY</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rockefeller the Center</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Migration of Birds</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Sinecure for P. Whalen</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Under the Skin of It</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">August on Sourdough, a Visit from Dick Brewer</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How the Sestina (Yawn) Works</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Diaries</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blue That Reminds Me of the Boat When She Left</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Whenever I make a new poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I know a man's supposed to have his hair cut short"</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For C</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">20:vii:58, On Which I Renounce the Notion of Social Responsibility</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prose Take-Out, Portland, 13:ix:58</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Something Nice About Myself</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">True Confessions</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Poem for Tea Heads</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Poem for Painters</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Poem for the Insane</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters, Encounters, & Statements on Poetics</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Donald Allen (1912- )</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">William Burroughs (1914-97)</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gregory Corso</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lawrence Ferlinghetti</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Allen Ginsberg</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jack Kerouac</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Frank O'Hara</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Peter Orlovsky</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of First Lines</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD></TABLE>
284Brooklyn Was MineChris Knutsen0<p><P>Chris Knutsen, a senior editor at Vogue who's also worked at <i>GQ</i>, <i>The New Yorker</i>, and Riverhead Books, is the co-editor of <i>Committed&#58; Men Tell Their Stories of Love</i>, <i>Commitment, and Marriage</i>. <P>Valerie Steiker, author of <i>The Leopard Hat</i>, is a senior editor at <i>Vogue</i> and has worked at <i>Artforum</i> and <i>The New Yorker</i>.</p>Chris Knutsen (Editor), Valerie Steiker (Editor), Phillip Lopate (Introduction), Jennifer Egan, Darin Straussbrooklyn-was-minechris-knutsen97815944828231594482829$14.94PaperbackPenguin Group (USA) IncorporatedJanuary 2008American Essays, General & Miscellaneous Essays, Places - Literary Anthologies, Regional American Anthologies, Regional Studies - Northeast & Middle Atlantic U.S., Literature Anthologies - General & Miscellaneous2405.22 (w) x 8.04 (h) x 0.61 (d)<p class="null1">A tribute to New York City's most literary borough-featuring original nonfiction pieces by today's most celebrated writers.</p> <p>Of all the urban landscapes in America, perhaps none has so thoroughly infused and nurtured modern literature as Brooklyn. Though its literary history runs deep-Walt Whitman, Truman Capote, and Norman Mailer are just a few of its storied inhabitants-in recent years the borough has seen a growing concentration of bestselling novelists, memoirists, poets, and journalists. It has become what Greenwich Village once was for an earlier generation: a wellspring of inspiration and artistic expression.</p> <p><i>Brooklyn Was Mine</i> gives some of today's best writers an opportunity to pay tribute to the borough they love in 20 original essays that draw on past and present to create a mosaic that brilliantly captures the quality and diversity of a unique, literary landscape.</p> <p class="null1">Contributors include: Emily Barton, Susan Choi, Rachel Cline, Philip Dray, Jennifer Egan, Colin Harrison, Joanna Hershon, Jonathan Lethem, Dinaw Mengestu, Elizabeth Gaffney, Lara Vapnyar, Lawrence Osborne, Katie Roiphe, John Burnham Schwartz, Vijay Seshadri, Darcey Steinke, Darin Strauss, Alexandra Styron, Robert Sullivan</p> <p>With an introduction by Phillip Lopate.</p><p><P><b>A tribute to New York City's most literary borough-featuring original nonfiction pieces by today's most celebrated writers.</b> <P>Of all the urban landscapes in America, perhaps none has so thoroughly infused and nurtured modern literature as Brooklyn. Though its literary history runs deep-Walt Whitman, Truman Capote, and Norman Mailer are just a few of its storied inhabitants-in recent years the borough has seen a growing concentration of bestselling novelists, memoirists, poets, and journalists. It has become what Greenwich Village once was for an earlier generation&#58; a wellspring of inspiration and artistic expression. <P><i>Brooklyn Was Mine</i> gives some of today's best writers an opportunity to pay tribute to the borough they love in 20 original essays that draw on past and present to create a mosaic that brilliantly captures the quality and diversity of a unique, literary landscape. <P><b>Contributors include&#58; Emily Barton, Susan Choi, Rachel Cline, Philip Dray, Jennifer Egan, Colin Harrison, Joanna Hershon, Jonathan Lethem, Dinaw Mengestu, Elizabeth Gaffney, Lara Vapnyar, Lawrence Osborne, Katie Roiphe, John Burnham Schwartz, Vijay Seshadri, Darcey Steinke, Darin Strauss, Alexandra Styron, Robert Sullivan </b> <P>With an introduction by Phillip Lopate.</p><h3>Norman Oder - Library Journal</h3><p><P>Place, idea, and contested symbol, as essayist Phillip Lopate allows in his introduction, Brooklyn harbors a new generation of writers, who offer a good variety of essays on places and people they know. Russian emigre Lara Vapnyar recalls the Russian "parody" of Brighton Beach; John Burnham Schwartz brings his father back to no-longer-Jewish Brownsville; Ethiopian-born Dinaw Mengestu revels in polyglot Kensington; and Lawrence Osborne finds commonality between waterfront Red Hook and his former stomping grounds in Bangkok. Several pieces are miniatures-e.g., Emily Barton on her seltzer man-while Colin Harrison is one of a few with a broader canvas, describing how youth baseball has taken him and his son around the borough. There's almost nothing about black and Caribbean Brooklyn and not enough about the borough's ongoing transformation, though gentrification is a recurring theme. Novelist Jonathan Lethem, almost a professional Brooklynite, offers a hybrid piece titled "Ruckus Flatbush," offering sardonic insider wordplay, then reflecting on his role fighting "shockingly bad" redevelopment; Vijay Seshadri, assaying changes in his neighborhood of Carroll Gardens, once mostly Italian and Hispanic, acknowledges "the commonplace but nonetheless sharp recognition that I only began cherishing it when I understood it was disappearing." Walt Whitman, source of the book's title, might agree. For essay collections, especially where New York is of interest.</p><article> <h4>From Barnes & Noble</h4>Brooklyn, like Greenwich Village, is a state of mind. In this upbeat anthology, diverse Brooklynites describe the euphoria and singularity of "the other borough." Contributors include Jennifer Egan, Jonathan Lethem, Phillip Lopate, and Emily Barton. Literate hometown pride. </article> <article> <h4>Library Journal</h4><p>Place, idea, and contested symbol, as essayist Phillip Lopate allows in his introduction, Brooklyn harbors a new generation of writers, who offer a good variety of essays on places and people they know. Russian emigre Lara Vapnyar recalls the Russian "parody" of Brighton Beach; John Burnham Schwartz brings his father back to no-longer-Jewish Brownsville; Ethiopian-born Dinaw Mengestu revels in polyglot Kensington; and Lawrence Osborne finds commonality between waterfront Red Hook and his former stomping grounds in Bangkok. Several pieces are miniatures-e.g., Emily Barton on her seltzer man-while Colin Harrison is one of a few with a broader canvas, describing how youth baseball has taken him and his son around the borough. There's almost nothing about black and Caribbean Brooklyn and not enough about the borough's ongoing transformation, though gentrification is a recurring theme. Novelist Jonathan Lethem, almost a professional Brooklynite, offers a hybrid piece titled "Ruckus Flatbush," offering sardonic insider wordplay, then reflecting on his role fighting "shockingly bad" redevelopment; Vijay Seshadri, assaying changes in his neighborhood of Carroll Gardens, once mostly Italian and Hispanic, acknowledges "the commonplace but nonetheless sharp recognition that I only began cherishing it when I understood it was disappearing." Walt Whitman, source of the book's title, might agree. For essay collections, especially where New York is of interest.<br> —Norman Oder</p> </article>
285New Playwrights: The Best Plays of 2007Lawrence Harbison0<p>For over thirty years Lawrence Harbison was in charge of new play acquisition for Samuel French, Inc., during which time he was responsible for the first publication of such luminaries as Jane Martin, Don Nigro, Tina Howe, Theresa Rebeck, Jos&eacute; Rivera, William Mastrosimone, Charles Fuller and Ken Ludwig, among many others; and the acquisition of musicals such as <I>Skmoke on The Mountain, Pump Boys And Dinettes, A My Name is Alice</I> and <I>Three Guys Naked From The Waist Down</I>. He has for many years written a weekly column on his adventures in the theatre for two Manhattan Newspapers, the Chelsea Clinton News and The Westsider. He is a member of the NYC press corps and is an Outer Critics Circle Member. He has served many times over the years as a judge and commentator for various national play contests and lectures regularly at colleges and universities.</p>Lawrence Harbison (Editor), David Epsteinnew-playwrightslawrence-harbison9781575255910157525591X$17.05PaperbackSmith & Kraus, Inc.July 20081st EditionDrama, American Literature Anthologies, General & Miscellaneous Drama, Anthologies4165.30 (w) x 8.40 (h) x 0.90 (d)
286The Best American Erotic Poems: From 1800 to the PresentDavid Lehman0<p><br><b>David Lehman</b> is the editor of <I>The Oxford Book of American Poetry</i> and the author of seven books of poetry, including <I>When a Woman Loves a Man.</i> He lives in New York City.</p>David Lehmanthe-best-american-erotic-poemsdavid-lehman97814165374651416537465$14.59PaperbackSimon & Schuster Adult Publishing GroupFebruary 2008Poetry, American Literature Anthologies, Anthologies, General & Miscellaneous Poetry3365.50 (w) x 8.44 (h) x 0.90 (d)<p>There is a deep tradition of eroticism in American poetry. Thoughtful, provocative, moving, and sometimes mirthful, the poems collected in <i>The Best American Erotic Poems</i> celebrate this exuberant sensuality.</p> <p>These poems range across the varied landscapes of love and sex and desire — from the intimate parts of the body to the end of an affair, from passion to solitary self-pleasure. With candor and imagination, they capture the delights and torments of sex and sexuality, nudity, love, lust, and the secret life of fantasy.</p> <p>David Lehman, the distinguished editor of the celebrated <i>Best American Poetry</i> series, has culled a witty, titillating, and alluring collection that starts with Francis Scott Key, Emily Dickinson, Walt Whitman, and Hart Crane, encompasses Frank O'Hara, Anne Sexton, John Updike, Charles Simic, Billy Collins, Kevin Young, and Sharon Olds, and concludes with the rising stars of a whole new generation of versifiers, including Sarah Manguso, Ravi Shankar, and Brenda Shaughnessy.</p> <p>In a section of the book that is sure to prompt discussion and further reading, the living poets write about their favorite works of erotic writing.</p> <p>This book will delight, surprise, and inspire.</p><p><br>There is a deep tradition of eroticism in American poetry. Thoughtful, provocative, moving, and sometimes mirthful, the poems collected in <I>The Best American Erotic Poems</i> celebrate this exuberant sensuality.<P>These poems range across the varied landscapes of love and sex and desire -- from the intimate parts of the body to the end of an affair, from passion to solitary self-pleasure. With candor and imagination, they capture the delights and torments of sex and sexuality, nudity, love, lust, and the secret life of fantasy.<P>David Lehman, the distinguished editor of the celebrated <I>Best American Poetry</i> series, has culled a witty, titillating, and alluring collection that starts with Francis Scott Key, Emily Dickinson, Walt Whitman, and Hart Crane, encompasses Frank O'Hara, Anne Sexton, John Updike, Charles Simic, Billy Collins, Kevin Young, and Sharon Olds, and concludes with the rising stars of a whole new generation of versifiers, including Sarah Manguso, Ravi Shankar, and Brenda Shaughnessy.<P>In a section of the book that is sure to prompt discussion and further reading, the living poets write about their favorite works of erotic writing.<P>This book will delight, surprise, and inspire.</p><br>Contents<P>Introduction by David Lehman xv<P><P>[<I>organized chronologically by year of poet's birth</i>]<P>francis scott key (1780-1843)<P><I>"On a Young Lady's Going into a Shower Bath"</i> 1<P>edgar allan poe (1809-1849)<P><I>"Song" ["I saw thee on thy bridal day"]</i> 2<P>walt whitman (1819-1892)<P><I>"I Sing the Body Electric"</i> 3<P>george henry boker (1823-1890)<P>from <I>Sonnets&#58; A Sequence on Profane Love</i> 11<P>emily dickinson (1830-1886)<P><I>"Come slowly -- Eden!"</i> (#211) 12<P><I>"Wild Nights -- Wild Nights!" </i>(#249) 13<P><I>"He fumbles at your Soul"</i> (#315) 14<P><I>"I groped for him before I knew"</i> (#1555) 15<P><I>"In Winter in my Room"</i> (#1670) 16<P>emma lazarus (1849-1887)<P><I>"Assurance" </i>18<P>edith wharton (1862-1937)<P><I>"Terminus"</i> 19<P>robert frost (1874-1963)<P><I>"The Subverted Flower"</i> 22<P>amy lowell (1874-1925)<P><I>"Anticipation"</i> 25<P>gertrude stein (1874-1946)<P>from <I>Lifting Belly</i> 26<P>wallace stevens (1879-1955)<P><I>"Peter Quince at the Clavier"</i> 32<P>william carlos williams (1883-1963)<P><I>"Young Sycamore"</i> 35<P>conrad aiken (1889-1973)<P><I>"Sea Holly"</i> 36<P>edna st. vincent millay (1892-1950)<P>Sonnet [<I>"I too beneath your moon, almighty Sex"</i>] 38<P>e. e. cummings (1894-1962)<P><I>"as / we lie side by side / my little breasts [...]"</i> 39<P>h. phelps putnam (1894-1948)<P><I>"Sonnets to Some Sexual Organs"</i> 40<P>hart crane (1899-1932)<P><I>"Episode of Hands"</i> 42<P>langston hughes (1902-1967)<P><I>"Desire"</i> 43<P>kenneth rexroth (1905-1982)<P>from <I>The Love Poems of Marichiko</i> 44<P>w. h. auden (1907-1973)<P><I>"The Platonic Blow"</i> 48<P>elizabeth bishop (1911-1979)<P><I>"It IsMarvellous..."</i> 53<P>j. v. cunningham (1911-1985)<P><I>"It Was in Vegas"</i> 54<P>tennessee williams (1911-1983)<P><I>"Life Story"</i> 55<P>muriel rukeyser (1913-1980)<P><I>"What I See"</i> 57<P>may swenson (1913-1989)<P><I>"A New Pair"</i> 58<P>isabella stewart gardner (1915-1981)<P><I>"The Milkman"</i> 59<P>ruth stone (born 1915)<P><I>"Coffee and Sweet Rolls"</i> 60<P>thomas mcgrath (1916-1990)<P>from <I>Letter to an Imaginary Friend</i> 62<P>robert duncan (1919-1988)<P><I>"The Torso"</i> (Passage 18) 64<P>charles bukowski (1920-1994)<P><I>"Hunk of Rock"</i> 67<P>hayden carruth (born 1921)<P><I>"Assignment"</i> 75<P>richard wilbur (born 1921)<P><I>"A Late Aubade"</i> 76<P>james schuyler (1923-1991)<P><I>"A photograph"</i> 78<P>louis simpson (born 1923)<P><I>"Summer Storm"</i> 80<P>robin blaser (born 1925)<P><I>"2nd Tale&#58; Return"</i> 81<P>kenneth koch (1925-2002)<P><I>"To Orgasms"</i> 83<P>a.r. ammons (1926-2001)<P><I>"Their Sex Life"</i> 85<P>paul blackburn (1926-1971)<P><I>"The Once-Over"</i> 86<P>allen ginsberg (1926-1997)<P><I>"Love Poem on Theme by Whitman"</i> 88<P>james merrill (1926-1995)<P><I>"Peeled Wands"</i> 89<P>frank o'hara (1926-1966)<P><I>"To the Harbormaster"</i> 90<P>david wagoner (born 1926)<P><I>"Trying to Write a Poem While the Couple in the Apartment Overhead Make Love"</i> 91<P>galway kinnell (born 1927)<P><I>"Last Gods"</i> 92<P>donald hall (born 1928)<P><I>"When I Was Young"</i> 94<P>anne sexton (1928-1974)<P><I>"December 11th"</i> 95<P>richard howard (born 1929)<P><I>"Move Still, Still So"</i> 96<P>adrienne rich (born 1929)<P><I>"(The Floating Poem, Unnumbered)"</i> 103<P>sylvia plath (1932-1963)<P><I>"The Beekeeper's Daughter"</i> 104<P>john updike (born 1932)<P><I>"Fellatio"</i> 105<P>mark strand (born 1934)<P><I>"The Couple"</i> 106<P>ted berrigan (1934-1983)<P><I>"Dinner at George & Katie Schneeman's"</i> 110<P>russell edson (born 1935)<P><I>"Conjugal"</i> 111<P>lucille clifton (born 1936)<P><I>"to a dark moses"</i> 112<P>frederick seidel (born 1936)<P><I>"Heart Art"</i> 113<P>marge piercy (born 1936)<P><I>"Salt in the Afternoon"</i> 115<P>c. k. williams (born 1936)<P><I>"Ethics"</i> 116<P>charles simic (born 1938)<P><I>"Breasts"</i> 118<P>billy collins (born 1941)<P><I>"Pinup"</i> 121<P>stephen dobyns (born 1941)<P><I>"Desire"</i> 123<P>robert hass (born 1941)<P><I>"Against Botticelli"</i> 126<P>linda gregg (born 1942)<P><I>"Kept Burning and Distant"</i> 128<P>sharon olds (born 1942)<P><I>"The Sisters of Sexual Treasure"</i> 129<P>louise gl&#252;ck (born 1943)<P><I>"The Encounter"</i> 130<P>sandra alcosser (born 1944)<P><I>"By the Nape"</i> 131<P>paul violi (born 1944)<P><I>"Resolution"</i> 132<P>robert olen butler (born 1945)<P><I>"Walter Raleigh, courtier and explorer, beheaded by King James I, 1618"</i> 134<P>alan feldman (born 1945)<P><I>"A Man and a Woman"</i> 135<P>bernadette mayer (born 1945)<P><I>"First turn to me..."</i> 136<P>honor moore (born 1945)<P><I>"Disparu"</i> 139<P>star black (born 1946)<P><I>"The Evangelist"</i> 140<P>ellen bass (born 1947)<P><I>"Gate C22"</i> 141<P>ai (born 1947)<P><I>"Twenty-Year Marriage"</i> 143<P>jane kenyon (1947-1995)<P><I>"The Shirt"</i> 144<P>yusef komunyakaa (born 1947)<P><I>"Lust"</i> 145<P>molly peacock (born 1947)<P><I>"She Lays"</i> 146<P>james cummins (born 1948)<P><I>"The Body Is the Flower"</i> 147<P>heather mchugh (born 1948)<P><I>"Gig at Big Al's"</i> 149<P>lynn emanuel (born 1949)<P><I>"Dreaming of Rio at Sixteen"</i> 150<P>denis johnson (born 1949)<P><I>"Poem"</i> 151<P>dana gioia (born 1950)<P><I>"Alley Cat Love Song"</i> 152<P>paul jones (born 1950)<P><I>"To His Penis"</i> 153<P>william wadsworth (born 1950)<P><I>"The Snake in the Garden Considers Daphne"</i> 155<P>marc cohen (born 1951)<P><I>"It Never Happened"</i> 156<P>judith hall (born 1951)<P><I>"In an Empty Garden"</i> 157<P>cynthia huntington (born 1951)<P>from <I>Shot Up in the Sexual Revolution (The True Adventures of Suzy Creamcheese)</i> 159<P>paul muldoon (born 1951)<P><I>"The Little Black Book"</i> 161<P>bob flanagan (1952-1996)<P>from <I>Slave Sonnets ["I've been a shit and I hate fucking you now"]</i> 163<P>dorianne laux (born 1952)<P><I>"The Shipfitter's Wife"</i> 164<P>peter serchuk (born 1952)<P><I>"The Naked Women"</i> 165<P>dennis cooper (born 1953)<P><I>"After School, Street Football, Eighth Grade"</i> 166<P>mark doty (born 1953)<P><I>"Lilacs in NYC"</i> 168<P>tony hoagland (born 1953)<P><I>"Visitation"</i> 171<P>richard jones (born 1953)<P><I>"Wan Chu's Wife in Bed"</i> 172<P>harryette mullen (date of birth unknown)<P><I>"Pretty Piece of Tail"</i> 173<P>kim addonizio (born 1954)<P><I>"The Divorc&#233;e and Gin"</i> 175<P>sarah arvio (born 1954)<P><I>"Mirrors"</i> 176<P>dean young (born 1955)<P><I>"Platypus"</i> 178<P>amy gerstler (born 1956)<P><I>"Ode to Semen"</i> 179<P>sarah maclay (born 1956)<P><I>"My Lavenderdom"</i> 180<P>cecilia woloch (born 1956)<P><I>"Bareback Pantoum"</i> 181<P>catherine bowman (born 1957)<P><I>"Demographics"</i> 183<P>ed smith (1957-2005)<P><I>"Poem"</i> 185<P>nin andrews (born 1958)<P><I>"How to Have an Orgasm&#58; Examples"</i> 186<P>carl phillips (born 1959)<P><I>"I See a Man"</i> 188<P>denise duhamel (born 1961)<P><I>"House-Sitting"</i> 189<P>elizabeth alexander (born 1962)<P><I>"At Seventeen"</i> 191<P>olena kalytiak davis (born 1963)<P><I>"Francesca Says More"</i> 192<P>beth gylys (born 1964)<P><I>"Preference"</i> 196<P>lisa williams (born 1966)<P><I>"On Not Using the Word 'Cunt' in a Poem"</i> 197<P>deborah landau (born 1967)<P><I>"August in West Hollywood"</i> 199<P>jeffrey mcdaniel (born 1967)<P><I>"When a man hasn't been kissed"</i> 200<P>richard siken (born 1967)<P><I>"Little Beast"</i> 201<P>jennifer l. knox (born 1968)<P><I>"Another Motive for Metaphor"</i> 204<P>janice erlbaum (born 1969)<P><I>"The Temp"</i> 205<P>jenny factor (born 1969)<P><I>"Misapprehension"</i> 207<P>cate marvin (born 1969)<P><I>"Me and Men"</i> 208<P>catherine wagner (born 1969)<P><I>"Lover"</i> 210<P>c. dale young (born 1969)<P><I>"Maelstrom"</i> 211<P>brenda shaughnessy (born 1970)<P><I>"Voluptuary"</i> 213<P>kevin young (born 1970)<P><I>"&#201;tude"</i> 215<P>jill alexander essbaum (born 1971)<P><I>"On Reading Poorly Transcribed Erotica"</i> 216<P>beth ann fennelly (born 1971)<P><I>"Why We Shouldn't Write Love Poems, or If We Must, Why We Shouldn't Publish Them"</i> 217<P>terrance hayes (born 1971)<P><I>"Preface"</i> 219<P>catherine wing (born 1972)<P><I>"Eye-Fucked"</i> 220<P>ross martin (born 1973)<P><I>"Body Cavity"</i> 221<P>sarah manguso (born 1974)<P><I>"Reverence"</i> 224<P>ravi shankar (born 1975)<P><I>"Lucia"</i> 225<P>laura cronk (born 1977)<P><I>"From the Other"</i> 226<P>danielle pafunda (born 1977)<P><I>"Courtesy"</i> 227<P>michael quattrone (born 1977)<P><I>"February"</i> 228<P>maggie wells (born 1977)<P><I>"Sonnet from the Groin"</i> 229<P>noah michelson (born 1978)<P><I>"Valentine"</i> 230<P>heather christle (born 1980)<P><I>"Letter to My Love"</i> 231<P>rachel shukert (born 1980)<P><I>"Subterranean Gnomesick Blues; or, the Gnome Who Whet My Fleshy Tent."</i> 232<P><P>Contributors' Notes 235<P>Acknowledgments 285<P>Index of Poems 293<P>Index of Poets 297<P>
287The Best of the West: An Anthology of Classic Writing from the American WestTony Hillerman28<p>Tony Hillerman's experience as a journalist and a lover of Native American culture lent an unmistakable authenticity to his mysteries. In addition to his popular series starring Navajo Tribal Police detectives Chee and Leaphorn, he wrote standalone novels, essays about the Southwest, and a warmly reviewed autobiography (<i>Seldom Disappointed</i>) that revealed not only his talent, but his bravery as a soldier in World War II. He died in 2008 at the age of 83.</p>Tony Hillermanthe-best-of-the-westtony-hillerman97800609235250060923520$18.28PaperbackHarperCollins PublishersSeptember 1992ReprintFiction, United States History - Western, Plains & Rocky Mountain Region, Americas - General & Miscellaneous History, American Literature Anthologies, United States History - General & Miscellaneous, Civilization - History, Fiction Subjects5445.31 (w) x 8.00 (h) x 1.22 (d)<p>A sterling collection of classic and contemporary fiction and nonfiction evoking the unique spirit of the West and its people, selected and introduced by one of today's premier chroniclers of the Western landscape and a <b>New York Times</b> bestselling author.</p><b>NEW MEXICO'S MYSTERY STONE</b><br> Dixie L. Perkins<br> <p class="null1">The discovery of rune stones bearing inscriptions in early Scandinavian languages has long since cast doubt on the notion that Christopher Columbus was America's first tourist from Europe. Another inscribed stone, discovered in 1850 in the Rio Puerco Valley eighteen miles west of Los Lunas, New Mexico, makes the Norsemen, too, seem like latecomers. Long ago an inscription was chipped in a basalt outcrop in strange characters. Dixie L. Perkins, quoted here from her The Meaning of the New Mexico Mystery Stone, believes the inscription was the work of a Greek sailor about 500 B.C. who wrote: "I have come up to this point . . . to stay. The other one met with an untimely death a year ago . . . I remain a hair of rabbit. I, Zakyneros . . . out of reach of mortal man, am fleeing and am very much afraid . . . I become hollow or gaunt from hunger."</p> <p>[A] significant communication was carved upon the Los Lunas, New Mexico, "inscription rock" or "mystery stone."</p> <p>People were aware of the inscription when New Mexico became a territory in 1850, but no one could read it, However, one century later, Robert H. Pfeiffer of Harvard University, made the first known translation of the strange writing. He was considered to be an authority on the Old Testament; he concluded that the inscription was a copy of the Ten Commandments. He decided it was written in the Phoenician, the Moabite, and the Greek languages.</p> <p>To my knowledge, Professor Pfeiffer did not state, at the time, who he thought carved the message. However, his translation seemed to satisfy the curiosity of the people of that era. Indeed, it stoodfor many years as the final word. The stone is still referred to, occasionally, as the "Ten Commandments rock."</p> <p>Further speculation involved the origin or the author of the inscription. Some viewers conjectured a member of one of the lost tribes of Israel, spoken of in the Bible, wrote it. In 1936, an anthropologist from the University of New Mexico, Dr. Frank C. Hibben, saw the rock. He expressed the view the writing could have been carved by the Mormons when they migrated westward ....</p> <p>In 1964, Robert H. LaFollette wrote an interesting translation of the inscription. As did Robert Pfeiffer in 1949, Mr. LaFollette determined some of the letters in the inscription were Phoenician. In addition, he concluded that other letters were in Hebrew, Cyrillic, and Etruscan. Thus, Robert LaFollette made the first attempt at a translation which would, in any way, challenge the established one of Robert Pfeiffer ....</p> <p>Zakyneros, the Greek, left the metropolitan Mediterranean area with its empires, armies and navies. Behind him were the seething cities and towns with attendant manufacturing, marketing, and trading industries.</p> <p>He arrived in the vast, relatively empty region of central New Mexico in 500 B.C. Blue, spruce-covered mountains stood apart in green grasslands. Lean red and purple mesas stretched themselves for many miles. From the north the great Rio Grande twisted to receive a watery contribution from the lesser Rio Puerco. Except for scattered ancient Indian tribes engaged in hunting, farming, and food-gathering pursuits, Zakyneros existed alone ....</p> <p>At any rate, he carved his story into pink-gray basalt. Geologists identify basalt as an igneous or lava-type rock. It varies in texture and in color, also, but the one Zakyneros wrote upon is very fine.</p> <p>The denseness of this particular rock made Zakyneros' self-assigned task more difficult. Possibly, he possessed bronze or iron tools. Archaeologists found several such European tools and weapons, too, in some of their digs in the United States.</p> <p>In whatever manner he did it, Zakyneros cut letters about .25 in. or .635 cm. deep into the basalt. The letters average 1.75 in. or 4.45 cm. high, and 1.50 in. or 3.81 cm. wide. The great depth of his letters indicates an ancient inscription. Despite some weathering, it has been preserved in excellent condition ....</p> <p>The size of the rock's writing surface measures 4.50 ft. or 1.37 m. wide, by 3.33 ft. or 1.02 m. high.</p> <p>The inscription rock is located on the lower right side of a large mound of lava. The lava mound lies in a little canyon. The canyon dents the base of a small, extinct volcanic mountain. Its altitude is 5,500 ft.</p> <p>The mountain is, appropriately, named Hidden Mountain on a present-day geological survey map. Scientifically, the area is known as the Lucero Basin, on the western edge of the Rio Grande trough. Hidden Mountain and the adjacent basaltic rocks, including the one on which Zakyneros carved, were formed only 20,000 years ago. The Lucero Uplift and the Puerco Fault Zone come together nearby.</p> <p>Located approximately in the middle of New Mexico, Hidden Mountain rises eighteen miles west of the city of Los Lunas. The mountain stand on privately owned ranch land in the desert, a mile south of New Mexico Highway 6. <i>Best of the West</i>. Copyright © by Tony Hillerman. Reprinted by permission of HarperCollins Publishers, Inc. All rights reserved. Available now wherever books are sold.</p><p><P>A sterling collection of classic and contemporary fiction and nonfiction evoking the unique spirit of the West and its people, selected and introduced by one of today's premier chroniclers of the Western landscape and a <i>New York Times</i> bestselling author.</p>
288Atop an Underwood: Early Stories and Other WritingsJack Kerouac0<p>Jack Kerouac(1922-1969), the central figure of the Beat Generation, was born in Lowell, Massachusetts, in 1922 and died in St. Petersburg, Florida, in 1969. Among his many novels are <b>On the Road</b>, <b>The Dharma Bums</b>, <b>Big Sur</b>, and <b>Visions of Cody</b>.</p>Jack Kerouac, Paul Marion (Editor), Paul Marion (Commentaries by), Paul Marionatop-an-underwoodjack-kerouac97801402963960140296395$15.42PaperbackPenguin Group (USA)November 2000Fiction, American Literature Anthologies2725.30 (w) x 8.06 (h) x 0.63 (d)<p>Before Jack Kerouac expressed the spirit of a generation in his 1957 classic, <b>On the Road</b>, he spent years figuring out how he wanted to live and, above all, learning how to write. <b>Atop an Underwood</b> brings together more than sixty previously unpublished works that Kerouac wrote before he was twenty-two, ranging from stories and poems to plays and parts of novels, including an excerpt from his 1943 merchant marine novel, <b>The Sea Is My Brother</b>. These writings reveal what Kerouac was thinking, doing, and dreaming during his formative years, and reflect his primary literary influences. Readers will also find in these works the source of Kerouac's spontaneous prose style.</p> <p>Uncovering a fascinating missing link in Kerouac's development as a writer, Atop an Underwood is essential reading for Kerouac fans, scholars, and critics.</p><br> <br> <p><br> </p> <p><font size="+2">Excerpt</font></p> <p><br> </p> <p align="center"><b>from Background</b></p> <p><br> </p> <blockquote><i>Kerouac wrote this "Background" for prospective employers in late 1943, while living in New York City. He was seeking work as a script synopsizer in the motion picture industry, believing that the experience would help him write his own scripts and establish contacts in the movie business. Parts Two and Three of this book open with subsequent passages from Kerouac's short autobiography.</i></blockquote> <p><br> </p> <p>I was born in Lowell, Mass., in March of 1922. Shortly before my birth my father had begun a small theatrical publication known as the "Spotlight Print," a unique weekly filled with news, comments, anecdotes, editorials, and advertisements dealing with the theatre and cinema of that time around Lowell and Boston. At the age of eleven, I spent most of my time after school in my father's printing and editorial offices, dashing off publications of my own on the antique typewriter, using the hand press for headlines and cuts. This early association with the printing and publishing business soon enough stained not only my blood but my hands and face with ink. My father's incessant stories about playing poker with George Arliss, with the Marx Brothers, with John Barrymore, and many other "troopers" during his days as an advertising man for the RKO Keith circuit in New England filled me with an early dream of the theatre.</p> <p>&nbsp;&nbsp;&nbsp; At twelve, I printed a novel laboriously into a nickle notebook dealing with the adventures of a runaway orphan down the Merrimack River. At thirteen, I was busy turning out cartoon strips, handprinted racingform sheets, and a club newspaper. It was also at this time that the Lowell Sun published a "column" of mine written in father's office predicting the outcome of the Louis-Braddock fight to the round.</p> <p>&nbsp;&nbsp;&nbsp; A year later, I was in High School trying out for the football team. A senior at sixteen, I had by that time so distinguished myself in athletics and studies to draw the attention of several colleges and football coaches for a scholarship, chief among them being Lou Little of Columbia and Frank Leahy, then Head Coach at Boston College. I chose Columbia, but since I needed more math before I could enroll there, Little arranged to send me to Horace Mann School here in New York, where, during the course of the year, Frank Leahy paid me a visit and tried to persuade me to go back to Boston College. He told me then, in 1940, that he might eventually leave B.C. for Notre Dame, but that he would take me to South Bend with him. "Now," he said, "let's go out and dine and see a good show. What would you like to see?" "William Saroyan!" I cried.</p> <p>&nbsp;&nbsp;&nbsp; We went to see "Love's Old Sweet Song," and Frank seemed to enjoy it thoroughly. But, for my part, the performance was marred by the presence of a certain gentleman behind Leahy and me, and to this day I cannot tell whether or not it was a coincidence, or that the gentleman in the back row, the Freshman football coach at Columbia University, was surreptitiously tailing us.</p> <p>&nbsp;&nbsp;&nbsp; At any rate, I stuck to Columbia: New York was too exciting to leave, and was too closely identified with boyhood dreams.</p> <p>&nbsp;&nbsp;&nbsp; At Horace Mann, I was an out-and-out killer: star on the football, baseball, and chess teams, I earned money writing sports news for the New York World-Telegram (a job I got through Lou Miller, scholastic sports editor), turning out English papers for lazy but wealthy fellow students, and tutoring French. I wrote feature articles for the school weekly (mostly interviews, one with Glenn Miller), took an active part in the Dramatic Club, wrote several articles on jazz, which earned me the title of "jazz critic," appeared each quarter in the Horace Mann Quarterly with a short story, and, although I played baseball and football on the teams, wrote up the games, and often my own successes, the following day. In general, I earned good enough marks and made a sufficient impression to rate the status of "good citizen" from the prim, severe Dean. (However, at graduation exercises, finding myself the only member of the class sans culottes blanches—the irony of economic determinism—I spent the afternoon reclining under a tree behind the school thinking about Whitman and Saroyan, whom I had just begun to admire.)</p> <p>&nbsp;&nbsp;&nbsp; At home in Lowell that summer, two old pals and I made elaborate preparations to stage a three-act play in a small town in the outlying suburbs. I wrote the script, the other was to take the leading role, and the third undertook a producer's duties. In the end, our mutual money shortage made short shrift of our attempts, but we did manage to put on a 15-minute play over the local radio station. These pitiful efforts may sound ludicrous to an outsider, but I cannot forget the enthusiasm with which we pitched our projects; nor can I forget the morning we three went to the old swimming hole in the pine woods to see the sunrise, after a long night of discussion, planning, writing, and drinking of coffee. For, later on, the "producer" was at Bataan, the "actor" is at present in Italy with the Fifth Army, and the "writer" spent many long, cold months in the North Atlantic.</p> <p>&nbsp;&nbsp;&nbsp; The following Fall, at Columbia, I returned a kickoff against Princeton Frosh 85 yards to the Princeton 5-yard line and was carried off the field with a broken leg. I was actually glad; now I would have all of my time to myself and for studies. I wrote movie reviews for the Columbia Spectator, covered the varsity track team in the winter; ran a one-man typing agency, did some more ghost-writing, was elected Vice-President of the class, tutored French, and worked as private secretary for Prof. Eugene Sheffer of the French department. I helped Prof. Sheffer edit and translate his French textbook, typed out the whole manuscript, and even ventured definitions for his daily Journal-American crossword puzzle. We became fast friends; I wrote voluminously and took all my plays and stories to him. At this time, I had begun to read Thomas Wolfe and would spend entire nights roaming New York until dawn. I wrote and wrote, sending stories to all the better magazines (New Yorker, Esquire, Harper's, etc.), but without success [....]</p> <p><br> </p> <p align="center"><b>Repulsion May Race Here in<br> Exhibition Feature!! Mighty Kerouac<br> Gelding Would Attract Many Fans;<br> Don Pablo, Mighty 1935 Champion,<br> Race Repulsion!</b><br> </p> <p><br> </p> <blockquote><i>The following is a back-page feature from the</i> Daily Owl <i>of February 6, 1936, a twenty-cent horse racing newspaper from Pawtucket Racetrack created by thirteen-year-old Jack Kerouac. The front of the two-sided, hand-printed sheet is headlined "3 Day Meet Launched at Pawtucket." The long subhead reads: "Vermont Oval has the Finest Crop of Jockeys, but no High-Class Horses; Col. E. R. Bradley Brings out Six of his 3-yr. old Maidens; Lewis, Morriss, Myet at Track; Kerouac, Tortar Barns Present!" Between 1936 and 1938 Kerouac produced an amazing array of sports news publications filled with reports on real-world and make-believe sporting events and characters. Among these "newspapers" were</i> Romper's Sheet, Sports: Down Pat, Racing News, <i>the</i> Sportsman, Turf Authority, Jack Lewis's 1937 Chatterturf, <i>the</i> Daily Ball, Sports of Today, Jack Lewis's Baseball Chatter, <i>and the</i> Daily Owl. <i>The publications were either carefully printed in pencil or typed as single-spaced sheets (without errors). In them we see the teenaged Kerouac as sports reporter, columnist, and statistician, consumed with the texture of the different contests and colorful personalities. His peppy writing style and intricate records lift these early efforts beyond the hobby-time doodling of a typical boy. Interestingly, some of the publications are long, densely typed sheets filled top to bottom like later manuscripts Kerouac produced.</i></blockquote> <p><br> </p> <p>Pawtucket Park, Montpelier, Vt.:—Repulsion, mighty son of Khorasan, 1936 Champion candidate, is expected to stop here on his way to Sarah Springs for the distinguished Spring meet and Preakness. Don Pablo, great gigantic 1935 King, may also stop here and Jock Dennis hopes it will be in time for Repulsion's race. This match would attract at least 16,000 race goers, figures the little owner of Pawtucket.</p> <p>&nbsp;&nbsp;&nbsp; Down at Sarah Springs, the colorful scene of fair ladies and rich gentlemen, flying banners and of course the historical Derby, Spotlight and yearly Preakness.</p> <p>&nbsp;&nbsp;&nbsp; These three stakes may compare with the Vermont Derby. Although the class is lacking for that race, it is going to be a historical feature.</p> <p>&nbsp;&nbsp;&nbsp; Even last year, men were chatting about this time (in February) about the Massachusetts Derby. Well may they talk about the Vermont. Repulsion, widely known as the fastest runner ever put out since racing history began, will attract many. Ranking as the world's champion, Repulsion should win the small race in which he will race in here but Don Pablo may be on hand, but yet the latter has had a serious leg injury.</p> <p>&nbsp;&nbsp;&nbsp; Today, E. R. Bradley's highly touted Lena Cardoza will start in the Pawtucket Hi-Stakes with Onrush, Brevity, Sisowen and other stars. Rustic Joe, Mac Tortar's entry for that race and Boake Dobbin's Blue John are the old boys that will start. Blue John, a clever veteran campaigner can easily beat the field of ten. Rhodius, Mac Tortar's sensational three yr. old that improves with every start, is making his first start since racing in the Hopeful in December. Boake Dobbin's Brevity, another highly touted colt, also will have something to say.</p> <p><br> </p> <p align="center"><b>from Football Novella</b></p> <p><br> </p> <blockquote><i>The following excerpt carries familiar Kerouac motifs: American road voyager, wayward collegian, and football hero. Kerouac sent the manuscript of this novella (written when he was sixteen years old) to a reader with a note addressed "Dear Margaret," most likely Margaret Wiley, one of the professors of his friend Sebastian Sampas at Emerson College in Boston. Kerouac explained to Margaret that he stopped writing just before the undefeated State U. team was about to face State College in the climactic Thanksgiving Day game. He then attached to the novella sixteen pages from another story, with the character name changes scratched in, and outlined the climax on another sheet. At this point in the story the coach had moved the main character, Bill Clancy, to a running back position:</i></blockquote> <p><br> </p> <blockquote>With a great bull-like, madly determined, tormented run Bill Clancy charges down the field with tears of fury in his eyes. He just doesn't want to be stopped. They hit him several times; he shakes them off. One Trojan tackler gets him by the neck and becomes momentarily his streamer and banner, and drops off. Big State linemen, particularly Bill's friend George Baker, throw great body-blocks that clear Bill's path, and he makes it down to the goal-line by crashing over with four men (two from each team), on him and in front of him: they all fall over the goal-line. Touchdown ... State 12, Trojans 7. The run characterizes Bill's general determination throughout the story.</blockquote> <blockquote>Harrison McCoy himself is so moved that he makes up with Bill in the lockers, so that after the game, amid wild celebration of a great hard victory (as distinguished from all the easy victories heretofore), McCoy himself suggests Bill &amp; Barbara join him and his new girl to the ball. The human solution is everyone forgetting grievances, and rival lovers finding themselves appropriate mates. Which is also the way Clancy wanted it ... because earlier he "doesn't like to fight with anybody."</blockquote> <p><br> </p> <blockquote><i>In a notebook entry from February 15, 1950, Kerouac described the emerging central figure for his novel On the Road as "closer to Bill Clancy, the football-hero-hobo I wrote at sixteen; also closer to Wesley Martin of `The Sea is My Brother'</i> [....]"</blockquote> <p><br> </p> <p align="center"><b>CHAPTER ONE</b></p> <p><br> </p> <p>Old Chet Hingham was the first to see Bill Clancy. At least, he was the first member of the Brierville township to see him.</p> <p>&nbsp;&nbsp;&nbsp; It was a sultry August afternoon, and Old Chet was sitting at his usual post at the railroad crossing, reading the Brierville News. As he remembered it, he also had a copy of the State University Crier with him, which Scotty Cobb had just brought him that morning.</p> <p>&nbsp;&nbsp;&nbsp; Way up the tracks, Old Chet could see a tiny speck come crawling along. After a few minutes, he could make out the figure of a young man with a pack on his back, walking the rail like an expert. A few more minutes elapsed, and Old Chet could hear the tune of "My Wild Irish Rose" come drifting over the rails.</p> <p>&nbsp;&nbsp;&nbsp; At first, Old Chet had told the story later on, he didn't pay much attention to this bum. But when he had approached the crossing to such an extent that Old Chet could make out the sun-burnt, clean cut features shaded by an old felt hat.... Old Chet took an interest and put down his paper to study him as he passed by.</p> <p>&nbsp;&nbsp;&nbsp; But he didn't have a chance to do it quietly. The young fellow stopped and addressed Old Chet: "How do you do. Could I possibly get a drink of water inside that box of yours?"</p> <p>&nbsp;&nbsp;&nbsp; "What box?" asked Old Chet, disturbed.</p> <p>&nbsp;&nbsp;&nbsp; "Why that thing you live in, I suppose. It's right in back of you. Can't you see it?" And he had the audacity to point out Old Chet's cherished railroad shack with his finger.</p> <p>&nbsp;&nbsp;&nbsp; Now, Old Chet Hingham was pretty particular about his railroad crossing shack. It wasn't big, nor was it fancy.... but Old Chet had been working in front of that shack for twenty-eight years. And inside, it graced the finest gate-tending equipment in the county. Naturally, Old Chet fumed immediately.</p> <p>&nbsp;&nbsp;&nbsp; "Look here, you scoundrel, what makes you think you have the right to call this shack of mine a `Box.' I ought to be several years younger; I'd teach you a lesson or two!"</p> <p>&nbsp;&nbsp;&nbsp; The young man had a charming smile, and when he turned it on, Old Chet Hingham couldn't help but like him a little bit despite his disparaging remarks.</p> <p>&nbsp;&nbsp;&nbsp; "If you want a drink of water, just wait outside here," Old Chet finally said. "I'll get you some."</p> <p>&nbsp;&nbsp;&nbsp; "Thank you very much," the young man had said, the smile still creasing his bronzed face. "I'll need it."</p> <p>&nbsp;&nbsp;&nbsp; From inside, while he filled a quart bottle full of water, Old Chet called out: "Where you from?"</p> <p>&nbsp;&nbsp;&nbsp; "Nowheres," had been the calm answer. "I'm just drifting along."</p> <p>&nbsp;&nbsp;&nbsp; Old Chet came out with the bottle of water.</p> <p>&nbsp;&nbsp;&nbsp; "You mean to say that you haven't even got a home!"</p> <p>&nbsp;&nbsp;&nbsp; "Well, not exactly," said the younger, draining the bottle in record time.</p> <p>&nbsp;&nbsp;&nbsp; "Well, where is your home?" queried Old Chet suspiciously.</p> <p>&nbsp;&nbsp;&nbsp; "I was born in Arkansas," answered the bedraggled youth. "I left home a couple of years ago to go on my own hook."</p> <p>&nbsp;&nbsp;&nbsp; "What did your Paw say to that?" asked Old Chet, sitting down on his stool in front of the shack.</p> <p>&nbsp;&nbsp;&nbsp; "He died before I was born, and my Maw died when I was five years old. Instead of sticking around with my aunt and my sisters, I figgered it would be better for them if I jest drifted off. Nobody even noticed it much."</p> <p>&nbsp;&nbsp;&nbsp; Old Chet got to like the boy from then on. He was interested, and wanted to know more: "What you been doin'?"</p> <p>&nbsp;&nbsp;&nbsp; "Well," smiled the youngster, seating himself on the ground and leaning back on the shack, his eyes pointed to the sky. "I've been drifting for four years now. Up in Vermont, I was cuttin' trees. When I passed through Virginia, I worked on a tobacco farm. I can remember the job I had on a wheat ranch in Kansas. I don't reckon it would be very interesting listening, all those four years. Except maybe one year."</p> <p>&nbsp;&nbsp;&nbsp; "What was that?" asked Old Chet, carefully studying the youngster.</p> <p>&nbsp;&nbsp;&nbsp; The latter took out an old corn-cob pipe and began to fill it.</p> <p>&nbsp;&nbsp;&nbsp; "Believe it or not," he went on, "I went to College."</p> <p>&nbsp;&nbsp;&nbsp; "You don't say!" ejaculated Old Chet. "Why, we have a college right here in Brierville. State University."</p> <p>&nbsp;&nbsp;&nbsp; "Have you? Well, this college I went to was out in the Middle West. One day I was throwin' rocks over the river, I forget which one. A whole day I had been standin' near the highway, tryin' to get a ride. Well, I took a little rest and got throwin' rocks for the exercise. A man in a nice coupe stopped and watched me for a while. When I turned around, he offered me a ride. The next day, I was all set for College. He was the baseball coach out there, and he said I had the best throwing arm he had ever seen. I played centerfield in the Spring on the team, and got sick of college in June. I stuck it out till the Freshman year was over, and I took to the road again. I wonder what Coach Billings must of thought of me!"</p> <p>&nbsp;&nbsp;&nbsp; "And you didn't like college?" asked Old Chet.</p> <p>&nbsp;&nbsp;&nbsp; "No, not much. I stuck it out for a whole year, and then I hit the road. I travel by hitchhiking and hopping freights."</p> <p>&nbsp;&nbsp;&nbsp; "Must be sort of exciting."</p> <p>&nbsp;&nbsp;&nbsp; "Well," said Bill Clancy, puffing his corn-cob pipe. "I figger I'll stick to drifting until I feel like settling down on a permanent job."</p> <p>&nbsp;&nbsp;&nbsp; "How on earth," asked Old Chet, "do you manage to eat three meals a day?"</p> <p>&nbsp;&nbsp;&nbsp; "Sometimes I stop in on a town and wash dishes in a restaurant for a couple of days or so. I get myself up enough money to eat for a few weeks, and leave. I don't like to stay in the same place long."</p> <p>&nbsp;&nbsp;&nbsp; Up the tracks, the 2:57 was coming, heralded by a long mournful wail which traveled over the rails toward the two men at the crossing. Old Chet got up leisurely and went to work on the controls. The two long poles, striped black and white, dropped down parallel to the rails. For the first time, young Bill Clancy glanced about him and inspected Brierville. The train roared louder and louder until it thundered across the crossing, throwing a wind which knocked Bill's felt hat from his head.</p> <p>&nbsp;&nbsp;&nbsp; When it had disappeared around the bend, Bill got up with his pack in his hands.</p> <p>&nbsp;&nbsp;&nbsp; "Thanks a lot for the drink, Mister," he had said. "Now, if you could tell me where the restaurant is around here, I think I could stand a few days of this little burgh...."</p> <p>&nbsp;&nbsp;&nbsp; "Just down the street," said Old Chet, smiling for the first time. "Good luck to ye!"</p> <p>&nbsp;&nbsp;&nbsp; "The same to you," shot back Bill. According to Old Chet, Bill Clancy had crossed the tracks and headed into the center of Brierville lustily whistling "My Wild Irish Rose."</p> <p>&nbsp;&nbsp;&nbsp; "I swear," Old Chet had said. "That kid is going to do something big right here in Brierville. I have a feeling he will...."</p> <p>&nbsp;&nbsp;&nbsp; Old Chet swore he'd said that, that very same sultry afternoon. [...]</p> <p><br> </p> <p align="center"><b>CHAPTER SEVEN</b></p> <p><br> </p> <p>The day of the Blaine game had arrived. Thousands of cars, down for the game from the big industrial towns up north, were milling about the streets of little Brierville.</p> <p>&nbsp;&nbsp;&nbsp; Blaine College, a set-up for the big State juggernaut, had arrived the night before after a trip of 400 miles. The team had stayed at the inn.</p> <p>&nbsp;&nbsp;&nbsp; Nesmith Stadium was the scene of excitement. Just before game time, with the gridiron all spick and span, white lines and goal posts intact, the bands began to blare and the crowd began to arrive.</p> <p>&nbsp;&nbsp;&nbsp; When State's brilliant blue and white colors came out on the field, worn by two dozen husky football players, the roar went up from the stands. The cavernous maw which had enveloped the players in practice now seemed to be turbulent with life.</p> <p>&nbsp;&nbsp;&nbsp; The starting lineup began to run through their paces, a short signal drill. Then the backs began to punt and pass, and the linemen running about. Bill Clancy, who was to start at right guard, was thoroughly awed by the vastness of the big football scene. His roommate, Manny Martin, ran beside him at right tackle.</p> <p>&nbsp;&nbsp;&nbsp; "Wassamatter, Bill? Excited, nervous?" said the rangy tackle.</p> <p>&nbsp;&nbsp;&nbsp; "I dunno," muttered Bill, running his stubby hand through his brown hair. "It sure is a big crowd."</p> <p>&nbsp;&nbsp;&nbsp; "Wait till the rest of it arrives. As a matter of fact, wait till the big game of the year on Thanksgiving Day!" replied Martin.</p> <p>&nbsp;&nbsp;&nbsp; "Who's the team then?"</p> <p>&nbsp;&nbsp;&nbsp; Martin said with a very suggestive expression: "State College!"</p> <p>&nbsp;&nbsp;&nbsp; Coach Bob Alexander and Assistant Coach Joe Neal stood nearby, watching their charges dash about. The other team, Blaine, had now come out on the field. The stands continued to fill up, until Bill thought they would burst with corpulence.</p> <p>&nbsp;&nbsp;&nbsp; Bill Clancy, however, had little to worry about. Barbara Barnard and he had been seeing plenty of each other in the past week, after that first official meeting at the Town Hall dance. Bill could still remember the dances with her, and the walk home, and the joking about their first meeting.</p> <p>&nbsp;&nbsp;&nbsp; And when Bill had met Barbara on the campus, she had greeted him warily. Harrison McCoy, originally known as her beau, had now stepped into the background in favor. And this was known all over the University.</p> <p>&nbsp;&nbsp;&nbsp; As a result, the enmity between Bill Clancy and Harrison McCoy—both of them strong candidates for All-America—had become a real feud. Both of them were angling for the same girl—and both of them had disliked each other at the first meeting. The natural result was a seething hatred on the part of McCoy, an uncomfortable dislike on the part of Bill.</p> <p>&nbsp;&nbsp;&nbsp; Now, the game was almost ready to begin. George Baker, who had been elected captain of the varsity eleven just a few days previous, was towering over the officials and the Blaine captain out in the middle of the field. A team which has a hugely proportioned captain like George Baker always has a psychological edge over the other team. The coin was tossed, and State was to receive.</p> <p>&nbsp;&nbsp;&nbsp; Coach Alexander got the team lined up and sent them through a final short signal drill.</p> <p>&nbsp;&nbsp;&nbsp; The moment Bob Alexander's State eleven began to run through their plays, newspapermen in the stands immediately sensed the odor of champs. The pressbox was afire with excitement. The radio hookup man was excitedly jabbering away.</p> <p>&nbsp;&nbsp;&nbsp; "What may prove to be the year's finest football eleven in college ranks can be seen down on the field this fine afternoon, running through its paces like a perfectly geared machine."</p> <p>&nbsp;&nbsp;&nbsp; The backfield, composed of Felix Henderson at the quarter, who had now forgotten the first day of Bill Clancy's football career and had become one of Bill's finest friends; Harrison McCoy, the highly heralded halfback; Ben Barnouw, the passing ace; and Lou Ginelli, the big Italian fullback line-plunger, was called in by Coach Alexander for a final word. The linemen then received their instructions, after which the entire eleven joined hands before going out on the field to receive the kickoff from Blaine.</p> <p>&nbsp;&nbsp;&nbsp; Barbara Barnard was seated up in the stands with her father, Professor Barnard, and with Scotty Cobb. She and Scotty had become inseparable, although hardly in an amorous way. Among other in the vast crowd were Big Gertie, Old Chet Hingham, and the faculty of the University. Almost everybody in Brierville was in the stands.</p> <p>&nbsp;&nbsp;&nbsp; And then the kickoff. The ball, gyrating end-over-end, came down on State ten yard line, where Big Lou Ginelli picked it up. He returned it to the forty-seven yard line, plunging straight ahead, with the State team blocking beautifully. And so the State football season had begun.</p> <p>&nbsp;&nbsp;&nbsp; On the play, Bill Clancy had had a huge lump in his throat just before the kickoff. As soon as he had seen the ball go sailing over his head and beyond him to the State backs, he had sorted out a Blaine man to take out. And this he did. He hit him head on, flattening the unsuspecting Blaine player out on the green, and falling on top of him to hold him intact.</p> <p>&nbsp;&nbsp;&nbsp; The game was on. The highly vaunted State University team was ready to show whether or not it was the mighty team it has been predicted to be, even against the weak Blaine eleven.</p> <p>&nbsp;&nbsp;&nbsp; On the first play, Harrison McCoy was in the tailback. But the ball was snapped to a short back, Ginelli, and the latter plowed into the Blaine line like an elephant through the jungle grass. He made six yards before crumpling underneath the weight of four men.</p> <p>&nbsp;&nbsp;&nbsp; Second down and four to go.</p> <p>&nbsp;&nbsp;&nbsp; The team came out of its huddle and snapped into its formation with a fancy dancelike step. The glistening white helmets flashed in the September sun. The blue jerseys, with large white numbers and white stripes on the sleeves, lined up in a perfectly geometrically formation. The Bob Alexander shift had a beauty and grace about it that made the team look like a million bucks.</p> <p>&nbsp;&nbsp;&nbsp; The brown ball, brand new and just beginning to pick up a little dirt, went spinning back to Harrison McCoy. The guard, Bill Clancy, pulled out. The right side of the line cross-blocked as Bill pulled out, accompanied by Ginelli and Barnouw. The three of them darted toward the Blaine left end, bowled him over, and went on to the close back. Behind this steam-roller blocking pranced Harrison McCoy, his long powerful legs cutting up the gridiron. He swept around the fallen end, past the bewildered close back, and down the sidelines. Right ahead of him ran Bill Clancy. Now, McCoy was on his own, and had already gained 12 yards. He went down the sidelines until almost pushed out of bounds by two pursuing Blaine backs, whence he cut back suddenly and flanked toward the left. One of the Blaine linemen dove frantically and hung on to McCoy's foot. McCoy stumbled forward, and finally crashed to the ground. Otherwise, he would have scored a touchdown; the field ahead of him had been clear.</p> <p>&nbsp;&nbsp;&nbsp; The ball was now on the Blaine 30, First down, and ten yards to go. State again came out of its huddle, and went into their graceful shift. The ball went back to Ben Barnouw, who began to sweep the end. It was the identical play which the varsity had tried out that first day in practice, and which had resulted in a sixty-four yard jaunt on the part of McCoy. Barnouw suddenly faded from his end run, flipped a neat pass to quarterback Henderson, who in turn lateraled to McCoy. The latter had a clear field down the sidelines, and as he dashed down in a straight line, the lane began to narrow with potential tacklers, but the time McCoy had reached the 18 yard line, he was confronted by four Blaine men. With a lightning cut, McCoy veered to the left and flanked the men, heading for the goal-line in a long diagonal sprint. He reached it with plenty to spare, going over standing up.</p> <p>&nbsp;&nbsp;&nbsp; State 6, Blaine 0 ... and the game was hardly two minutes old.</p> <p>&nbsp;&nbsp;&nbsp; Felix Henderson converted the point, making the score 7-0 in favor of State U.</p> <p>&nbsp;&nbsp;&nbsp; The crowd went berserk, and the newspapermen began to typewrite wildly. The radio announcer began to take on an "I told you so" air. Truly, the vaunted greatness of State University had been no exaggeration.</p> <p>&nbsp;&nbsp;&nbsp; The afternoon went on, and the gridiron was dug and marred and mauled by the scuffling elevens.</p> <p>&nbsp;&nbsp;&nbsp; When the sun was going down in the West, and the football fans all had that tired, happy look in their faces; when the stands were painted by the russet glow of sunset—the score was immense!</p> <p>&nbsp;&nbsp;&nbsp; State—54 Blaine—0. And through the keen air of the evening sunset, there was the blast of a gun, ending the game. Seven touchdowns! Seven successful conversions by the drop-kicking Felix Henderson. And out of the seven touchdowns, five were chalked up by the Galloping Ghost of the new season, Harrison McCoy.</p> <p>&nbsp;&nbsp;&nbsp; In the chilly locker rooms, Bill Clancy shivered as he hauled off his sticky uniform. His body gave out steam, his feet were cold. His ribs ached with exhaustion, and his head felt hot and stuffy. Under the hot shower, Bill let out a long sigh of relief; the prickly sensation of the water sent waves of comfortable blood through his wiry frame.</p> <p>&nbsp;&nbsp;&nbsp; Milling fans filled the locker rooms, talking, gesticulating, watching the State heroes. Bill Clancy paid little attention to them, and turned on the cold water. The invigorating effect made him yelp, and he darted from the showers to his locker where he dried himself vigorously.</p> <p>&nbsp;&nbsp;&nbsp; All dressed and with the hair slicked, Bill Clancy began to feel like a human being again. As he was fixing his tie, he nodded and smiled at the people who were surrounding him and talking all at once. He could make nothing out of it, and let them talk on.</p> <p>&nbsp;&nbsp;&nbsp; "What tackles you made today, Clancy!" an old grad was saying. "You almost killed the entire Blaine backfield!"</p> <p>&nbsp;&nbsp;&nbsp; "Thanks," Bill mumbled, picking up his canvas bag and hanging it in the locker.</p> <p>&nbsp;&nbsp;&nbsp; "You were terrific!" piped someone else.</p> <p>&nbsp;&nbsp;&nbsp; "Thank you," smiled Bill.</p> <p>&nbsp;&nbsp;&nbsp; Outside, the sun had gone down and the stadium was literally empty, except for the scattered remains of enthusiastic fans. Bill shuddered as a cold Autumnal blast came down the mussed up gridiron and hit him in the face. There were cuts and bumps here and there on his face, and his shoulders ached. All in all, as Bill walked along toward his dormitory room, he felt somewhat weary, but happy.</p> <p>&nbsp;&nbsp;&nbsp; There was to be a victory dance in the evening, and Bill could think of nothing but meeting Barbara there. Wearing a topcoat and felt hat, Bill strode along through the falling leaves and reached the dorm. A big yellow Fall moon was beginning to peep over the little houses of Brierville.</p> <p>&nbsp;&nbsp;&nbsp; As Bill was about to enter into the hallway of his dorm, he noticed a figure approaching him from the sidewalk. Bill waited, until he could make out the tall graceful form of Harrison McCoy. [...]</p><p>A powerful insight into the making of a free spirit and literary pioneer<br><br>Before Jack Kerouac defined a generation with his 1957 classic On the Road and became one of the most prolific voices of Beat culture, he was learning how to live, and above all, how to write. Atop an Underwood brings together more than sixty previously unpublished early works which Kerouac wrote between the ages of thirteen and twenty-one, ranging from stories and poems to plays and parts of early novels, including an excerpt from his 1943 merchant marine novel, <i>The Sea is My Brother</i>. Readers, scholars, and critics will find in this book a fascinating missing link in Kerouac's development as a writer.<br><br>His lifelong themes of America, adventurous travel, spiritual questing, work, family, and sports show their first sign of life in Atop an Underwood. The writings reveal what Kerouac was thinking, doing, and dreaming during his formative years and reflect his early literary influences; readers will also find here the source of his spontaneous prose. In the first words that he ever wrote, Kerouac proves that he was born with a passion for words and for living.</p><h3>Chicago Tribune</h3><p><i>Atop an Underwood</i> is indispensable for the reader who wants to chart the development of one of our talented writers.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">xiii</TD><TR><TD WIDTH="20%">Part 1</TD><TD WIDTH="70%">Pine Forests and Pure Thought 1936-1940</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Background</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Repulsion May Race Here in Exhibition Feature!!</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Football Novella</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jack Lewis's Baseball Chatter</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[One Long Strange Dream]</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Count Basie's Band Best in Land; Group Famous for "Solid" Swing</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Go Back</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nothing</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Play I Want to Write</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Concentration</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Thronged</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[A Day in September]</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[I Know I Am August]</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Radio Script: The Spirit of '14</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[I Remember the Days of My Youth]</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Raw Rookie Nerves</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where the Road Begins</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New York Nite Club--</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%">Part 2</TD><TD WIDTH="70%">An Original Kicker 1941</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Background</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">There's Something About a Cigar</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">God</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If I Were Wealthy</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[One Sunday Afternoon in July]</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Birth of a Socialist</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Connection: A Novel That I Don't Intend to Finish</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Porch, Remembering</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sandbank Sage</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Farewell Song, Sweet from My Trees</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[I Have to Pull Up My Stakes and Roll, Man]</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Odyssey (Continued)</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[At 18, I Suddenly Discovered the Delight of Rebellion]</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Observations</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Definition of a Poet</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">America in the Night</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman Going to Hartford</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Love-Light</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Tell You It Is October!</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Here I Am at Last with a Typewriter]</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Atop an Underwood: Introduction]</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Good Jobs</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Radio City to the Crown</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">... The Little Cottage by the Sea....</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Juke-Box Is Saving America</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">... Hartford After Work....</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">... Legends and Legends....</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">... A Kerouac That Turned Out Sublime....</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Father of My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Credo</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">... Hungry Young Writer's Notebook....</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Young Writer's Notebook</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[I Am Going to Stress a New Set of Values]</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[I Am My Mother's Son]</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[Howdy!]</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Today</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This I Do Know--</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Search by Night</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%">Part 3</TD><TD WIDTH="70%">To Portray Life Accurately 1942-1943</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Background</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sadness at Six</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Joy of Duluoz</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Famine for the Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">[The Very Thing I Live For]</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Mystery</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thinking of Thomas Wolfe on a Winter's Night</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Sea Is My Brother (Merchant Mariner)</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beauty as a Lasting Truth</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Generation, My World</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wound of Living</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wounded in Action</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Romanticist</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Boy from Philadelphia</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Two Americans</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD></TABLE><article> <h4>Chicago Tribune</h4><i>Atop an Underwood</i> is indispensable for the reader who wants to chart the development of one of our talented writers. </article> <article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>"I am part of the American temper, the American temperament, the American tempo," writes a teenage Kerouac in a prophetic 1941 prose fragment, one of the 60 such pieces in this collection of Kerouac's juvenilia. These fugitive pieces, previously unpublished, provide a tantalizing glimpse of the future Beat generation originator, spanning Kerouac's adolescence and his first years in New York. The themes here would later find expression in On the Road and the Duluoz series: his French-American heritage, with its idiosyncratic English; his mystical identification with America; and, taking cues from Whitman, his vision of art as a means to unfold the authenticity of the self. The best pieces are the short sketches written in Hartford in 1941. Kerouac crafts, diary-style, a catalogue of daily activities (working in a cookie factory, living in a cheap apartment) while experimenting with the rhythms and forms he derived from his reading of Thomas Wolfe and William Saroyan. In the early '40s, Kerouac lived in several diverse social spheres. He worked in Hartford, attended Columbia University on a football scholarship, was kicked out of Columbia, enlisted in the Merchant Marines and simply bummed around. It is evident that radio had an overlooked influence on Kerouac's style. A piece like "Howdy," which begins, "Howdy. This is Jack Kerouac, speaking to you," obviously takes its formal cues from radio broadcasts. The last section of the book is less interesting, excerpting a section of a novel Kerouac wrote about the Merchant Marines. Although this book shouldn't be a starting place for new Kerouac readers, there is enough real Kerouac bebop here to interest even his more casual fans. (Nov.) FYI: The publication of this collection will coincide with the publication of the second volume of Kerouac's selected letters. Copyright 1999 Cahners Business Information. </article><article> <h4>Library Journal</h4>Unpublished Kerouac: 60 pieces he wrote between the ages of 14 and 21. Copyright 1999 Cahners Business Information. </article> <article> <h4>Kirkus Reviews</h4>Kerouac's early writings—from ages 13 to 21—elucidate the formative years and provide insight into the later literature of the author's career. It must be noted that even the greatest writers aren't always recognizable by their high school and college scribblings. Poet Marion assembles a motley medley of Kerouac's initial attempts, including his adolescent horse worship in "Repulsion May Race Here in Exhibition Feature!!," excerpts from a football novella, and descriptive essays about his youth. Such pieces may be significant to the scholar tracking Kerouac's artistic development and to his rabid fans (Kerouac's following is often a zealous one), but they hold little value or interest to the general reader. The anthology bogs down with the author's high school jazz criticism, sketches of a play he thought of writing, descriptions of his dreams, and poems in which he attempts to channel Walt Whitman's ghost into his own pen. Though such writings provide a general background to Kerouac's life and demonstrate his early interest in such themes as American life, travel, identity, and spiritual quests, they rarely stand as compelling works on their own. Also, many of the pieces are mere fragments, snippets of subject matter that caught his attention and that, for some reason or another, he never completed. The poetry of the collection fares slightly better, yet it suffers often from a jejune combination of Whitman-like rhetoric with slushy sentimentalism. A curmudgeon might say that, with rare exceptions, teenagers aren't old or experienced enough to create much of real artistic value; Kerouac's early efforts would fit such a maxim. </article>
289The African American Experience: Black History and Culture Through Speeches, Letters, Editorials, Poems, Songs, and StoriesKai Wright0<p><P>Kai Wright is a writer and editor whose work explores the politics of sex, race, and health. He contributes to a variety of independent and community-based publications ranging from <i>Mother Jones</i> to <i>Essence</i> magazine. He is the author of <i>Drifting Toward Love&#58; Black, Brown, Gay</i> and <i>Coming of Age on the Streets of New York</i> (Beacon Press, January 2008) and <i>Soldiers of Freedom</i> (Black Dog & Leventhal, 2003). He lives in Brooklyn, New York.</p>Kai Wrightthe-african-american-experiencekai-wright97815791277321579127738$17.44PaperbackBlack Dog & Leventhal Publishers, Inc.January 2009ReprintPeoples & Cultures - American Anthologies7206.90 (w) x 9.90 (h) x 1.90 (d)<br> This wide-ranging archive, capturing more than four centuries of African American history and culture in one essential volume, is at once poignant, painful, celebratory, and inspiring. <p><i>The African American Experience</i> is a one-of-a-kind and absolutely riveting collection of more than 300 letters, speeches, articles, petitions, poems, songs, and works of fiction tracing the course of black history in America from the first slaves brought over in the 16th century to the events of the present day. All aspects of African American history and daily life are represented here, from the days of abolition and the Civil War to the Civil Rights movement and the current times. Organized chronologically, here are writings from the great political leaders including Frederick Douglass, Martin Luther King, Jr., Malcolm X, Jesse Jackson, and Barack Obama; literary giants including Langston Hughes, Gwendolyn Brooks, Toni Morrison, Alice Walker, James Baldwin, and bell hooks; scholars such as Cornel West and Henry Louis Gates, Jr.; artists including Miles Davis, Billie Holiday, Wynton Marsalis, Run-DMC, the Sugar Hill Gang, and Chuck Berry; athletes such as Muhammad Ali and Jackie Robinson; and many more.</p> <p>A new introduction by Kai Wright provides overall context, and introductory material for each document delineates its significance and role in history. This edition features all new and updated material.</p><p><P>This wide-ranging archive, capturing more than four centuries of African American history and culture in one essential volume, is at once poignant, painful, celebratory, and inspiring.<P><i>The African American Experience</i> is a one-of-a-kind and absolutely riveting collection of more than 300 letters, speeches, articles, petitions, poems, songs, and works of fiction tracing the course of black history in America from the first slaves brought over in the 16th century to the events of the present day. All aspects of African American history and daily life are represented here, from the days of abolition and the Civil War to the Civil Rights movement and the current times. Organized chronologically, here are writings from the great political leaders including Frederick Douglass, Martin Luther King, Jr., Malcolm X, Jesse Jackson, and Barack Obama; literary giants including Langston Hughes, Gwendolyn Brooks, Toni Morrison, Alice Walker, James Baldwin, and bell hooks; scholars such as Cornel West and Henry Louis Gates, Jr.; artists including Miles Davis, Billie Holiday, Wynton Marsalis, Run-DMC, the Sugar Hill Gang, and Chuck Berry; athletes such as Muhammad Ali and Jackie Robinson; and many more.<P>A new introduction by Kai Wright provides overall context, and introductory material for each document delineates its significance and role in history. This edition features all new and updated material.</p><h3>Ann Burns - Library Journal</h3><p><P>Editor Wright (<i>Drifting Toward Love</i>) presents inspiring works from political leaders (Frederick Douglass, Malcolm X, Jesse Jackson), literary giants (Langston Hughes, Gwendolyn Brooks, Alice Walker), scholars (Cornel West, Henry Louis Gates), and other luminaries in a collection covering more than four centuries of black history and culture, which begins with slavery and ends with current events.</P></p><article> <h4>Library Journal</h4><p>Editor Wright (<i>Drifting Toward Love</i>) presents inspiring works from political leaders (Frederick Douglass, Malcolm X, Jesse Jackson), literary giants (Langston Hughes, Gwendolyn Brooks, Alice Walker), scholars (Cornel West, Henry Louis Gates), and other luminaries in a collection covering more than four centuries of black history and culture, which begins with slavery and ends with current events.</p> <br> —Ann Burns </article>
290Best New Poets: 50 Poems from Emerging WritersKim Addonizio0<p><P>Kim Addonizio is the author of five poetry collections, including <i>Tell Me,</i> a National Book Award finalist. Her latest collection is <i>Lucifer at the Starlite.</i></p>Kim Addonizio (Editor), Jeb Livingoodbest-new-poetskim-addonizio9780976629641097662964X$11.95PaperbackSamovar PressNovember 2009Poetry, American Literature Anthologies, Anthologies1587.00 (w) x 8.30 (h) x 0.60 (d)<p>Entering its fourth year, <i>Best New Poets</i> has established itself as a crucial venue for rising poets and a valuable resource for poetry lovers. The only publication of its kind, this annual anthology is made up exclusively of work by writers who have not yet published a full-length book. The poems included in this eclectic sampling represent the best from the many that have been nominated by the country’s top literary magazines and writing programs, as well as some two thousand additional poems submitted through an open online competition. The work of the fifty writers represented here provides the best perspective available on the continuing vitality of poetry as it’s being practiced today.</p> <p>Distributed for the Samovar Press in cooperation with Meridian: The Semi-Annual from the University of Virginia</p> <p> University of Virginia Press</p><p><P>Entering its fourth year, <i>Best New Poets</i> has established itself as a crucial venue for rising poets and a valuable resource for poetry lovers. The only publication of its kind, this annual anthology is made up exclusively of work by writers who have not yet published a full-length book. The poems included in this eclectic sampling represent the best from the many that have been nominated by the country's top literary magazines and writing programs, as well as some two thousand additional poems submitted through an open online competition. The work of the fifty writers represented here provides the best perspective available on the continuing vitality of poetry as it's being practiced today.<P>Distributed for the Samovar Press in cooperation with Meridian&#58; The Semi-Annual from the University of Virginia</p><article> <h4>Virginia Quarterly Review</h4><p>This collection stands out among the crowd claiming to represent emergent poets. Much of the editing and preliminary reading was done by emerging poets themselves, which results in an anthology that's fresh and eclectic, and may actually represent a significant portion of the best new poetry being written by the next generation.... <i>[Best New Poets]</i> assures the reader that poetry, even in a generation of text messaging and MP3 players, is still alive and well. The youthfulness of the anthology, combined with the wide scope of its contents, is apparent in the poems, which are edgy and daring.</p> </article> <article> <h4>Foreword</h4><p>Unlike novelists and bad-boy memoirists, emerging poets are unlikely to sprawl on Oprah’s couch, date starlets, or rouse bidding wars. With an alert ear for new voices, this anthology offers a different kind of validation: that of being well heard. The result is a vibrant smorgasbord.... <i>[Best New Poets]</i> bears evidence of the insistent inquiries of self and the world that drive poetry.</p> </article><article> <h4>BookPleasures</h4><p>[One] comes to realize that the adjectives ‘new’ and ‘emerging’ are mere technicalities in this instance. Although none of the poets included here have published a full-length book of poetry, many are MFA students or graduates, and chapbook authors, and most have already seen some of their poems published in the most renowned and exclusive journals in North America.... The result is a remarkably diverse mix of poems.</p> </article>
291Inherit the AtchafalayaGreg Guirard0Greg Guirard, C. Ray Brassieur, University of Louisiana at Lafayette, Center for Louisiana Studies Staff (Contribution by), Louisiana, Dept. of Natural Resources Staffinherit-the-atchafalayagreg-guirard97818873667621887366768$25.90HardcoverUniversity of Louisiana at Lafayette PressJuly 2007Nature, Natural Resources9.20 (w) x 11.70 (h) x 0.60 (d)
292The Best American Poetry 2007Heather McHugh0<p><P><b>Heather McHugh</b> is the author of numerous books of poetry, including <i>Eyeshot</i> and <i>Hinge & Sign.</i> She teaches at the University of Washington in Seattle and at Warren Wilson College in North Carolina.<P><b>David Lehman</b> is the editor of <i>The Oxford Book of American Poetry</i> and the author of seven books of poetry, including <i>When a Woman Loves a Man.</i> He lives in New York City.</p>Heather McHugh (Editor), David Lehmanthe-best-american-poetry-2007heather-mchugh97807432997320743299736$1.99PaperbackSimon & Schuster Adult Publishing GroupSeptember 2007Poetry, American Literature Anthologies, Anthologies1925.60 (w) x 8.40 (h) x 0.50 (d)<p>The twentieth edition of <i>The Best American</i> poetry series celebrates the rich and fertile landscape of American poetry. Renowned poet Heather McHugh loves words and the unexpected places they take you; her own poetry elevates wordplay to a species of metaphysical wit. For this year's anthology McHugh has culled a spectacular group of poems reflecting her passion for language, her acumen, and her vivacious humor.</p> <p>From the thousands of poems published or posted in one year, McHugh has chosen seventy-five that fully engage the reader while illustrating the formal and tonal diversity of American poetry. With new work by established poets such as Louise Glück, Robert Hass, and Richard Wilbur, The Best American Poetry 2007 also features such younger talents as Ben Lerner, Meghan O'Rourke, Brian Turner, and Matthea Harvey.</p> <p>Graced with McHugh's fascinating introduction, the anthology includes the ever-popular notes and comments section in which the contributors write about their work. Series editor David Lehman's engaging foreword limns the necessity of poetry. <i>The Best American Poetry 2007</i> is an exciting addition to a series committed to covering the American poetry scene and delivering great poems to a broad audience.</p><br> FOREWORD <p><i>by David Lehman</i></p> <br> <p>A parody, even a merciless one, is not necessarily an act of disrespect. Far from it. Poets parody other poets for the same reason they write poems in imitation (or opposition): as a way of engaging with a distinctive manner or voice. A really worthy parody is implicitly an act of homage.</p> <p>Some great poets invite parody. Wordsworth's "Resolution and Independence" prompted Lewis Carroll to pen "The White Knight's Song" in <i>Through the Looking Glass.</i> In a wonderful poem, J. K. Stephen alludes to the sestet of a famous Wordsworth sonnet ("The world is too much with us") to dramatize the wide discrepancy between Wordsworth at his best and worst. "At certain times / Forth from the heart of thy melodious rhymes, / The form and pressure of high thoughts will burst," Stephen writes. "At other times -- good Lord! I'd rather be / Quite unacquainted with the ABC / Than write such hopeless rubbish as thy worst."</p> <p>Among the moderns, T. S. Eliot reliably triggers off the parodist. Wendy Cope brilliantly reduced <i>The Waste Land</i> to five limericks ("The Thames runs, bones rattle, rats creep; / Tiresias fancies a peep -- / A typist is laid, / A record is played -- / Wei la la. After this it gets deep") while Eliot's late sententious manner stands behind Henry Reed's "Chard Whitlow" with its throat-clearing assertions ("As we get older we do not get any younger"). In a recent (2006) episode of <i>The Simpsons</i> on television, Lisa Simpson assembles a poem out of torn-up fragments, and attributes it to Moe the bartender. The title: "Howling at a Concrete Moon." The inspiration: <i>The Waste Land.</i> The cigar-chewing editor of <i>American Poetry Perspectives</i> barks into the phone, "Genius. Pay him nothing and put him on the cover."</p> <p>Undoubtedly the most parodied of all poems is Matthew Arnold's "Dover Beach," which has long served graduation speakers and Polonius-wannabes as a touchstone. Arnold turned forty-five in 1867, the year the poem first appeared in print. Here it is:</p> <blockquote>DOVER BEACH <p>The sea is calm to-night.</p> <p>The tide is full, the moon lies fair</p> <p>Upon the straits; -- on the French coast the light</p> <p>Gleams and is gone; the cliffs of England stand,</p> <p>Glimmering and vast, out in the tranquil bay.</p> <p>Come to the window, sweet is the night-air!</p> <p>Only, from the long line of spray</p> <p>Where the sea meets the moon-blanch'd land,</p> <p>Listen! you hear the grating roar</p> <p>Of pebbles which the waves draw back, and fling,</p> <p>At their return, up the high strand,</p> <p>Begin, and cease, and then again begin,</p> <p>With tremulous cadence slow, and bring</p> <p>The eternal note of sadness in.</p> <p>Sophocles long ago</p> <p>Heard it on the Aegean, and it brought</p> <p>Into his mind the turbid ebb and flow</p> <p>Of human misery; we</p> <p>Find also in the sound a thought,</p> <p>Hearing it by this distant northern sea.</p> <p>The Sea of Faith</p> <p>Was once, too, at the full, and round earth's shore</p> <p>Lay like the folds of a bright girdle furl'd.</p> <p>But now I only hear</p> <p>Its melancholy, long, withdrawing roar,</p> <p>Retreating, to the breath</p> <p>Of the night-wind, down the vast edges drear</p> <p>And naked shingles of the world.</p> <p>Ah, love, let us be true</p> <p>To one another! for the world, which seems</p> <p>To lie before us like a land of dreams,</p> <p>So various, so beautiful, so new,</p> <p>Hath really neither joy, nor love, nor light,</p> <p>Nor certitude, nor peace, nor help for pain;</p> <p>And we are here as on a darkling plain</p> <p>Swept with confused alarms of struggle and flight,</p> <p>Where ignorant armies clash by night.</p> </blockquote> <p>The greatness of this poem lies in the way it transforms the painting of a scene into a vision of "eternal sadness" and imminent danger. Moonlight and the English Channel contemplated from atop the white cliffs of Dover by a man and woman in love would seem a moment for high romance, and a reaffirmation of vows as a prelude to sensual pleasure. But "Dover Beach," while remaining a love poem, is not about the couple so much as it is about a crisis in faith and a foreboding of dreadful things to come. It communicates the anxiety of an age in which scientific hypotheses, such as Darwin's theory of evolution, combined with philosophical skepticism to throw into doubt the comforting belief in an all-knowing and presumably benevolent deity. The magnificent closing peroration, as spoken by the poet to his beloved, has the quality of a prophecy darkly fulfilled. Genocidal violence, perpetrated by "ignorant armies," marked the last century, and it is undeniable that we today face a continuing crisis in faith and confidence. Seldom have our chief institutions of church and state seemed as vulnerable as they do today with, on the one side, a citizenry that seems alienated to the extent that it is educated, and on the other side, enemies as implacable and intolerant as they are medieval and reactionary.</p> <p>Though traditional in its means, "Dover Beach" is, in its spirit and its burden of sense, a brutally modern poem, and among the first to be thus designated. "Arnold showed an awareness of the emotional conditions of modern life which far exceeds that of any other poet of his time," Lionel Trilling observed. "He spoke with great explicitness and directness of the alienation, isolation, and excess of consciousness leading to doubt which are, as so much of later literature testifies, the lot of modern man." And Trilling goes on to note that in "Dover Beach" in particular the diction is perfect and the verse moves "in a delicate crescendo of lyricism" to the "great grim simile" that lends the poem's conclusion its desperation and its pathos.</p> <p>While perfect for the right occasion, a recitation of the poem is, because of its solemnity, absurd in most circumstances, as when, in the 2001 movie <i>The Anniversary Party,</i> the Kevin Kline character recites the closing lines from memory in lieu of an expected lighthearted toast, and the faces of the other characters change from pleasure to confusion and alarm. Inspired responses to "Dover Beach" spring to mind. In "The Dover Bitch," Anthony Hecht presents the situation of Arnold's poem from the woman's point of view. She rather resents being treated "as a sort of mournful cosmic last resort," brought all the way from London for a honeymoon and receiving a sermon instead of an embrace. Tom Clark lampoons "Dover Beach" more farcically. His poem begins as Arnold's does, but where in the third line of the original "the French coast" gleams in the distance, in Clark's poem light syrup drips on "the French toast," and the poem continues in the spirit of "crashing ignorance." A third example is John Brehm's "Sea of Faith," which Robert Bly selected for the 1999 edition of <i>The Best American Poetry.</i> Here a college student wonders whether the body of water named in the poem's title exists in geographical fact. The student's ignorance seems to confirm Arnold's gloomy vision, but it also spurs the instructor to a more generous response. After all, who has not felt the unspoken wish for an allegorical sea in which one can swim and reemerge "able to believe in everything, faithful / and unafraid to ask even the simplest of questions, / happy to have them simply answered"?</p> <p>Poets like to parody "Dover Beach" because the poem takes itself so very seriously and because Arnold's wording sticks in the mind. But not everyone agrees on what lesson we should draw from this case. The poet Edward Dorn, author of <i>Gunslinger</i> and other estimable works, called "Dover Beach" the "greatest single poem ever written in the English language." What amazed Dorn was that it should be Arnold who wrote it. According to Dorn, Arnold "wrote volume after volume of lousy, awful poetry." The anomaly "proves that you should never give up," Dorn added. If Arnold with his "pedestrian mind" could write "Dover Beach," then "anybody could do it."</p> <p>I have dwelled on "Dover Beach" as an object of irreverence not only because the parodic impulse, which informs so many contemporary poems (including some in this volume), is misunderstood and sometimes unfairly derogated, but also because of a superb counterexample that came to my attention this year. In his novel <i>Saturday</i> (2005), Ian McEwan makes earnest use of "Dover Beach" as a rich, unironic emblem of the values of Western Civilization. It is not the only such emblem in the book. There are <i>Bach's Goldberg Variations</i> and Samuel Barber's <i>Adagio for Strings,</i> to which the book's neurosurgeon hero listens when operating, and there is the surgeon's knife, the antithesis of the thug's switchblade. But a reading aloud of "Dover Beach" in the most extreme of circumstances marks the turning point in the plot of this novel whose subject is terror and terrorism.</p> <p>Set in London on a day of massive antiwar demonstrations, <i>Saturday</i> centers on a car accident that pits Henry, the surgeon, against Baxter, a local crime boss. Henry gets the better of Baxter in the confrontation, and in retaliation the gangster and a henchman mount an assault on the surgeon and his family in their posh London home. Baxter systematically humiliates Henry's grown daughter, an aspiring poet, forcing her to strip off all her clothing in front of her horrified parents, brother, and grandfather. But the young woman's just-published first book of poems, lying on the coffee table, catches Baxter's eye, and he commands her to read from it. She opens the book but recites "Dover Beach" from memory instead -- with startling consequences. The transformation of the gangster is abrupt and total. In a flash he goes "from lord of terror to amazed admirer," a state in which it becomes possible for the family to overpower him. Thus does poetry, in effect, disarm the brute and lead to the family's salvation.</p> <p>With the restoration of safety and order, McEwan allows himself a little joke at the expense of both Matthew Arnold and his own protagonist. The surgeon tells his daughter of her choice of poem, "I didn't think it was one of your best." The joke, a good one, reminds us of the poem's complicated cultural status: revered, iconic, but also mildly desecrated, like a public statue exposed to pigeons and graffiti artists. But McEwan has already made his more significant point. Just as the instructor in John Brehm's poem can find himself yearning for an escape to an allegorical Sea of Faith, so I believe we all secretly think of poetry, this art that we love unreasonably, as somehow antidotal to malice and vice, cruelty and wrath. We know it isn't so, and yet we persist in writing poems that shoulder the burden of conscience. In <i>The Best American Poetry 2007</i> you will find poems in a variety of tonal registers -- by such poets as Denise Duhamel, Robert Hass, Frederick Seidel, Brian Turner, and Joe Wenderoth -- that address subjects ranging from "Bush's War" to the "language police," from the decapitation of an American citizen in Iraq to the overthrow of the shah of Iran.</p> <p>For such a poem to gain entry into this volume, it had to meet exceptionally high criteria. Heather McHugh, the editor of <i>The Best American Poetry 2007,</i> sets store, she told an interviewer, by wordplay, puns, rhymes, the hidden life of words, "the is in the wish, the or in the word. No word-fun should be left undone." McHugh has spoken with cutting eloquence against glib and simplistic poems by well-meaning citizens: "So much contemporary American poetry is deadly serious, reeking of the NPR virtues: back-to-the-earth soup eaten fresh from the woodstove, all its spices listed, then some admirable thoughts to put to paper when we get home. Hey, Romanticism isn't dead -- it's simply being turned to public pap. Against that tedium, a little unholiness comes as a big relief -- the skeptic skeleton, the romping rump." But it should also be noted that McHugh herself, for all the wit and wordplay in her poems, has written a poem that I would not hesitate to characterize as powerful, earnest, and political: "What He Said" (1994), which culminates in a definition of poetry as what the heretical philosopher Giordano Bruno, when burned at the stake, "thought, but did not say," with an iron mask placed on his face, as the flames consumed him.</p> <p>In his poem "My Heart," Frank O'Hara wrote, "I'm not going to cry all the time / nor shall I laugh all the time, / I don't prefer one 'strain' to another." By temperament and inclination I favor both kinds of poems -- the kind that celebrates and the kind that criticizes; the kind that affirms a vow and the kind that makes merry; the poem of high seriousness that would save the world and the poem of high hilarity that would mock the pretensions of saviors. I believe, with Wordsworth, that the poet's first obligation is always to give pleasure, and I would argue, too, that a poem exhibiting the comic spirit can be every bit as serious as a poem devoid of laughter. The poems McHugh gathers in this volume are unafraid to confront the world in its contradictory guises and moods. The unlikely cast of characters includes authentic geniuses from far-flung places: Catullus, Leonardo, Voltaire, Kant, the lyricist Lorenz Hart. There are sonnets and prose poems, a set of haiku and a country-western song, a double abecedarian and a lover's quarrel with a famous Frost poem. And there are poems that take a mischievous delight in the English language as an organic thing, a living system, full of puns that reveal truths just as jokes and errors served Freud: as ways the mind inadvertently discloses itself. Some of these poems are very funny, and need no further justification. "The human race has one really effective weapon, and that is laughter," Mark Twain remarked.</p> <p>There is a dangerous if common misconception that a political poem, or <i>any</i> poem that aspires to move the hearts and minds of men and women, must be reducible to a paraphrase the length of a slogan, be it that "war is hell" or that "hypocrisy is rampant" or that "it is folly to launch a major invasion without a postwar strategy in place." For such sentiments, an editorial or a letter to the editor would serve as the proper vehicle. We want something more complicated and more lasting from poetry. An anecdote from the biography of Oscar Hammerstein II, who succeeded Lorenz Hart as Richard Rodgers's lyricist, may help here. When Stephen Sondheim, then in high school, appealed for advice to Hammerstein, his mentor, the latter criticized a song the young man had written: "This doesn't say anything." Sondheim recalls answering defensively, "What does 'Oh, What a Beautiful Mornin' ' say?" With a firmness Sondheim would not forget, Hammerstein responded, "Oh, it says a lot."</p> <p>The parodist in each of us will continue to enjoy a secret laugh at "Dover Beach." But we also know that people who live in newspapers die for want of what there is in Arnold's poem and in great poetry in general. Real poetry sustains us. György Faludy, the Hungarian poet and Resistance hero, died on September 1, 2006, sixty-seven years to the day after the Nazis invaded Poland. Faludy attacked Hitler in a poem but managed to escape to the United States and served in the American army during World War II. He wasn't nearly so fortunate when he returned to Hungary following the war. For three years, from 1950 to 1953, the Soviets imprisoned Faludy in Recsk, Hungary's Stalinist concentration camp. He endured terrible hardships, but even without a pen he wrote, using the bristle of a broom to inscribe his verses in blood on toilet paper. He had to write. Poetry was keeping him alive. He recited his poems and made fellow prisoners memorize them. The imagination created hope, and the heart committed its lines to memory. When Faludy called his prose book about the years in the camp "My Happy Days in Hell," it was with obvious irony, but it also hinted at his faith. He had listened to the melancholy, long withdrawing roar of the sea, survived the shock, and outlived the Soviet occupation just as his beloved Danube River had done.</p> <p>Copyright © 2007 by David Lehman</p><p><P>The twentieth edition of the <i>Best American Poetry</i> series celebrates the rich and fertile landscape of American poetry. Renowned poet Heather McHugh loves words and the unexpected places they take you; her own poetry elevates wordplay to a species of metaphysical wit. For this year's anthology McHugh has culled a spectacular group of poems reflecting her passion for language, her acumen, and her vivacious humor.<P>Graced with McHugh's fascinating introduction, the book includes the poets' valuable comments on their work, as well as series editor David Lehman's engaging foreword that limns the necessity of poetry. <i>The Best American Poetry 2007</i> is an exciting addition to a series committed to covering the American poetry scene and delivering great poems to a broad audience.<br></p><h3>Publishers Weekly</h3><p><P>The 20th volume in America's most popular annual poetry anthology series is perhaps the most esoteric. McHugh, an unusual poet herself, who says she is "Fond of the textures of a text, the matter of a letter," has tried to assemble what she feels is a cohesive anthology rather than simply a gathering of favorite poems from this past year's literary magazines. As ever, some familiar names-former editors and famous poets-appear: John Ashbery, Billy Collins ("Who has time for sunlight falling on the city"), Robert Creeley, Louise Gl&uuml;ck, Robert Hass, Robert Pinsky, Galway Kinnell. But there are also a number of representatives, such as Rae Armantrout and Christian B&ouml;k ("selves we woo/ we lose// losses we levee/ we owe"), from off-center traditions. A few of the newbies tend toward the experimental, such as Ben Lerner and Danielle Pafunda: "Do he &amp; he have a big muscle in the arm from the aiming?" All and all, this is a riskier than usual volume, though also full of familiar pleasures. Certainly it attests to poetry's continuing vitality. <I>(Sept.)</I></P>Copyright 2007 Reed Business Information</p><article> <h4>From Barnes & Noble</h4>Twenty years have not dulled the freshness of David Lehman's Best American Poetry series. With new guest editors each year, this annual anthology continues to showcase a cross-section of superlative verse from magazines throughout the country. The 2007 collection's editor, award-winning poet Heather McHugh, displays the informed eclecticism that has been the hallmark of this bestselling series. </article> <article> <h4>Publishers Weekly</h4><p>The 20th volume in America's most popular annual poetry anthology series is perhaps the most esoteric. McHugh, an unusual poet herself, who says she is "Fond of the textures of a text, the matter of a letter," has tried to assemble what she feels is a cohesive anthology rather than simply a gathering of favorite poems from this past year's literary magazines. As ever, some familiar names-former editors and famous poets-appear: John Ashbery, Billy Collins ("Who has time for sunlight falling on the city"), Robert Creeley, Louise Glück, Robert Hass, Robert Pinsky, Galway Kinnell. But there are also a number of representatives, such as Rae Armantrout and Christian Bök ("selves we woo/ we lose// losses we levee/ we owe"), from off-center traditions. A few of the newbies tend toward the experimental, such as Ben Lerner and Danielle Pafunda: "Do he &amp; he have a big muscle in the arm from the aiming?" All and all, this is a riskier than usual volume, though also full of familiar pleasures. Certainly it attests to poetry's continuing vitality. <i>(Sept.)</i></p> Copyright 2007 Reed Business Information </article>
293The Best American Poetry 2006Billy Collins0<p>Enjoying a popularity unheard of for most poets, Billy Collins has had a remarkable late-life surge, aided by NPR exposure and his 2001 and 2002 appointments as the U.S. poet laureate. His style is engaging, conversational, funny, and surprising.</p>Billy Collins (Editor), David Lehmanthe-best-american-poetry-2006billy-collins97807432575960743257596$16.00PaperbackSimon & Schuster Adult Publishing GroupSeptember 2006Poetry, American<p><P>Billy Collins, one of our most beloved poets, has chosen poems of wit, humor, imagination, and surprise, in a range of styles and forms, for <i>The Best American Poetry 2006</i>. The result is a celebration of the pleasures of poetry. <P>In his charming and candid introduction Collins explains how he chose seventy-five poems from among the thousands he considered. With insightful comments from the poets illuminating their work, and series editor David Lehman's thought-provoking foreword, <i>The Best American Poetry 2006</i> is a brilliant addition to a series that links the most noteworthy verse and prose poems of our time to a readership as discerning as it is devoted to the art of poetry.<br></p><h3>Publishers Weekly</h3><p>In the 19th installment of this annual series, former poet laureate Collins (The Trouble with Poetry, 2005), one of America's most popular poets ever, has culled the typical handful of big names and some surprising new voices from more than 50 American literary publications. Collins's predilections for accessibility, humor and tidy forms are evident, but there are also surprises. Usual suspects former Best American editors Ashbery (who surprises with a poem in neatly rhymed couplets), Hass, Simic, Tate and Muldoon, as well as Mary Oliver meet rising masters like Kay Ryan ("A bird's/ worth of weight/ or one bird-weight/ of Wordsworth"), Vijay Seshadri and Franz Wright. Most interesting, however, is the chance each volume offers to see which up-and-comers make the cut. This year's roster includes edgy poems by Joy Katz, Danielle Pafunda ("my hair cramped with sexy"), Terrance Hayes, and Christian Hawkey ("O my/ beloved shovel-nosed mole"), among others. Collins's surprising and opinionated introduction in which he admits that, unlike some of series editor David Lehman's previous guest editors, "the designation `best' doesn't bother me," and offers his definition of a good poem (often one that "starts in the factual" and displays "a tone of playful irreverence") may cause some controversy. (Sept.) Copyright 2006 Reed Business Information.</p><P><P><b>Contents</b><P>Foreword by David Lehman <P>Introduction by Billy Collins <P><i>Kim Addonizio</i>, "Verities" <P><i>Dick Allen</i>, "'See the Pyramids Along the Nile'" <P><i>Craig Arnold</i>, from "Couple from Hell" <P><i>John Ashbery</i>, "A Worldly Country" <P><i>Jesse Ball</i>, "Speech in a Chamber" <P><i>Krista Benjamin</i>, "Letter from My Ancestors" <P><i>Ilya Bernstein</i>, "You Must Have Been a Beautiful Baby" <P><i>Gaylord Brewer</i>, "Apologia to the Blue Tit" <P><i>Tom Christopher</i>, "Rhetorical Figures" <P><i>Laura Cronk</i>, "Sestina for the Newly Married" <P><i>Carl Dennis</i>, "Our Generation" <P><i>Stephen Dobyns</i>, "Toward Some Bright Moment" <P><i>Denise Duhamel</i>, "'Please Don't Sit Like a Frog, Sit Like a Queen'" <P><i>Stephen Dunn</i>, "The Land of Is" <P><i>Beth Ann Fennelly</i>, "Souvenir" <P><i>Megan Gannon</i>, "List of First Lines" <P><i>Amy Gerstler</i>, "For My Niece Sidney, Age Six" <P><i>Sarah Gorham</i>, "Bust of a Young Boy in the Snow" <P><i>George Green</i>, "The Death of Winckelmann" <P><i>Debora Greger</i>, "My First Mermaid" <P><i>Eamon Grennan</i>, "The Curve" <P><i>Daniel Gutstein</i>, "Monsieur Pierre est mort" <P><i>R. S. Gwynn</i>, from "Sects from A to Z" <P><i>Rachel Hadas</i>, "Bird, Weasel, Fountain" <P><i>Mark Halliday</i>, "Refusal to Notice Beautiful Women" <P><i>Jim Harrison</i>, "On the Way to the Doctor's" <P><i>Robert Hass</i>, "The Problem of Describing Color" <P><i>Christian Hawkey</i>, "Hour" <P><i>Terrance Hayes</i>, "Talk" <P><i>Bob Hicok</i>, "My career as a director" <P><i>Katia Kapovich</i>, "The Ferry" <P><i>Laura Kasischke</i>, "At Gettysburg" <P><i>Joy Katz</i>, "Just a second ago" <P><i>David Kirby</i>,"Seventeen Ways from Tuesday" <P><i>Jennifer L. Knox</i>, "The Laws of Probability in Levittown" <P><i>Ron Koertge</i>, "Found" <P><i>John Koethe</i>, "Sally's Hair" <P><i>Mark Kraushaar</i>, "Tonight" <P><i>Julie Larios</i>, "Double Abecedarian&#58; Please Give Me" <P><i>Dorianne Laux</i>, "Demographic" <P><i>Reb Livingston</i>, "That's Not Butter" <P><i>Thomas Lux</i>, "Eyes Scooped Out and Replaced by Hot Coals" <P><i>Paul Muldoon</i>, "Blenheim" <P><i>Marilyn Nelson</i>, "Albert Hinckley" <P><i>Richard Newman</i>, "Briefcase of Sorrow" <P><i>Mary Oliver</i>, "The Poet with His Face in His Hands" <P><i>Danielle Pafunda</i>, "Small Town Rocker" <P><i>Mark Pawlak</i>, "The Sharper the Berry" <P><i>Bao Phi</i>, "Race" <P><i>Donald Platt</i>, "Two Poets Meet" <P><i>Lawrence Raab</i>, "The Great Poem" <P><i>Betsy Retallack</i>, "Roadside Special" <P><i>Liz Rosenberg</i>, "The Other Woman's Point of View" <P><i>J. Allyn Rosser</i>, "Discounting Lynn" <P><i>Kay Ryan</i>, "Thin" <P><i>Mary Jo Salter</i>, "A Phone Call to the Future" <P><i>Vijay Seshadri</i>, "Memoir" <P><i>Alan Shapiro</i>, "Misjudged Fly Ball" <P><i>Charles Simic</i>, "House of Cards" <P><i>Gerald Stern</i>, "Homesick" <P><i>James Tate</i>, "The Loser" <P><i>Sue Ellen Thompson</i>, "Body English" <P><i>Tony Towle</i>, "Misprision" <P><i>Alison Townsend</i>, "What I Never Told You About the Abortion" <P><i>Paul Violi</i>, "Counterman" <P><i>Ellen Bryant Voigt</i>, "Harvesting the Cows" <P><i>David Wagoner</i>, "The Driver" <P><i>Charles Harper Webb</i>, "Prayer to Tear the Sperm-Dam Down" <P><i>C. K. Williams</i>, "Ponies" <P><i>Terence Winch</i>, "Sex Elegy" <P><i>Susan Wood</i>, "Gratification" <P><i>Franz Wright</i>, "A Happy Thought" <P><i>Robert Wrigley</i>, "Religion" <P><i>David Yezzi</i>, "The Call" <P><i>Dean Young</i>, "Clam Ode" <P>Contributors' Notes and Comments <P>Magazines Where the Poems Were First Published <P>Acknowledgments<br>
294Tales for Little Rebels: A Collection of Radical Children's LiteraturePhilip Nel0<p><p><b>Julia L. Mickenberg</b> is associate professor of American Studies, University of Texas at Austin. She is the author of <i>Learning from the Left&#58; Children's Literature, the Cold War, and Radical Politics in the United States</i>.<p><p><p><b>Philip Nel</b> is professor of English and Director of the Program in Children's Literature, Kansas State University. He is the author of <i>The Annotated Cat&#58; Under the Hats of Seuss and His Cats</i>, Dr. Seuss&#58; American Icon</i>, and <i>J. K. Rowling's Harry Potter Novels&#58; A Reader's Guide</i>.<p></p>Philip Nel, Jack Zipes, Julia Mickenbergtales-for-little-rebelsphilip-nel97808147572150814757219$23.63PaperbackNew York University PressMarch 2010Literary Criticism - General & Miscellaneous, 20th Century American Literature - General & Miscellaneous - Literary Criticism, Literary Reference - Books & Reading, American Literature Anthologies3137.90 (w) x 10.90 (h) x 0.90 (d)<p>In 1912, a revolutionary chick cries, “Strike down the wall!” and liberates itself from the “egg state.” In 1940, ostriches pull their heads out of the sand and unite to fight fascism. In 1972, Baby X grows up without a gender and is happy about it.</p> <p>Rather than teaching children to obey authority, to conform, or to seek redemption through prayer, twentieth-century leftists encouraged children to question the authority of those in power. <b>Tales for Little Rebels</b> collects forty-three mostly out-of-print stories, poems, comic strips, primers, and other texts for children that embody this radical tradition. These pieces reflect the concerns of twentieth-century leftist movements, like peace, civil rights, gender equality, environmental responsibility, and the dignity of labor. They also address the means of achieving these ideals, including taking collective action, developing critical thinking skills, and harnessing the liberating power of the imagination.</p> <p>Some of the authors and illustrators are familiar, including Lucille Clifton, Syd Hoff, Langston Hughes, Walt Kelly, Norma Klein, Munro Leaf, Julius Lester, Eve Merriam, Charlotte Pomerantz, Carl Sandburg, and Dr. Seuss. Others are relatively unknown today, but their work deserves to be remembered. (Each of the pieces includes an introduction and a biographical sketch of the author.) From the anti-advertising message of <i>Johnny Get Your Money’s Worth (and Jane Too)!</i> (1938) to the entertaining lessons in ecology provided by <i>The Day They Parachuted Cats on Borneo</i> (1971), and Sandburg’s mockery of war in <i>Rootabaga Pigeons</i> (1923), these pieces will thrill readers intrigued by politics and history—and anyone with a love of children’s literature, no matter what age.</p><p><p>In 1912, a revolutionary chick cries, &quot;Strike down the wall!&quot; and liberates itself from the &quot;egg state.&quot; In 1940, ostriches pull their heads out of the sand and unite to fight fascism. In 1972, Baby X grows up without a gender and is happy about it.<p><p>Rather than teaching children to obey authority, to conform, or to seek redemption through prayer, twentieth-century leftists encouraged children to question the authority of those in power. <b>Tales for Little Rebels</b> collects forty-three mostly out-of-print stories, poems, comic strips, primers, and other texts for children that embody this radical tradition. These pieces reflect the concerns of twentieth-century leftist movements, like peace, civil rights, gender equality, environmental responsibility, and the dignity of labor. They also address the means of achieving these ideals, including taking collective action, developing critical thinking skills, and harnessing the liberating power of the imagination.<p><p>Some of the authors and illustrators are familiar, including Lucille Clifton, Syd Hoff, Langston Hughes, Walt Kelly, Norma Klein, Munro Leaf, Julius Lester, Eve Merriam, Charlotte Pomerantz, Carl Sandburg, and Dr. Seuss. Others are relatively unknown today, but their work deserves to be remembered. (Each of the pieces includes an introduction and a biographical sketch of the author.) From the anti-advertising message of <i>Johnny Get Your Money&rsquo;s Worth (and Jane Too)!</i> (1938) to the entertaining lessons in ecology provided by <i>The Day They Parachuted Cats on Borneo</i> (1971), and Sandburg&rsquo;s mockery of war in <i>Rootabaga Pigeons</i> (1923), these pieces will thrill readersintrigued by politics and history &#151; and anyone with a love of children's literature, no matter what age.<p></p><article> <h4>From the Publisher</h4><br> One of the "Noteworthy Paperbacks"-The Indiana Gazette, <p>"As an educator, I share the belief that all of the authors in this collection must also have held as truth: that children are indeed the future, and to bring about social change, one needs to begin by changing the hearts and minds of children... I believe lovers of social/political history and inquiring minds in general, [sic] would find this collection appealing."-Style Substance Soul,</p> <p>One of the "Best in Paperbacks."-Times Herald-Record Sunday,</p> <p>"Julia Mickenburg and Philip Nel have edited a collection of children's literature that represents the left-wing-oriented, oppositional tradition in children's literature in the United States. And a lovely collection it is!... Mickenburg and Nel have done all of us —parents, activists, writers—a service by providing examples of what has been done. The task remains to carry this forward."-Science &amp; Society,</p> <p>“Mickenberg and Nel have switched on the power of radical children’s literature to maximum wattage, revealing a rich, compelling tradition that deserves our attention. Creating an archive that will have authority and endurance, they have recovered stories encouraging children to engage with social, economic, and environment challenges and to become agents of change.”<br> -Maria Tatar,Harvard University, and author of <i>The Annotated Hans Christian Andersen</i></p> </article>
295Great American Prose PoemsDavid Lehman0<p><P><b>David Lehman</b> is the series editor of <i>The Best American Poetry,</i> which he launched in 1988. He is the author of five books of poetry, most recently <i>The Evening Sun,</i> and is on the core faculty of the graduate writing programs at Bennington College and New School University. He received his Ph.D. at Columbia University with a dissertation on the prose poem.<p></p>David Lehmangreat-american-prose-poemsdavid-lehman97807432435060743243501$14.10PaperbackSimon & Schuster Adult Publishing GroupMarch 2003Poetry Anthologies, American Poetry, American Literature Anthologies3525.50 (w) x 8.44 (h) x 1.00 (d)<p>A prose poem is a poem written in prose rather than verse. But what does that really mean? Is it an indefinable hybrid? An anomaly in the history of poetry? Are the very words "prose poem" an oxymoron? This groundbreaking anthology edited by celebrated poet David Lehman, editor of <i>The Best American Poetry</i> series, traces the form in all its dazzling variety from Poe and Emerson to Auden and Ashbery and on, right up to the present. In his brilliant and lucid introduction, Lehman defines the prose poem, summarizes its French heritage, and outlines its history in the United States. Included here are important works from masters of American literature, as well as poems by contemporary mainstays and emerging talents who demonstrate why the form has become an irresistible option for the practicing poet today. <i>Great American Prose Poems</i> is a marvelous collection, a must-have for anyone interested in the current state of the art.</p><p><P>A prose poem is a poem written in prose rather than verse. But what does that really mean? Is it an indefinable hybrid? An anomaly in the history of poetry? Are the very words "prose poem" an oxymoron? This groundbreaking anthology edited by celebrated poet David Lehman, editor of <i>The Best American Poetry</i> series, traces the form in all its dazzling variety from Poe and Emerson to Auden and Ashbery and on, right up to the present. In his brilliant and lucid introduction, Lehman defines the prose poem, summarizes its French heritage, and outlines its history in the United States. Included here are important works from masters of American literature, as well as poems by contemporary mainstays and emerging talents who demonstrate why the form has become an irresistible option for the practicing poet today. <i>Great American Prose Poems</i> is a marvelous collection, a must-have for anyone interested in the current state of the art.<P><br></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Woods, A Prose Sonnet"</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Shadow - A Parable"</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Exodus (August 3, 1492)"</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Red Slippers"</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">22 "Objects" from Tender Buttons</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Improvisations from Kora in Hell</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Strophe"</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Antistrophe"</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Epode"</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hysteria"</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I was sitting in mcsorley's"</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Calling Jesus"</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sentences"</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Havana Rose"</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Montparnasse"</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"News"</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Aaron"</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Vespers"</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"12 O'Clock News"</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Esse"</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Be Like Others"</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In Order To"</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Delighted with Bluepink"</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Famous Boating Party"</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Justice"</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I sink back upon the ground ..."</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Story of Progress"</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Color"</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Two Meditations"</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Wonderful World"</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Footnote"</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Happiness"</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Allegory of Spring"</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Wish to Be Pregnant"</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Hockey Poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Warning to the Reader"</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Rusty Tin Can"</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"One Day at a Florida Key"</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Supermarket in California"</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Poems from "Prose of Departure"</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Meditations in an Emergency"</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Schoenberg"</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Whatever It Is, Wherever You Are"</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Haibun 6"</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Nice Presentation"</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Disagreeable Glimpses"</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Meet Me Tonight in Dreamland"</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Humble Beginning"</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Dachau Shoe"</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Our Jailer"</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Lonely Child"</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Having My Pocket Picked in Rome"</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Honey"</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Way We Walk Now"</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Crocus Solus"</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Not Something for Nothing"</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Entries from 20 Lines a Day</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In the Privacy of the Home"</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Success Story"</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"From a Lost Diary"</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Chekhov: A Sestina"</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Doorway of Perception"</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Performance at Hog Theater"</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Pilot"</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Taxi"</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Rat's Tight Schedule"</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Canoeing Trip"</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The New Father"</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Five Poems from The Reproduction of Profiles</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Poems from The World Doesn't End</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Magic Study of Happiness"</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Contributor's Note"</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Women's Novels"</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In Love with Raymond Chandler"</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Borges and I"</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Everything's a Fake"</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Doubt"</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Death, Revenge and the Profit Motive"</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Five Fondly Remembered Passages from My Childhood Reading"</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Story About the Body"</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In the Bahamas"</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Tall Windows"</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Sections From My Life</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Freud"</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"History"</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Football"</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Appointed Rounds"</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Prose Poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Light as Air"</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Album"</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A word is coming up on the screen ..."</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Second Greatest Story Ever Told"</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Same Tits"</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The List of Famous Hats"</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Distance from Loved Ones"</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Rapture"</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Bernie at the Pay Phone"</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Triptych"</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Acknowledgments"</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"So Let's Look At It Another Way"</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Visions or Desolation"</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Untitled"</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Seurat"</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Stereo"</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Shoot the Horse"</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Wreck of the Platonic"</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"De Natura Rerum"</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Secret Training"</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Power"</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Bases"</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Middle Men"</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Imaginary Places"</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Conversation About Memory"</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Thirteenth Woman"</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In the Garment District"</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Agreement"</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Chessboard Is on Fire"</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Nude Interrogation"</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Hanoi Market"</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Summer Night in Hanoi"</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Toy Car"</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Lateral Time"</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"That They Were at the Beach"</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Why I Hate the Prose Poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Return to Harmony 3"</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"inside gertrude stein"</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Person"</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Comraderie turns to rivalry ..."</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Waterproofing"</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Orchids"</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Hedonism"</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Shelter"</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Colonel"</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Vectors: Thirty-six Aphorisms and Ten-Second Essays"</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Predella"</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Summer Rental"</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Pretty Happy!"</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Tex-Mex"</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"His Pastime"</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Vanity, Wisconsin"</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Inner Life"</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Kentucky, 1833"</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Magic (or Rousseau)"</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Matter"</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Epistle"</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Monument"</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Because the ones I work for ..."</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Life is boundless ..."</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Anna Karenina"</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Anal Nap"</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"An Anointing"</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Cold Calls"</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Variation on a Theme Park"</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Anthropic Principle"</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sleeping with the Dictionary"</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Invective: You Should Know"</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Exegesis"</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Dear Boy George"</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Bitter Angel"</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Bear-Boy of Lithuania"</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Avant-Dernieres Pensees"</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"No Sorry"</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Of Flesh and Spirit"</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Notes on the Orgasm"</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Always Have a Joyful Mind"</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Lecture"</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Death"</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"State"</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Commencement Address"</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Nap on the Afternoon of My 39th Birthday"</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In C"</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Prose Poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Fish Eyes"</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Most Beautiful Word"</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Intermission in Four Acts"</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Defense of Poetry"</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Twelve Epistles from Letters to Wendy's</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Still Life"</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Ode"</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"It Could Be a Bird"</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"When Kiss Spells Contradiction"</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Two Poems from "Blasted Fields of Clover Bring Harrowing and Regretful Sighs"</TD><TD WIDTH="10%" ALIGN="RIGHT">298</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Mango, Number 61"</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hot Ass Poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Requiem"</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Page Torn Out"</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"According to the Appetites"</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Poems from Masquerade</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"An American Story"</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Crowds Cheered as Gloom Galloped Away"</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Nepenthe"</TD><TD WIDTH="10%" ALIGN="RIGHT">309</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"What We Miss"</TD><TD WIDTH="10%" ALIGN="RIGHT">310</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"He appeared then ..."</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes on Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Poems</TD><TD WIDTH="10%" ALIGN="RIGHT">339</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Poets</TD><TD WIDTH="10%" ALIGN="RIGHT">343</TD></TABLE>
296The Literature of California, Volume 1: Native American Beginnings to 1945Jack Hicks0<p><P><b>Jack Hicks</b> teaches California literature and directs the Graduate Creative Program at the University of California, Davis. <b>James D. Houston</b>'s seven books of fiction/nonfiction include <i>Continental Drift </i>(California, 1996) and <i>The Last Paradise</i> (1998), which won the American Book Award. <b>Maxine Hong Kingston</b> is the author of <i>The Woman Warrior</i> (1976), <i>China Men</i> (1980), and <i>Tripmaster Monkey</i> (1989). An early draft of her fourth novel, <i>The Fifth Book of Peace,</i> was destroyed in a fire; the restored version will be published in 2000-2001. <b>Al Young</b>'s twenty books include African American literary anthologies, memoirs, collections of poetry, and the novels <i>Sitting Pretty </i> (1976) and <i>Who Is Angelina?</i> (California, 1996).</p>Jack Hicks (Editor), Al Young (Editor), James D. Houstonthe-literature-of-california-volume-1jack-hicks97805202221200520222121$32.95PaperbackUniversity of California PressDecember 20001Regional American Anthologies, American Literature - Regional Literature - Literary Criticism6536.00 (w) x 9.00 (h) x 1.63 (d)<i>The Literature of California</i> is a landmark publication--unmatched by any existing collection and distinguished by its breadth, variety of sources, and historical sweep. The editors have been refreshingly inclusive and imaginative in their selection: some of the writers are internationally known, others are anthologized here for the first time. The richness of material, ranging from Native American origin myths to Hollywood novels dissecting the American Dream; from the familiar voices of John Steinbeck, Jack London, and William Saroyan to the less-well-known narratives of Maria Amparo Ruiz de Burton, Josephine Miles, and Jade Snow Wong--all of it captures the spirit and scope of the state itself.<br> This first volume of the comprehensive two-volume anthology is divided into four parts. The first includes stories, legends, and songs of the indigenous tribes. The second section comprises letters, diaries, reports, and travel narratives that trace a century of exploration, discovery, and conquest. Part III includes Mother Lode tales by Mark Twain and Bret Harte, the first signs of California poetry, the rise of narrative by California women, the nature writing of John Muir and Mary Austin, and some of the earliest prose from writers of Asian background, as well as the maturing fiction of Jack London and Frank Norris. Part IV traces the period between the World Wars, when California literature came fully into its own.<br> A lively introduction contextualizes each section, and concise biographical material is included for each writer. Volume Two, to be published in 2007, concentrates on the second half of the twentieth-century, during which California became one of the most active literary regions in the world. A colossal contribution to the culture of the state, <i>The Literature of California</i> broadens our sense of this region's richness, both past and present, offering new ways of perceiving history, community, and oneself.<p><P>"An utterly extraordinary collection, and I have nothing but admiration and highest praise for the selection of the material, its depth and arrangement. It is comprehensive, lively, done with great zest, imagination, and a sense of responsibility toward the state and its literary heritage."&#151;Malcolm Margolin, publisher of Heyday Books <P>"This first volume is a big, generous, and inclusive collection that shows me a host of things that I hadn't read before."&#151;Thom Gunn <P>"This long-awaited volume captures the vast panorama of thought, emotion, and eloquent musings inspired by the landscapes and crossroads culture of the Golden State. The energy and promise and adrenaline of the California dream are richly sampled here, along with its paradoxes and tragic shortcomings. This is a knock-out anthology&#58; indispensable for anyone who cares about American literature and the place of California in the national imagination." &#151;Michael Kowalewski, editor, <i>Gold Rush&#58; A Literary Exploration,</i> and former president of the Western Literature Association <P>"This marvelous collection of literature creates a sense of time and place like no other in the world. California starts in native origin stories; the songs of many cultures and mighty landscapes rightly open this literary treasury. The literature of exploration, conquest, and separation is followed by the rise of romance, irony, adventure and, in the last section, a return to the stories of cultural diversity. Earthmaker, in the opening Maidu creation myth, said 'there will always be songs, and all of you will have them.' That sentiment has endured in <i>The Literature of California."</i> &#151;Gerald Vizenor, University of California, Berkeley <P>"This first volume of <i>The Literature of California</i> is a brilliant and almost impossible achievement. For the first time, the amazing richness of California's literary heritage, from the intricate and beautiful stories of the first Natives to the hard-boiled fiction of Los Angeles, is illuminated here amply and unmistakably and, above all, respectfully. I am awed by these four editors' stunning labor, love for place and word, and finally, profound knowledge of their home region. Superlatives come quickly to mind&#151;extraordinary, monumental, invaluable. I can't wait for volume two." &#151;Louis Owens, University of New Mexico <P>"This anthology comes in the nick of time to re-open our minds to the radically enthusiastic, naively critical, poems, stories and tales that are giving shape to one of the most exciting new cultures on the globe. Volume One curves from the Maidu story that tells of 'Turtle Island' through Clarence King's ringing hammer and Muir's mountain devotionalism, through Jeffers' astute and cranky foresight. We get Dame Shirley's gold country letters and then the freshly appreciated Jaime de Angulo; Josephine Miles together with James F. Cain and Nathanael West! Ending this volume with the tough, acerbic prose of Chester Hymes. Finally- a book to match the land." &#151;Gary Snyder<P>"The publication of this anthology&#151;so comprehensive, so vital in its content, so illustrative of high literary experience&#151;is in and of itself an important milestone in the evolution of California as a foundational component of American civilization. <i>The Literature of California</i> is more than an anthology. It suggests as well a vast public work, a Golden Gate Bridge of intellectual and imaginative materials. Here in this anthology, to paraphrase Joan Didion on UC Berkeley, can now be found one of California's best ideas on itself." &#151;Dr. Kevin Starr, State Librarian of California <P>"An extraordinary volume, at once imaginative, academically sound and meticulously comprehensive."&#151;Carolyn See, author of <i>Golden Days</i></p><h3>San Diego Union-Tribune</h3><p>Treats us to a comprehensive look at that body of writing inspired by the Golden Land.</p><html><h3>Contents</h3><b>Acknowledgments<br>General Introduction</b><p> PART ONE&#58; INDIAN BEGINNINGS <p> <blockquote><b>Origins and the Way of the World</b> <p> The Creation (Maidu) <br> The Creation&#58; Turtle Island (Maidu) <br> Origin of the Mountains (Yokuts) <br> The Three Worlds (Chumash) <br> The Making of Man (Chumash) <br> Initiation Song (Yuki) <br> Cottontail and the Sun (Owens Valley Paiute) <p> <b>Love, Marriage, Family</b> <p> Puberty Dance Song (Wintu) <br> Three Love Songs (Wintu) <br> About-the-House Girl (Karok) <br> The Girl Who Married Rattlesnake (Pomo) <br> The Man and the Owls (Yokuts) <br> Coyote Cooks His Daughter (Cupe&#241o) <p> <b>Order, Community </b><p> An Ordered World (Miwok) <br> Prayer for Good Fortune (Yokuts) <br> Feast Oration (Wintu) <p> <b>Chants, Dreams, and Dances</b> <p> To the Edge of the Earth (Wintu) <br> Rattlesnake Ceremony Song (Yokuts) <br> Dream Time (Ohlone) <br> Four Dream Cult Songs (Wintu) <br> Dancing on the Brink of the World (Costanoan) <p> <b>Old Age, Death, and the Afterlife</b> <p> Old Gambler's Song (Konkow) <br> Grandfather's Prayer (Wintu) <br> Death Song (Cupe&#241o) <br> Burial Oration (Wintu) <br> The Soul's Journey to Similaqsa (Chumash) <br> The Land of the Dead (Serrano) <br> Summons to a Mourning Ceremony (Miwok) </blockquote><br> PART TWO&#58; ONE HUNDRED YEARS OF EXPLORATION AND CONQUEST, 1769-1870 <br> <blockquote><b>Garc&#237 Rodriguez Ord&#243&#241ez de Montalvo </b> <br> "The Queen of California" from <i>Las Sergas de Espland&#237an</i> (c. 1510) <br> <b>Fray Juan Cresp&#237 </b><br> "The Naming of Santa Ana and Los Angeles" from <i>Fray Juan Cresp&#237&#58; Missionary Explorer of the Pacific Coast,</i> 1769-1774 (1769) <br> <b>Pedro Fages </b><br> "Report to the Viceroy" from <i>A Historical, Political, and Natural Description of California</i> (1773) <br> <b>Jean Fran&#231ois de la P&#233rouse </b><br> "A Visit to Carmel" from <i>Voyage autour du Monde</i> (1786) <br> <b>Nikolai Rezanov </b><br> "A Letter to the Minister of Commerce" (1806) <br> <b>Jedediah Strong Smith</b> <br> "The Trapper and the Padre" from <i>The Southwest Expeditions of Jedediah S. Smith&#58; His Personal Account of the Journey to California,</i> 1826-27 (1826) <br> <b>Pablo Tac</b> <br> "Our Games and Dances" from <i>Conversion of the San Luise&#241os of Alta California </i>(c. 1835) <br> <b>Richard Henry Dana</b> <br> "Haole and Kanaka" from <i>Two Years before the Mast&#58; A Personal Narrative of Life at Sea</i> (1840) <br> <b>John C. Fr&#233mont</b> <br> "Some Points in Geography" from <i>Report of the Exploring Mission to Oregon and North California</i> (1845) <br> <b>Lansford Hastings</b> <br> From <i>The Emigrants' Guide to Oregon and California</i> (1845) <br> <b>Mariano Guadalupe Vallejo</b> <br> "The Bear Flag Party" from <i>Recuerdos Historicos y Personales Tocante a la Alta California</i> (1846) <br> <b>Edwin Bryant</b> <br> "The California Battalion" from <i>What I Saw in California</i> (1846) <br> <b>Sarah Royce </b><br> From <i>A Frontier Lady</i> (1849) <br> <b>Bayard Taylor</b> <br> "San Francisco by Day and Night" from <i>El Dorado,</i> or <i>Adventures in the Path of Empire </i>(1849) <br> <b>Louise Clappe [Dame Shirley]</b> <br> "A Trip into the Mines" from <i>The Shirley Letters</i> (1852) <br> <b>Eliza W. Farnham </b><br> From <i>California In-Doors and Out</i> (1856) <br> <b>John Rollin Ridge [Yellow Bird] </b><br> From <i>The Life and Adventures of Joaqu&#237n Murieta, the Celebrated California Bandit </i>(1854) <br> <b>T'tcetsa [Lucy Young] </b> <br> "Lucy's Story" from <i>Out of the Past&#58; A True Indian Story</i> (c. 1862) <br> <b>William Henry Brewer </b><br> "Los Angeles and Environs" from <i>Up and Down California,</i> 1860-64 (1864) <br> <b>Clarence King</b> <br> "Mount Shasta" from <i>Mountaineering in the Sierra Nevada</i> (1872) </blockquote><br> <c2>PART THREE&#58; THE RISE OF CALIFORNIA LITERATURE, 1865-1914 <br> <blockquote><b>Samuel Clemens [Mark Twain] </b> <br> "The Celebrated Jumping Frog of Calaveras County" (1867) <br> From <i>Roughing It</i> (1872) <br> <b>Bret Harte </b> <br> The Outcasts of Poker Flats (1869) <br> <b>Charles Warren Stoddard </b><br> Old Monterey (c. 1870) <br> <b>Ina Coolbrith</b> <br> Copa de Oro (The California Poppy) <br> The Mariposa Lily <br> Millennium <br> Retrospect (In Los Angeles) (c. 1880) <br> <b>Joaquin Miller</b> <br> "Californian," from <i>Songs of the Sierra </i>(1872) <br> <b>Ambrose Bierce </b> <br> "Moxon's Master" (1893) <br> <b>Mar&#237a Amparo Ruiz de Burton </b> <br> From <i>The Squatter and the Don</i> (1885) <br> <b>Thocmetony [Sarah Winnemucca]</b> <br> From <i>Life among the Piutes</i> (1883) <br> <b>Robert Louis Stevenson</b> <br> From <i>The Silverado Squatters</i> (1883) <br> <b>Helen Hunt Jackson</b> <br> From <i>Ramona</i> (1884) <br> <b>Josiah Royce</b> <br> From <i>California&#58; A Study of American Character</i> (1886) <br> <b>Mary Hallock Foote</b> <br> How the Pump Stopped at the Morning Watch (c. 1890) <br> <b>Edwin Markham</b> <br> The Man with a Hoe (1899) <br> The Sower (1901) <br> <b>John Muir</b> <br> From <i>The Mountains of California</i> (1894) <br> <b>George Sterling</b> <br> Beyond the Breakers <br> The Black Vulture (c. 1900) <br> <b>Gertrude Atherton </b><br> From <i>The Californians </i>(1898) <br> <b>Edith Maud Eaton [Sui Sin Far] </b> <br> "In the Land of the Free" (1912) <br> <b>Yone Noguchi</b> <br> Some Stories of My Western Life <br> "Ah, Who Says So?" and "My Poetry" (1897) <br> <b>Charles Fletcher Lummis</b> <br> "Walking to Los Angeles" from "As I Remember" (unpublished ms., c. 1910) <br> <b>L. Frank Baum </b> <br> From <i>Dorothy and the Wizard in Oz</i> (1908) <br> <b>Anonymous Chinese Immigrants</b> <br> Four <i>Poems of Angel Island and Chinatown</i> (c. 1910-1940) <br> <b>Jack London </b><br> From <i>Martin Eden</i> (1908) <br> <b>Frank Norris</b> <br> From <i>The Octopus</i> (1901) <br> <b>Mary Austin</b> <br> From <i>The Land of Little Rain</i> (1903) </blockquote><br> <c2>PART FOUR&#58; DREAMS AND AWAKENINGS, 1915-1945 <br> <blockquote><b>Robinson Jeffers </b><br> Continent's End <br> To the Stone Cutters <br> Tor House <br> Hurt Hawks <br> Rock and Hawk <br> The Purse-Seine <br> Carmel Point (c. 1924-1934) <br> <b>Jaime de Angulo</b> <br> From <i>Indians in Overalls</i> (1950) <br> <b>Upton Sinclair</b> <br> From <i>Oil!</i> (1927) <br> <b>Dashiell Hammett</b> <br> From <i>The Maltese Falcon</i> (1930) <br> <b>Wallace Thurman</b> <br> From <i>The Blacker the Berry </i>(1929) <br> <b>Yvor Winters</b> <br> See Los Angeles First <br> The Slow Pacific Swell <br> John Sutter <br> Moonlight Alert <br> The California Oaks (c. 1929-1939) <br> <b>James M. Cain</b> <br> From <i>The Postman Always Rings Twice</i> (1934) <br> <b>William Saroyan </b> <br> The Daring Young Man on the Flying Trapeze (1934) Quarter, Half, Three-Quarter and Whole Notes (1936) <br> <b>Horace McCoy </b> <br> From <i>They Shoot Horses, Don't They?</i> (1935) <br> <b>George R. Stewart</b> <br> From <i>Ordeal by Hunger</i> (1936) <br> <b>John Steinbeck</b> <br> From <i>The Grapes of Wrath</i> (1939) <br> <b>Carey McWilliams</b> <br> From <i>Factories in the Field </i>(1939) <br> <b>Hildegarde Flanner</b> <br> Noon on Alameda Street <br> 12 O'Clock Freight <br> Lava Has Meaning <br> The Buck <br> Hawk Is a Woman (c. 1929-1939) <br> <b>Josephine Miles</b> <br> Tehachapi South <br> The Directors <br> Now That April's Here <br> City <br> Subdivision (c. 1935-1939) <br> <b>John Fante</b> <br> From <i>Ask the Dust</i> (1939) <br> <b>Raymond Chandler</b> <br> From <i>The Big Sleep</i> (1939) <br> <b>Nathanael West</b> <br> From <i>The Day of the Locust</i> (1939) <br> <b>F. Scott Fitzgerald</b> <br> From <i>The Love of the Last Tycoon </i>([1941] 1994) <br> <b>M. F. K. Fisher</b> <br> The First Oyster (1943) <br> <b>Idwal Jones </b><br> From <i>The Vineyard</i> (1942) <br> <b>Toshio Mori</b> <br> The Woman Who Makes Swell Doughnuts <br> The Eggs of the World <br> "He Who Has the Laughing Face" (1949) <br> <b>Jade Snow Wong </b><br> From <i>Fifth Chinese Daughter</i> (1950) <br> <b>Carlos Bulosan</b> <br> From <i>America Is in the Heart</i> (1946) <br> <b>Chester Himes</b> <br> From <i>If He Hollers Let Him Go (1945) </i><br></blockquote> <b>Further Reading <br> About the Editors <br> Permissions and Credits <br> Index of Authors and Titles </b><br> </html><article> <h4>Sacramento Bee</h4>The state's most ambitious literary anthology to date. </article> <article> <h4>Los Angeles Times</h4>As expansive and varied as California's own geography. </article><article> <h4>San Diego Union-Tribune</h4>Treats us to a comprehensive look at that body of writing inspired by the Golden Land. </article> <article> <h4>Library Journal</h4>The ideal of California has historically brought many images to the minds of explorers. Whether it was Native Americans living on its land, gold diggers panning its waters, or technology gurus developing Silicon Valley, California has always opened its doors to disconnected people seeking refuge, power, spirituality, fame, or prosperity. The Literature of California, Vol. 1 offers a thorough, chronological review of the writings that flowed from these people. The volume begins with the Native American tales which initiated the spiritual quest that, to this day, continues to draw new residents to the West Coast. Part 2 contains letters, diaries, reports, and travel narratives from Clarence King, Dame Shirley, Sarah Eleanor Royce, and John Rollin Ridge, the first Native American to publish a novel. Part 3 features the stories of popular writers like Mark Twain, Bret Harte, Jack London, and Frank Norris. Part 4, which covers what the editors call "the period between the world wars," includes Robinson Jeffers, Dashiell Hammett, and Nathanael West. It is in these last two sections that the influence of Asian writers begins to take shape. Overall, the diversity and the inclusion of many female authors make this work refreshing. Readers will also come away with a respect for the spirituality embraced by so many of the travelers. A second volume is due in 2002. Copyright 2001 Cahners Business Information. </article>
297American Food Writing: An Anthology with Classic RecipesMolly O'Neill0<p><P><b>Molly O'Neill</b>, editor, was for a decade the food columnist for <i> The New York Times Magazine</i> and the host of the PBS series <i>Great Food</i>. Her work has appeared in many national magazines, and she is the author of three cookbooks, including the award-winning <i>The New York Cookbook</i>. Her most recent book is <i>Mostly True&#58; A Memoir of Family, Food, and Baseball</i>.</p>Molly O'Neillamerican-food-writingmolly-o-neill97815985300561598530054$27.06HardcoverLibrary of AmericaApril 2007Cooking Essays, Cooking - General & Miscellaneous, American Literature Anthologies7008.62 (w) x 6.50 (h) x 1.88 (d)Now in paperback, this groundbreaking anthology from celebrated food writer Molly O'Neill is a history of America as told by our tastebuds. Here are classic accounts of iconic American foods: Thoreau on the delights of watermelon; Melville, with a mouth-watering chapter on clam chowder; Mencken on the hot dog; M.F.K. Fisher in praise of the oyster; Ellison on the irresistible appeal of baked yams; Styron on Southern fried chicken. American writers abroad describe the revelations they find in foreign restaurants; travelers to America discover native delicacies. Great chefs and noted critics discuss their culinary philosophies and offer advice on the finer points of technique; home cooks recount disasters and triumphs. <i>American Food Writing</i> celebrates the astonishing variety of American foodways, with accounts from almost every corner of the country and a host of ethnic traditions. A surprising range of subjects and perspectives emerge, as writers address such topics as fast food, dieting, and the relationship between food and sex. Throughout the book are fifty authentic recipes that tell the story of American food and will delight and inspire home chefs.<p><P>Now in paperback, this groundbreaking anthology from celebrated food writer Molly O'Neill is a history of America as told by our tastebuds. Here are classic accounts of iconic American foods&#58; Thoreau on the delights of watermelon; Melville, with a mouth-watering chapter on clam chowder; Mencken on the hot dog; M.F.K. Fisher in praise of the oyster; Ellison on the irresistible appeal of baked yams; Styron on Southern fried chicken. American writers abroad describe the revelations they find in foreign restaurants; travelers to America discover native delicacies. Great chefs and noted critics discuss their culinary philosophies and offer advice on the finer points of technique; home cooks recount disasters and triumphs. <i>American Food Writing</i> celebrates the astonishing variety of American foodways, with accounts from almost every corner of the country and a host of ethnic traditions. A surprising range of subjects and perspectives emerge, as writers address such topics as fast food, dieting, and the relationship between food and sex. Throughout the book are fifty authentic recipes that tell the story of American food and will delight and inspire home chefs.</p>
298Essential SaroyanWilliam Saroyan0William Saroyan, William E. Justiceessential-saroyanwilliam-saroyan97815971400101597140015$11.57PaperbackHeyday BooksApril 2005Regional American Anthologies1925.60 (w) x 8.58 (h) x 0.60 (d)<p>Fiction. William Saroyan's gift to literature was his humanity. In his five decades of writing short stories, novels, and plays, he saw exuberance where others found sorrow, and he lived a life that was richer and stranger than his fiction. From his humble roots as a bike messenger in Fresno, California, Saroyan went on to enchant the world with his intelligence, insight, and integrity. In drama, short stories, novels, and autobiography, Saroyan explored the universal themes of human existence through a lens that was at once American, Armenian, and global in its outlook. ESSENTIAL SAROYAN brings together acclaimed stories as well as a few surprises from one of California's finest gifts to world literature.</p><p>His name was on the lips of two generations, and people around the world clamored for his work. An Armenian who grew up in Fersno, California, he traveled the globe, living in Paris, London, New York, and Los Angeles. He rubbed elbows with Steinbeck, traded insults with Hemingway, encouraged a young Toshio Mori, and stole a girl from Orson Welles. He was the only writer to turn down the Pulitzer Prize. Through his plays, short stories, and novels, he exalted the mysteries of youth, pondered the impossibility of love, and spoke to this strange condition of being alive. Above all, he declared that the duty of a writer is to have one hell of a good time.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">vii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Daring Young Man on the Flying Trapeze</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seventy Thousand Assyrians</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Five Ripe Pears</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Great Unwritten American Novel</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Antranik of Armenia</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Summer of the Beautiful White Horse</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tracy's Tiger</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Radio Play</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Human Comedy</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Adventures of Wesley Jackson</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Theological Student</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love, Here Is My Hat</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Bicycle Rider in Beverly Hills</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Writer's Declaration</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Major Works</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Editor</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD></TABLE>
299No Walls of Stone: An Anthology of Literature by Deaf and Hard of Hearing WritersJill Jepson0Jill Jepsonno-walls-of-stonejill-jepson9781563680199156368019X$33.50HardcoverGallaudet University PressJanuary 2002American Literature Anthologies2326.00 (w) x 9.00 (h) x 0.90 (d)Now, the new, completely revised Come Sign With Us offers more follow-up activities, including many in context, to teach children sign language. The second edition of this fun, fully illustrated activities manual features more than 300 line drawings of both adults and children signing familiar words, phrases, and sentences using American Sign Language (ASL) signs in English word order. Twenty lively lessons each introduce ten selected "Target Vocabulary" words in a format familiar and exciting to children, including holidays, pets, cars and trucks, and more. All signs have equivalent words listed in both English and Spanish. <p>Come Sign With Us shows how to form each sign exactly and also presents the origins of ASL, facts about deafness, and the Deaf community.</p><p>Now, the new, completely revised Come Sign With Us offers more follow-up activities, including many in context, to teach children sign language. The second edition of this fun, fully illustrated activities manual features more than 300 line drawings of both adults and children signing familiar words, phrases, and sentences using American Sign Language (ASL) signs in English word order. Twenty lively lessons each introduce ten selected "Target Vocabulary" words in a format familiar and exciting to children, including holidays, pets, cars and trucks, and more. All signs have equivalent words listed in both English and Spanish.<P>Come Sign With Us shows how to form each sign exactly and also presents the origins of ASL, facts about deafness, and the Deaf community.</p><h3>Library Journal</h3><p>Poetry, essays, short stories, and drama by hearing-impaired writers reveal that deafness is a richly textured world. The collection covers many topics, from audiology and the administration of a hearing test to the speech of the deaf transcribed as spoken English, offering details and information unfamiliar to most hearing people. The various authors compellingly utilize language to help the reader see more deeply and understand more profoundly the human condition, both in aspects particular to the deaf and in universal experiences shared by all. Not since the publication of Raija Nieminen's Voyage to the Island (Gallaudet Univ. Pr., 1990) has the silent universe been so dramatically explored. This landmark anthology deserves a wide readership. Recommended for all libraries.-- Nancy E. Zuwiyya, Binghamton City Sch. Dist., N.Y.</p><article> <h4>Library Journal</h4>Poetry, essays, short stories, and drama by hearing-impaired writers reveal that deafness is a richly textured world. The collection covers many topics, from audiology and the administration of a hearing test to the speech of the deaf transcribed as spoken English, offering details and information unfamiliar to most hearing people. The various authors compellingly utilize language to help the reader see more deeply and understand more profoundly the human condition, both in aspects particular to the deaf and in universal experiences shared by all. Not since the publication of Raija Nieminen's Voyage to the Island (Gallaudet Univ. Pr., 1990) has the silent universe been so dramatically explored. This landmark anthology deserves a wide readership. Recommended for all libraries.-- Nancy E. Zuwiyya, Binghamton City Sch. Dist., N.Y. </article> <article> <h4>Nancy McCray</h4>Anthropologist-linguist Jill Jepson recognizes that members of the deaf community have the "right to live life not as impaired hearing people but as deaf people." Guided by this principle, Jepson includes in the collection "the best and most representative works of contemporary deaf and hard of hearing writers." A brief biography precedes each author's work, explaining, for instance, how Claire Blatchford became deaf as a result of the mumps. In her poem, which opens the anthology, Blatchford uses images that she remembers from listening to Prokofiev. Willy Conley's poignant play, "The Hearing Test", discusses the factors involved in having a cochlear implant. Hearing readers wanting firsthand experience as well as the deaf can choose from many genres in this carefully compiled volume, which also includes selections from David Wright's autobiography, Frances Parson's trip to China, and several short stories. </article>
300Pioneers of the Black Atlantic: Five Slave Narratives from the Enlightenment, 1772-1815Henry Louis Gates Jr.0<b>Henry Louis Gates Jr.</b> is W.E.B. Du Bois Professor of Humanities, chair of the Afro-American Studies Department, and director of the W.E.B. Du Bois Institute for Afro-American Research at Harvard University.Henry Louis Gates Jr.pioneers-of-the-black-atlantichenry-louis-gates-jr97818871789831887178988$26.00PaperbackBasic Civitas BooksNovember 1998United States History - African American History, African American History, African Diaspora History, Social Sciences - General & Miscellaneous, American Literature Anthologies, Peoples & Cultures - Biography, Historical Biography - United States, General1300L6566.00 (w) x 9.00 (h) x 1.40 (d)In the eighteenth century, a small group of black men met the challenge of the Enlightenment by mastering the arts and sciences and writing themselves into history. The battle lines were clear—literacy stood as the ultimate measure of humanity to the white arbiters of Western culture. If blacks could succeed in this sphere, they would prove that African and European humanity were inseparable. Without a literary record, blacks seemed predestined for slavery.The small but dedicated group—now known as the Black Atlantic writers—who stepped forward to meet this challenge published their autobiographies in the late eighteenth and early nineteenth centuries. They not only defied the popular opinion of the time that blacks were unfit for letters, but inaugurated the Black American and Black British literary traditions.While slave narratives are often excerpted and anthologized, they are rarely collected in their entirety. <i>Pioneers of the Black Atlantic</i> is the first anthology to include the complete texts of the five most important and influential narratives of the eighteenth century. Included here are the writings of James Albert Ukawsaw Gronniosaw, John Marrant, Ottobah Cugoano, Olaudah Equiano, and John Jea.Their stories, resonant still in our racially divided world, are landmarks in the history of autobiography and human rights.<article> <h4>Booknews</h4>The complete texts of autobiographies by which members of the groups known at the time as the Black Atlantic Writers staked a claim in the Enlightenment, which until then had been constructed as European terrain that blacks were unfit for. No index or bibliography. Annotation c. by Book News, Inc., Portland, Or. </article>
301Riding Low on Streets of GoldJudith Ortiz Cofer0Judith Ortiz Coferriding-low-on-streets-of-goldjudith-ortiz-cofer97815588538051558853804$13.90PaperbackArte Publico PressNovember 2003New EditionAmerican Literature Anthologies, Teens - Poetry, Drama & Literary Criticism, Teen Fiction1925.58 (w) x 8.48 (h) x 0.61 (d)<p>Fiction. Poetry. Latino/Latina Studies. Young Adult. RIDING LOW ON THE STREETS OF GOLD is an essential collection of stories and poems for young people that introduces U.S. Latino Literature. "There seemed to be no way out of the custom. Her arguments were always the same and always turned into pleas ... 'But, Ama', it's embarrassing. I'm too old for that. I'm an adult,'" Naomi says in Helena Maria Viramontes' story "Growing." Ever since Naomi hit high school and puberty, she began to notice that "there were too many expectations, and no one instructed her on how to fulfill them..." In her tradition-bound family and under the thundering gaze of her father, Naomi struggles to stretch the limitations imposed on her by her family, even as her mind expands along with her changing body. Like "Growing," the pieces in this anthology for young adults reveal the struggles of discovering a new self and the trials of leaving behind an old one. This extraordinary collection gathers a wealth of stories and poems that explore the challenges of negotiating identity and relationships with others, struggling with authority, learning to love oneself and challenging the roles society demands of teenagers and adults. Edited by well-known poet and prose-writer Judith Ortiz Cofer, the collection includes work by such leading Latino writers as Pat Mora, Jesus Salvador Trevino, Tomas Rivera, Virgil Suarez, Jose Marti, Viramontes and Ortiz Cofer herself. Included as well are new voices that represent the freshness and vigor of youth: Mike Padilla, Daniel Chacon, and Sarah Cortez. For many students across the United States, this text will serve as their first rewarding introduction to diverse writers of Latino/Latina literature.</p> <p>An essential collection of stories and poems for young people that introduces U.S. Latino Literature. </p><p>"There seemed to be no way out of the custom. Her arguments were always the same and always turned into pleas ... 'But, Ama', it's embarrassing. I'm too old for that. I'm an adult,'" Naomi says in Helena Maria Viramontes' story "Growing." Ever since Naomi hit high school and puberty, she began to notice that "there were too many expectations, and no one instructed her on how to fulfill them..." In her tradition-bound family and under the thundering gaze of her father, Naomi struggles to stretch the limitations imposed on her by her family, even as her mind expands along with her changing body. Like "Growing," the pieces in this anthology for young adults reveal the struggles of discovering a new self and the trials of leaving behind an old one. This extraordinary collection gathers a wealth of stories and poems that explore the challenges of negotiating identity and relationships with others, struggling with authority, learning to love oneself and challenging the roles society demands of teenagers and adults. Edited by well-known poet and prose-writer Judith Ortiz Cofer, the collection includes work by such leading Latino writers as Pat Mora, Jesus Salvador Trevino, Tomas Rivera, Virgil Suarez, Jose Marti, Viramontes and Ortiz Cofer herself. Included as well are new voices that represent the freshness and vigor of youth: Mike Padilla, Daniel Chacon, and Sarah Cortez. For many students across the United States, this text will serve as their first rewarding introduction to diverse writers of Latino/Latina literature.</p><h3>Publishers Weekly</h3><p>Riding Low on the Streets of Gold, edited by Judith Ortiz Cofer, gathers stories and poems from contemporary Hispanic literature. The themes run from the magical-such as "The Fabulous Sinkhole" by Jesus Salvador Trevi o, in which life in a small border town is changed by the mysterious appearance of a hole in a resident's yard that yields gifts-to the realistically human-as with "Carrying Sergei" by Mike Padilla in which a 14-year-old girl impulsively harms a classmate, then attempts to set things right. Copyright 2004 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">v</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I</TD><TD WIDTH="10%" ALIGN="RIGHT">2</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amanda</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from ...y no se lo trago la tierra / ...And the Earth Did Not Devour Him</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Salamanders</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fabulous Sinkhole</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fences</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Same Song</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tomas Rivera</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Growing</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Haunt</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Walking Home</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carrying Sergei</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Couldn't Guess My Name</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pillars of Gold and Silver</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Religious Instructions for Young Casualties</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Affirmations #3, Take Off Your Mask</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Life Is A Journey</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ricardito</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Too White</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Toreando el tren or Bullfighting the Train</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Primary Lessons</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Volar</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Additional Works by These Authors</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD></TABLE><article> <h4>Publishers Weekly</h4>Riding Low on the Streets of Gold, edited by Judith Ortiz Cofer, gathers stories and poems from contemporary Hispanic literature. The themes run from the magical-such as "The Fabulous Sinkhole" by Jesus Salvador Trevi o, in which life in a small border town is changed by the mysterious appearance of a hole in a resident's yard that yields gifts-to the realistically human-as with "Carrying Sergei" by Mike Padilla in which a 14-year-old girl impulsively harms a classmate, then attempts to set things right. Copyright 2004 Reed Business Information. </article> <article> <h4>Children's Literature</h4>This book is an outstanding collection of Latino literature that features broad historical scope and high quality writing. The collection, edited by Judith Ortiz Cofer, a professor of English and Creative Writing at the University of Georgia, includes Latino and Latina writers from Cuba, Mexico, and the U.S. (Texas, Illinois, and California). Through poems and short stories the reader is exposed to many aspects of Latino culture and history over the last one hundred years. The editor includes a brief essay about each author's life, providing a rich backdrop to the stories. In many cases, the writer has overcome much adversity to become college professors and career writers. The entire book provides works of fiction and non-fiction that are full of humor, truth, hopefulness and vitality. This book is a perfect choice for the high school classroom as an introduction to various Latina and Latino writers, past and present. It is also inspiring for anyone wanting to know more about Latin daily life and history. International audiences (such as international schools around the world and Spanish-speakers immigrating to the U.S.) will appreciate the translation for José Martí's poem, which is beautiful and moving. These audiences will also enjoy the pertinence of these well-chosen writers and their work. 2003, Piñata Books/Arte Público Press, Ages 12 up. <br> —Michelle Negron Bueno </article><article> <h4>VOYA</h4>The stories and poems in this anthology explore in vivid images and easy language the unique experiences, both joyful and stressful, of growing up in a bilingual, bicultural environment. Many contributors are literary award-winners, and others have attained success in other fields such as education, law enforcement, law, art, and more. Among those featured are Chicano writer Tomás Rivera, who eloquently tells of migrant workers' struggles; and Mexican Americans Jesus Salvador Trevino, with an absorbing tale of a magical occurrence that brings a neighborhood together; and Pat Mora with her moving poems of youthful yearning. Puerto Rican Jesus Colon feelingly writes of encountering discrimination even in Coney Island. Puerto Rican/Dominican/African American Sandra María Estevez contributes an inspiring piece about empowerment. Even nineteenth-century Cuban national hero and renowned poet, Jose Martí, provides his powerful "Versos Sencillos" ("Simple Verses"). Others are emerging writers with fresh, vigorous voices and far-reaching vision. Issues such as personal identity and moral values, self-esteem, pressures from parents and society in general, relations with peers, and the most intimate and perhaps most difficult of all, simply learning to deal with and make sense of the physical changes and emotional turmoil brought on by new, often fluctuating hormonal levels are all covered. This fine anthology deserves a prominent place in any young adult collection. VOYA CODES: 4Q 2P M J S (Better than most, marred only by occasional lapses; For the YA with a special interest in the subject; Middle School, defined as grades 6 to 8; Junior High, defined as grades 7 to 9; Senior High, defined asgrades 10 to 12). 2003, Piñata Books/Arte Público, 208p., Trade pb. Ages 11 to 18. <br> —Delia A. Culberson </article> <article> <h4>School Library Journal</h4>Gr 7 Up-These 11 poems and 12 stories explore growing up, recognizing one's place in the world, and living the bilingual immigrant experience. The collection blends works of familiar authors, including Jos Mart', Tom s Rivera, Victor Villase-or, and Pat Mora, with the writings of newcomers. Mike Padilla's "Carrying Sergei" relates the story of a Mexican girl who befriends a Russian immigrant boy after pushing him down a flight of stairs and breaking his leg. Through visits to his home, she discovers much about him and even more about herself. Friendship is also the theme of Daniel Chac-n's "Too White," in which the protagonist faces the decision of admitting his friendship with a white boy or choosing to be part of the local Mexican gang. In Jes s Salvador Trevi-o's "The Fabulous Sinkhole," the personalities of an entire neighborhood are revealed as various individuals react to the emergence of a giant hole in Mrs. Romero's front yard. The poems are well chosen and blend well with the prose. The stories could be a starting point for interesting discussion topics, but the gritty language in a few of them may keep the book from being an assigned text. A photograph and brief biography of the author precede each work. Several poems in Spanish are accompanied by the English translation. Unfortunately, there are a handful of Spanish terms that are not defined within the text and there is no glossary. However, this is a minor detraction from this solid introduction to Latino literature.-Linda L. Plevak, Saint Mary's Hall, San Antonio, TX Copyright 2004 Reed Business Information. </article>
302Fire and Ink: An Anthology of Social Action WritingFrances Payne Adler0<p>Poet Frances Payne Adler is a professor and founder of the Creative Writing and Social Action Program at California State University, Monterey Bay. She is the author of five books, including The Making of a Matriot, and is nationally recognized for her collaborative social action art exhibitions.<p>Fiction writer Debra Busman, a long time activist and community organizer, and poet Diana García, a founding member of the Border Voices Project, are both professors and co-directors of the Creative Writing and Social Action Program, California State University, Monterey Bay.</p>Frances Payne Adlerfire-and-inkfrances-payne-adler97808165279390816527938$19.43PaperbackUniversity of Arizona PressOctober 2009New EditionLiterature Anthologies - General & Miscellaneous, American Literature Anthologies4485.90 (w) x 8.90 (h) x 1.00 (d)<p>Fire and Ink is a powerful and impassioned anthology of stories, poems, interviews, and essays that confront some of the most pressing social issues of our day. Designed to inspire and inform, this collection embodies the concepts of “breaking silence,” “bearing witness,” resistance, and resilience. Beyond students and teachers, the book will appeal to all readers with a commitment to social justice.</p> <p>Fire and Ink brings together, for the first time in one volume, politically engaged writing by poets, fiction writers, and essayists. Including many of our finest writers—Martín Espada, Adrienne Rich, June Jordan, Patricia Smith, Gloria Anzaldúa, Sharon Olds, Arundhati Roy, Sonia Sanchez, Carolyn Forche, Chitra Banerjee Divakaruni, Alice Walker, Linda Hogan, Gary Soto, Kim Blaeser, Minnie Bruce Pratt, Li-Young Lee, and Jimmy Santiago Baca, among others—this is an indispensable collection.</p> <p>This groundbreaking anthology marks the emergence of social action writing as a distinct field within creative writing and literature. Featuring never-before-published pieces, as well as reprinted material, Fire and Ink is divided into ten sections focused on significant social issues, including identity, sexuality and gender, the environment, social justice, work, war, and peace. The pieces can often be gripping, such as “Frame,” in which Adrienne Rich confronts government and police brutality, or Chris Abani’s “Ode to Joy,” which documents great courage in the face of mortal danger.</p> <p>Fire and Ink serves as a wonderful reader for a wide range of courses, from composition and rhetoric classes to courses in ethnic studies, gender studies, American studies, and even political science, by facing a past that was often accompanied by injustice and suffering. But beyond that, this collection teaches us that we all have the power to create a more equitable and just future.</p><p>Fire and Ink is a powerful and impassioned anthology of stories, poems, interviews, and essays that confront some of the most pressing social issues of our day. Designed to inspire and inform, this collection embodies the concepts of "breaking silence," "bearing witness," resistance, and resilience. Beyond students and teachers, the book will appeal to all readers with a commitment to social justice.<br><br> Fire and Ink brings together, for the first time in one volume, politically engaged writing by poets, fiction writers, and essayists. Including many of our finest writers Martín Espada, June Jordan, Patricia Smith, Gloria Anzaldúa, Sharon Olds, Arundhati Roy, Sonia Sanchez, Carolyn Forche, Chitra Banerjee Divakaruni, Alice Walker, Linda Hogan, Gary Soto, Kim Blaeser, Minnie Bruce Pratt, Li-Young Lee, and Jimmy Santiago Baca, among others this is an indispensable collection. <br><br> This groundbreaking anthology marks the emergence of social action writing as a distinct field within creative writing and literature. Featuring never-before-published pieces, as well as reprinted material, Fire and Ink is divided into ten sections focused on significant social issues, including identity, sexuality and gender, the environment, social justice, work, war, and peace. The pieces can often be gripping, such as "Frame," in which Adrienne Rich confronts government and police brutality, or Chris Abani's "Ode to Joy," which documents great courage in the face of mortal danger. <br><br> Fire and Ink serves as a wonderful reader for a wide range of courses, from composition and rhetoric classes to courses in ethnic studies, gender studies, American studies, and even political science, by facing apast that was often accompanied by injustice and suffering. But beyond that, this collection teaches us that we all have the power to create a more equitable and just future. <br><br></p><h3>Publishers Weekly</h3><p>While the editors of this generous anthology of fiction and nonfiction describe social action rather dryly as &ldquo;a form of critical inquiry and an act of social responsibility,&rdquo; the passionate pieces making up the collection elevate it into a meditation on the sanctity and wonder of each life. It's that overarching sensitivity that gives these diverse creative voices their moral and political force&mdash;and is echoed in the Buddhist &ldquo;mindfulness&rdquo; practiced by Vietnamese monk and social worker Ch&acirc;n Kh&ocirc;ng, or the &ldquo;small things&rdquo; that make sense of the greatest transformations for novelist-activist Arundhati Roy, or the alertness to &ldquo;the trauma of being different&rdquo; in editor Garc&iacute;a's own migrant labor camp recollections. It comes as a refreshing antidote to the obfuscating abstractions clustered around the most pressing issues of the time&mdash;including those that become thematic categories in the anthology, such as war, the environment and labor. The general quality of writing, among both better and lesser known writers of conscience, ensures the collection is as timeless as it is timely. (Oct.)</p><article> <h4>Publishers Weekly</h4>While the editors of this generous anthology of fiction and nonfiction describe social action rather dryly as “a form of critical inquiry and an act of social responsibility,” the passionate pieces making up the collection elevate it into a meditation on the sanctity and wonder of each life. It's that overarching sensitivity that gives these diverse creative voices their moral and political force—and is echoed in the Buddhist “mindfulness” practiced by Vietnamese monk and social worker Chân Không, or the “small things” that make sense of the greatest transformations for novelist-activist Arundhati Roy, or the alertness to “the trauma of being different” in editor García's own migrant labor camp recollections. It comes as a refreshing antidote to the obfuscating abstractions clustered around the most pressing issues of the time—including those that become thematic categories in the anthology, such as war, the environment and labor. The general quality of writing, among both better and lesser known writers of conscience, ensures the collection is as timeless as it is timely. (Oct.) </article>
303New York Nocturne: The City After Dark in Literature, Painting, and Photography, 1850-1950William Chapman Sharpe0<p><br>William Chapman Sharpe is professor of English at Barnard College, Columbia University. He is the author of "Unreal Cities" and the coeditor of "Visions of the Modern City".</p>William Chapman Sharpenew-york-nocturnewilliam-chapman-sharpe97806911332490691133247$35.20HardcoverPrinceton University PressOctober 2008General & Miscellaneous Photography, Places - Literary Anthologies, Regional American Anthologies, New York City - History, U.S. Travel Photography - Mid-Atlantic, Landscapes & Places in Art4567.40 (w) x 10.10 (h) x 1.50 (d)<p>As early as the 1850s, gaslight tempted New Yorkers out into a burgeoning nightlife filled with shopping, dining, and dancing. Electricity later turned the city at night into an even more stunning spectacle of brilliantly lit streets and glittering skyscrapers. The advent of artificial lighting revolutionized the urban night, creating not only new forms of life and leisure, but also new ways of perceiving the nocturnal experience. <i>New York Nocturne</i> is the first book to examine how the art of the gaslit and electrified city evolved, and how representations of nighttime New York expanded the boundaries of modern painting, literature, and photography. Exploring the myriad images of Manhattan after dark, <i>New York Nocturne</i> shows how writers and artists took on the city's nocturnal blaze and transformed the scintillating landscape into an icon of modernity.</p> <p>The book traces key metaphors of the nighttime city: a seductive Babylon in the mid-1850s, a misty fairyland colonized by an empire of light in the early twentieth century, and a skyscraper-studded land of desire that became a stage for the voyeurism and violence of the 1940s and 1950s. The epilogue suggests how these themes have continued to shape our vision of nighttime New York ever since. Abundantly illustrated, <i>New York Nocturne</i> includes original readings of works by Whitman, Poe, Whistler, Riis, Stieglitz, Abbott, O'Keeffe, Stella, Hopper, Weegee, Ellison, Jacquette, and many others. Collectively, they tell a fascinating story about the relationship between night, art, and modern urban life.</p><b>New York Nocturne</b> <hr noshade size="1"> <b>By William Chapman Sharpe</b> <b>Princeton University Press</b> <b><br> Copyright © 2008</b> <b>Princeton University Press<br> All right reserved.</b><br> <b>ISBN: 978-0-691-13324-9</b> <br> <hr noshade size='1'> <br> <b>Introduction</b> Now the nights of one period are not the nights of another. Neither are the nights of one city the nights of another. -Djuna Barnes, <i>Nightwood</i> <p><b>The Dream Site</b></p> <p>In the early 1850s, Henry David Thoreau took a series of long nocturnal strolls in the countryside near Walden, mapping out lectures on night and moonlight. Thoreau had his eyes on the shadowy forest, yet his eagerness to subdue the kingdom of night for poetical purposes echoes the exploitative fervor with which urbanites were beginning to explore the city after dark. "I shall be a benefactor," wrote Thoreau,</p> <p>if I conquer some realms from the night, if I report to the gazettes anything transpiring about us at that season worthy of their attention,-if I can show men that there is some beauty awake while they are asleep,-if I add to the domains of poetry.</p> <p>Writing of natural processes that had changed little in thousands of years, Thoreau seems unaware of how desperately outmoded his projected conquest is. He gives no hint that artificial lighting and feverish nighttime activity had already rendered his slumbering landscape an object of nostalgic curiosity for city dwellers. By the mid-nineteenth century, the silvery dreamland that Thoreau wandered while his neighbors slept would have seemed to many New Yorkers as remote as the African interior. And yet, although he was seeking something primeval, Thoreau's desire to "add to the domains of poetry" by aesthetically annexing the land of the night put him in the mainstream of modernity. Like many other writers and artists, capitalists and pioneers, he was participating in one of the epoch's great adventures: the colonizing of the night.</p> <p>While his timing was perfect, Thoreau was simply in the wrong place. The action was elsewhere, in the great cities. It had been only a few decades since urban life in Europe and the United States had begun to feel the radical alteration caused by the advance of light into hitherto dark hours. But now the race was on to capture broad swaths of nocturnal territory for profit and pleasure. The installation of gaslight in London's West End in 1807 ignited a series of innovations that permanently rearranged the rhythms of everyday life, transforming traditional patterns of industry, commerce, leisure, and consumption. The concept of "nightlife" was born, along with the twenty-four-hour workday. With reliable lighting came safer streets, late shopping, and vastly expanded entertainments. The illumination of the city changed the very way people thought about-and thus lived in-the night. Darkness, so long a barrier to human activity, quickly became a stimulant.</p> <p>The ability of the city to transcend the rhythms of nature, to banish night so that its own artifice could reign supreme, came to symbolize the essence of progress, the culmination of technical prowess and cultural sophistication. Drawing human moths to its flame, the decked-out city of night ostentatiously burned its candle at both ends. By the twentieth century, a shimmering skyline and a blaze of electricity signified human life at its richest, most promising, and most seductive: "bright lights, big city." The physical paraphernalia of light, from the lamppost to the gasworks or the power plant, became permanent daytime reminders that a visual newfound land was being charted every evening. Artistic renderings played a vital role in this revolution, not merely recording the novel sights of the city after dark, but also educating their audiences in the modes of perception through which this "darkness visible" might be experienced. In ways we are only beginning to appreciate, the impact of gas and electricity reshaped the arts and the psyche, not to mention the experience of urban life. City dwellers realized that a new arena of human interaction had opened up. Its joys and perils needed to be interpreted-morally, aesthetically, and socially. How did the city look to those who ventured forth, the <i>flâneurs</i> prowling the streets in search of inspiration? How were their responses communicated through poems and novels, guidebooks, paintings, prints, and photographs? How did nocturnal imagery evolve as people made efforts to comprehend first the gaslit and then the electric city? And how was the cityscape framed and transfigured, so that it came to seem like a stage set, a fantasyland, or an intimate interior? <i>New York Nocturne</i> explores how writers, painters, and photographers helped turn the unscouted terrain of the urban night into a legible part of contemporary life.</p> <p>As we read the map of nocturnal modernity made by such figures as Walt Whitman and Ralph Ellison, Georgia O'Keeffe and Edward Hopper, Alfred Stieglitz and "Weegee," I want to stress that my emphasis is not so much on social or technological transformation as on how that transformation was registered in literature and the visual arts. The works of innovative image-makers, rather than the experiences of ordinary people, are the focus here. But along the way, I refer to the still-unfolding histories of illumination and nightlife as a means of establishing concretely how technological change altered urban experience, something implicit in my interpretation of art and literature. Thus, <i>New York Nocturne</i> concentrates not on nocturnal urban "reality" as lived by various socioeconomic groups but on how creative individuals have in memorable ways depicted and reinterpreted that ever-evolving reality for themselves and their audiences.</p> <p>Looking at the visual and verbal ideas that engaged the makers of night imagery, we will often arrive at fresh readings of familiar works, now that they are seen in the context of the nocturnal genre. Some of the images and texts presented here are classics, chosen because they have had a lot of cultural visibility and impact-those by Edgar Allan Poe and Emma Lazarus, Edward Steichen and Berenice Abbott, James McNeill Whistler and Joseph Stella, for instance. But I also use many lesser-known works to gauge the depth of an idea or image, and see if something unexpected will turn up to compel attention. Since showing what's special about nocturnal imagery is at the heart of my endeavor, I try to identify just what working with the night contributed to the art of each figure I analyze-and what each figure contributed to the growing body of nocturnal expression. We will see, to take just a few examples, how representing nocturnal subjects and atmosphere helped Whistler achieve a desired notoriety, lent Steichen an "artistic" aura, enabled Frederic Remington to be recognized as a painter rather than mere illustrator, helped Stella fuse a Futurist style with American themes, burned Weegee's flash photos into public consciousness, and gave poets William Carlos Williams and Elizabeth Bishop a human moth-to-electric-flame image of the writer's tormented act of creation.</p> <p>Since 1812, when the composer John Field first gave the title "nocturne" to a series of quietly expressive piano pieces, the term has been applied to a wide range of imaginative works that, according to their creators, evoke nighttime thoughts and sensations. Because the history of the nocturne zigzags between music, the visual arts, and literature, study of the subject demands an interdisciplinary, multimedia approach. I will admit right here that regrettably, this book does not address the nocturne in either music or film-still unexplored topics that are well worth investigating. And long as it is, this book itself has had to be selective. For reasons of space and personal inclination, I have focused on what might be called "descriptive" nocturnes: works of writers, painters, and photographers that may well have musical or cinematic counterparts, but that give special privilege, verbally and visually, to the look of the city after dark. Although I will be comparing how the city is represented in various texts and images, trying to show what each has contributed to our composite picture of New York, the aim is not to compare the media themselves, or offer theories about their similarities and differences, advantages and constraints. Rather, I will try to show how ideas and approaches may be borrowed, emulated, subverted, or rejected, often quite loosely and by analogy, among people trying to represent in their own way, in their own medium, a shared topic: the city at night. Tracing the imagery through which ideas about the nocturnal scene entered cultural consciousness, this book concentrates mostly on exterior, outdoor views of the city. For centuries people have sought security at night behind their shutters and doors. Their relation to interior space remained largely stable even as improved forms of lighting and heating made indoor life more comfortable. But gaslight's sudden arrival tempted them out of their homes with the promise of wondrous sights. For Americans and Europeans both, emboldened initially by gaslight and then by a succession of new techniques of looking and lighting, the night became an arena for action. Artificial lighting had opened up a new epoch in human endeavor. Scrutiny of the night seemed almost an obligation; like Charles Dickens's vampiric lawyer Mr. Vholes, darkness courted inquiry. Freighted with associations but at first little frequented by the "respectable" classes, tractable in theory but challenging in practice, night assumed the allure and menace of an uncharted continent. It beckoned.</p> <p>As artistic perception of night and light evolved, nocturnes became an influential force in the development of modern art and literature. Discovering the city, and particularly New York, through the lens of nocturnal experience, image makers found exceptional artistic possibilities that shattered traditional forms and encouraged greater freedom of expression. As they worked, they created a new New York-a vibrant composite image that has developed as the actual city has, an image that to this moment influences how we respond to the physical city before us. Through study of that nocturnal image, we can learn a great deal about how it felt to live in the city in times past, and how the resonances of the words "New York" have multiplied over time.</p> <p>Why New York? Nowhere else did nocturnal exploration take a more exciting form. Even before the advent of electricity, New Yorkers were announcing that their gaslit whirl rivaled that of London and Paris, as illustrators and journalists, writers and artists cataloged the city's infamies and chronicled its secrets. For New York's self-proclaimed arrival on the world stage around 850 coincided with the dawning recognition that night was a kind of global stage in itself. Inextricably bound up in the rhetoric of exploration, colonization, and discovery, nineteenth- and early twentieth-century encounters with the night were suffused with a sense of adventure. "Daytime" activities-the constant construction and demolition; the influx of immigrants, industries, and capital; the ever-rising skyline-lent New York a protean form that rapidly achieved legendary status. But complementing the transformation of the built environment was another, equally mythic metamorphosis-one that took place nightly as darkness fell, and the workaday world seemed to don garments of fire and diamonds.</p> <p>Growing furiously, the city emerged from the gaslit era on nearly equal terms with London in size and Paris in ostentation. Then, in the 880s and 890s, New York aggressively assumed a more pronounced "electric" personality, assembling a nocturnal semiotic arsenal that no other city could match. Sustained by the legends that art and commerce were building, the allure of New York as the preeminent city of the night stemmed from a simple fact: no city anywhere had ever been so radiantly and thoroughly lit. Opening its first central power plant in 882, just three years after Thomas Edison successfully demonstrated the incandescent lightbulb, New York electrified more rapidly and completely than any European capital. Streetlights sparkled in processions along the avenues, while brightly lit interiors of apartments and offices became visible to people passing in the streets or on elevated trains. Meanwhile, the proliferation of skyscrapers began to change the topography of the city itself, as their lights broke the ceiling of darkness that in cities had hovered at the five-story level since the Middle Ages. From the 1890s onward, seeing New York created a lust for light that no place else could satisfy. Returning to Ireland in 1964, Brendhan Behan wrote: When I arrived home from Broadway, where my play <i>The Hostage</i> was running, my wife said to me, "Oh isn't it great to be back. How do you feel coming home?" "Listen Beatrice," I said, "It's very dark!" And I think anybody returning home after going to New York will find their native spot pretty dark too.</p> <p>New York stood out especially in its contrast with the countryside. The illumination of cities outpaced that of less populated areas even more dramatically in the United States than elsewhere, due to the private ownership of lighting companies. Whereas Europeans regarded lighting as a public service to be administered nationally, Americans treated it as a commercial commodity produced by and for the benefit of private enterprise, and lit each locality in direct proportion to the profits it could generate. Poorer and rural areas found themselves simply left in the dark. As the center of American commerce, the most highly visible and valuable piece of real estate in the nation, downtown Manhattan was quickly illuminated to the hilt. Citizens were calling Broadway the "Great White Way" even in the 890s, and it was the intensity of light from advertising that created this impression. The spectacle shone all the more powerfully because it burst out at a time when not even 5 percent of American homes had electricity. It all amounted to a gigantic self-promotion, an urban publicity campaign that rapidly mythologized New York as the modern city, <i>the</i> ultimate city of light. By 1900, three of the most salient features of New York's modernity-its skyscrapers, its brash, self-confident love of newness, and its dollar-driven, accelerated pace of life-coalesced and found their most spectacular form after dark. The boldness of the city's lines, its soaring heights and uninhibited theatricality, marked it as a place apart, operating on a scale that eclipsed its European predecessors. A first step in changing perceptions of the night city came from those who championed the simple romance of elevated trains and watering holes. Realist novelist William Dean Howells and the painters of the Ash Can School tamed the threatening features of nightlife for middle-class audiences, as did O. Henry, whose stories of "Baghdad on the Subway" showed that urban chaos could be repackaged in ingeniously knotted four-page bundles. Between 1900 and 1915, with the spread of lavishly decorated lobster palaces, movie houses, and cabarets, going out at night gradually became the order of the day. By the 1920s New York had a mayor, socialite Jimmy Walker, who claimed it was a sin to go to bed on the same day you got up. The city lights produced a breathtaking skyline that outsparkled the rest of the world with its ambition, promise, and inhuman beauty. Visiting the city in the 1930s, the Swiss architect Le Corbusier remarked that New York at night is "a Milky Way come down to earth."</p> <p>For over a century now, the sheer spectacle of New York at night has proved irresistible. Painters' images of the city at night have become modernist icons in themselves: the soaring gothic arches of Stella's <i>Brooklyn Bridge</i> (1922) open onto a promised land of light and height; O'Keeffe's <i>Radiator Building, Night, New York</i> (1927) discharges urban energy from its floodlit, flowering top; Charles Demuth's <i>I Saw the Figure Five in Gold</i> (1928) projects an apocalyptic vision of a fire truck hurtling through the night (color plate 1); and Hopper's <i>Nighthawks</i> (1942) presents a human diorama in a diner, its specimens drenched in the light of loneliness. The astonishing beauty of skyscrapers seen from a distance appears to engage in a nightly duel with the abrasive passion of city streets confronted close-up. <i>(Continues...)</i></p> <p><br> </p> <blockquote> <hr noshade size='1'> Excerpted from <b>New York Nocturne</b> by <b>William Chapman Sharpe</b><br> Copyright © 2008 by Princeton University Press. Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br> Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site. <hr noshade size='1'> </blockquote><p><p>"</i>New York Nocturne</i> is a wonderfully rich plum pudding of a book on the evolution of the modern urban environment and how it has been perceived, especially in New York. Teeming with little-known history and keen critical insight, this study illuminates how artists and writers made imaginative capital of the changing New York nightscape. Their vision helped construct the image of New York as we still see it today&#58; a city that never sleeps, a brilliantly lit stage set that comes alive in dramatic, even thrilling ways after dark."--Morris Dickstein, CUNY Graduate Center<p>"</i>New York Nocturne</i> is a tour de force of scholarship and an instant classic. I cannot think of another book that so convincingly shows the connections between technological innovation, spatial transformation, and cultural change."--Steven Hoelscher, University of Texas, Austin<p>"</i>New York Nocturne</i> raises important questions concerning the history of cities, urban modernism and modernity, and the relationship of technology to the urban experience. The breadth is ambitious and the text is studded with lovely analyses of individual works."--Rebecca Zurier, University of Michigan<p></p><h3>The Barnes & Noble Review</h3><p>The blackout of 2003 offered New Yorkers their most recent opportunity to experience something exceedingly rare: the city enveloped in darkness. William Chapman Sharpe begins <EM>New York Nocturne</EM> at a time when nighttime darkness was the norm and light -- first in the form of gas, then of electricity -- was radically disorienting, eventually transforming patterns of commerce and leisure. In this gorgeous, erudite book, the Barnard College professor examines the myriad ways that writers, painters, and photographers have represented New York nightlife, beginning in the mid-19th century, when works by Herman Melville, Walt Whitman, and Edgar Allan Poe dramatized the moral perils of the artificially lit city. Sharpe's journey takes him to the middle of the 20th century, by which time artists like Edward Hopper and Weegee exploit the nighttime's theatrical, voyeuristic potential. In between he covers James McNeill Whistler, Stephen Crane, John Sloan, Alfred Stieglitz, Georgia O'Keeffe, Joseph Stella, and many others, with close readings of the literature and black-and-white and color reproductions of the art. Sharpe, whose own affection for the city is charmingly apparent here, insists throughout that artists and writers haven't simply reacted to the changes in urban existence; rather, they have "helped turn the unscouted terrain of the urban night into a legible part of contemporary life." --<i>Barbara Spindel</i></p><p> List of Illustrations xi Acknowledgments xvii<p>Introduction The Dream Site 1<br> Seeing in a New Light 10<br> Dark Arts and the Urban Sublime 14<br> Getting Acquainted with the Night 26<br> One Story of the Night 32<p>Chapter One&#58; Gaslit Babylon 37<br> New York Lights Up 39<br> Walking the Night 42<br> Terror and Taming 46<br> Morality and Light 55<br> The Country and the City 60<br> Night People, Night Prowling 63<br> The Devil, the Moralist, and the Voyeur 66<br> Police Take Note&#58; The Fl"neur Flummoxed 70<br> Gaslit Barbary 73<br> Lullaby for Babylon 76<p>Chapter Two&#58; The Nocturne&#58; Moonlight, Metamorphosis, and Modernism 80<br> Contemplating the Moon 82<br> The Softer Satellite in Eclipse 86<br> No More Than I Wish 91<br> As with a Veil 97<br> Fireworks in Court 100<br> Everywhere I Looked I Saw Whistlers 105<br> Unrecorded Miracles 112<br> The Photo-Nocturne 118<p>Chapter Three&#58; Colonizing the Night 132<br> Conquering Some Realms for the Night 136<br> A Mighty Woman with a Torch 138<br> Armies of the Night 143<br> Lightning Powder 148<br> Living Like the Other Half 157<br> The Poor En Masse, the Rich One by One 161<br> Moonlight Reservation 165<p>Chapter Four&#58; The Empire of Light 170<br> The Lesson of the Moth 171<br> Nightlife Goes Native 177<br> Beneath the Singer Tower 184<br> Electric Eden 189<br> Empire of Signs 194<br> Picturing the Imperial City 199<br> The Apotheosis of Electricity 208<p>Chapter Five&#58; Skyscraper Fantasy 217<br> Lights, Height, Sex, Romance 222<br> Manhattan, the Night-Blooming Cereus I Am Seeing Great Things 230<br> The Body of a Skyscraper 240<br> Down-Gazing I Behold 243<br> I'll Make Them Big&#58; O'Keeffe's Exhibitionist Androgyny 249<br> Nobody to Say&#58; Pinholes 257<br> Lam&eacute; with Lights 262<p>Chapter Six&#58; Staging the Night&#58; Theater, Voyeurism, Violence 266<br> Night Windows 272<br> The Feel of the Night 277<br> Nighthawks 285<br> Balcony Seats at a Murder 292<br> Darkness Invisible 304<br> Then See It! 313<p>Epilogue Night Now 319<br> Whose Night? 321<br> Fairyland Still? The Aerial View 330<br> The City of Dreadful Light 340<p>Notes 349<br> Index 393<p><article> <h4>The Chronicle of Higher Education</h4>Sharpe says that the 'first dark glimmer' for his book came as he was looking at work by the expatriate American painter James Abbott McNeill Whistler. . . . Sharpe shows how the aesthetics of [Whistler's] 'nocturnes' abroad shaped paintings and photographs of night in New York, including work by such figures as John Sloan, Arthur Stieglitz, and Edward Steichen. The nocturne form, he says, helped photography claim status as an art. Beyond words, the book offers nearly 150 often haunting and sometimes touching images.<br> — Nina C. Ayoub </article> <article> <h4>The Village Voice</h4>A beautiful volume that would sit proudly on the coffee table of any city dweller and city lover. William Chapman Sharpe details the way in which the city evolved after the Civil War into a world metropolis of leisure, politics, the arts, and commerce. </article><article> <h4>Reviews in American History</h4>The challenge and accomplishment of the book is the way it cuts a swathe across New York's modernisms. . . . Sharpe covers a remarkable range of territory here.<br> — Andrea L. Volpe </article> <article> <h4>New York Daily News</h4>By now an archetypal image, the New York skyline at night captures the excitement and beauty of a city still humming long after bedtime. . . . William Chapman Sharpe offers an academic tour through a landscape that was transformed by gaslight and the advent of electricity. . . . Artists such as Joseph Stella, Georgia O'Keeffe, Edward Hopper and Faith Ringgold were drawn to the new glow, and writers from Joseph Conrad to Ralph Ellison came to investigate urban life after dark. Sharpe's examination of nocturnal art and storytelling tracks the ways illumination changed city life forever.<br> — Patrick Huguenin </article> <article> <h4>San Francisco Chronicle</h4>New York City claimed the title 'capital of the 20th century' not owing to its magnitude and energy but for its hold on the imagination of people around the world. While we wait to see what will succeed it as capital of the 21st, Columbia University Professor of English William Chapman Sharpe provides a brilliant look back in <i>New York Nocturne</i>. . . . Ranging freely between the literary and visual arts, Sharpe seeks the roots of American modernism in nighttime city life. He has something involving and informative to say about every topic he touches.<br> — Kenneth Baker </article> <article> <h4>Choice</h4>Night has long been the frontier of the urban world, a place where crime is an omnipresent danger, where sexual violence or fulfillment hides just around a darkened corner, and where loneliness triumphs over human connectedness. For a society that has grown up taking electricity for granted, <i>New York Nocturne</i> is illuminating. . . If electricity has transformed, if not completely solved the mysteries of the night, Sharpe skillfully interprets how artists have approached the meanings of darkness and, in a Melvillean touch, of light itself.<br> — D. Schuyler </article> <article> <h4>Soho Journal</h4>My favorite book of the year. <i>New York Nocturne</i> is a chronicle in words, photographs and paintings of New York City at night. . . . Although this is a book about New York City, it's also a book about artists, writers and photographers who were drawn to and inspired by the evolution of the illumination of the city and all that it brought about. The social and cultural changes that light brought about are examined here and strung together magnificently by author William Chapman Sharpe. . . . The art and photography are brilliantly reproduced—the color plates are especially handled with great care and one can see that the author has taken pain-staking pride in his research and efforts.<br> — Norman Maine </article> <article> <h4>History News Network</h4>Treat yourself to an elegantly written, beautifully illustrated, copiously researched sojourn into New York City's night. With William Chapman Sharpe as your guide, you will get a tantalizing new perspective on the city as reflected in art, literature, and history. . . . Set within historical contexts without being mired in historiography, this book balances in-depth analyses of specific works with a broad discussion of patterns over time. It will enlighten any urbanist. . . . Sharpe's study provides a provocative historical perspective on creativity in and about the city. A book of breadth, depth, and grace, it must be savored slowly to fully appreciate 'the relation between the human, the urban, and the dark.'<br> — Joanne Reitano </article> <article> <h4>ABC Journal</h4>[A] monograph as electrifying as its theme that illuminates from within the making of New York City, a reference work in absence of which, invaluable aspects in New York culture history would be left in the dark.<br> — Adriana Neagu </article> <article> <h4>American Studies</h4>For anyone interested in the art and writing of modern New York . . . Sharpe provides a rich, encompassing, and informed story.<br> — William B. Scott </article> <article> <h4>Barnes and Noble.com</h4><p>In this gorgeous, erudite book, [Sharpe] examines the myriad ways that writers, painters, and photographers have represented New York nightlife, beginning in the mid-19th century, when works by Herman Melville, Walt Whitman, and Edgar Allan Poe dramatized the moral perils of the artificially lit city. . . . Sharpe, whose own affection for the city is charmingly apparent here, insists throughout that artists and writers haven't simply reacted to the changes in urban existence; rather, they have 'helped turn the unscouted terrain of the urban night into a legible part of contemporary life.'<br> — Barbara Spindel</p> </article> <article> <h4>The Chronicle of Higher Education</h4>Sharpe says that the 'first dark glimmer' for his book came as he was looking at work by the expatriate American painter James Abbott McNeill Whistler. . . . Sharpe shows how the aesthetics of [Whistler's] 'nocturnes' abroad shaped paintings and photographs of night in New York, including work by such figures as John Sloan, Arthur Stieglitz, and Edward Steichen. The nocturne form, he says, helped photography claim status as an art. Beyond words, the book offers nearly 150 often haunting and sometimes touching images. </article> <article> <h4>New York Daily News</h4>By now an archetypal image, the New York skyline at night captures the excitement and beauty of a city still humming long after bedtime. . . . William Chapman Sharpe offers an academic tour through a landscape that was transformed by gaslight and the advent of electricity. . . . Artists such as Joseph Stella, Georgia O'Keeffe, Edward Hopper and Faith Ringgold were drawn to the new glow, and writers from Joseph Conrad to Ralph Ellison came to investigate urban life after dark. Sharpe's examination of nocturnal art and storytelling tracks the ways illumination changed city life forever. </article> <article> <h4>San Francisco Chronicle</h4>New York City claimed the title 'capital of the 20th century' not owing to its magnitude and energy but for its hold on the imagination of people around the world. While we wait to see what will succeed it as capital of the 21st, Columbia University Professor of English William Chapman Sharpe provides a brilliant look back in New York Nocturne. . . . Ranging freely between the literary and visual arts, Sharpe seeks the roots of American modernism in nighttime city life. He has something involving and informative to say about every topic he touches. </article> <article> <h4>Choice</h4>Night has long been the frontier of the urban world, a place where crime is an omnipresent danger, where sexual violence or fulfillment hides just around a darkened corner, and where loneliness triumphs over human connectedness. For a society that has grown up taking electricity for granted, New York Nocturne is illuminating. . . If electricity has transformed, if not completely solved the mysteries of the night, Sharpe skillfully interprets how artists have approached the meanings of darkness and, in a Melvillean touch, of light itself. </article> <article> <h4>Barnes and Noble.com</h4>In this gorgeous, erudite book, [Sharpe] examines the myriad ways that writers, painters, and photographers have represented New York nightlife, beginning in the mid-19th century, when works by Herman Melville, Walt Whitman, and Edgar Allan Poe dramatized the moral perils of the artificially lit city. . . . Sharpe, whose own affection for the city is charmingly apparent here, insists throughout that artists and writers haven't simply reacted to the changes in urban existence; rather, they have 'helped turn the unscouted terrain of the urban night into a legible part of contemporary life.' </article> <article> <h4>Soho Journal</h4>My favorite book of the year. New York Nocturne is a chronicle in words, photographs and paintings of New York City at night. . . . Although this is a book about New York City, it's also a book about artists, writers and photographers who were drawn to and inspired by the evolution of the illumination of the city and all that it brought about. The social and cultural changes that light brought about are examined here and strung together magnificently by author William Chapman Sharpe. . . . The art and photography are brilliantly reproduced—the color plates are especially handled with great care and one can see that the author has taken pain-staking pride in his research and efforts. </article> <article> <h4>History News Network</h4>Treat yourself to an elegantly written, beautifully illustrated, copiously researched sojourn into New York City's night. With William Chapman Sharpe as your guide, you will get a tantalizing new perspective on the city as reflected in art, literature, and history. . . . Set within historical contexts without being mired in historiography, this book balances in-depth analyses of specific works with a broad discussion of patterns over time. It will enlighten any urbanist. . . . Sharpe's study provides a provocative historical perspective on creativity in and about the city. A book of breadth, depth, and grace, it must be savored slowly to fully appreciate 'the relation between the human, the urban, and the dark.' </article> <article> <h4>Reviews in American History</h4>The challenge and accomplishment of the book is the way it cuts a swathe across New York's modernisms. . . . Sharpe covers a remarkable range of territory here. </article> <article> <h4>ABC Journal</h4>[A] monograph as electrifying as its theme that illuminates from within the making of New York City, a reference work in absence of which, invaluable aspects in New York culture history would be left in the dark. </article> <article> <h4>American Studies</h4>For anyone interested in the art and writing of modern New York . . . Sharpe provides a rich, encompassing, and informed story. </article> <article> <h4>Choice</h4>Night has long been the frontier of the urban world, a place where crime is an omnipresent danger, where sexual violence or fulfillment hides just around a darkened corner, and where loneliness triumphs over human connectedness. For a society that has grown up taking electricity for granted, New York Nocturne is illuminating. . . If electricity has transformed, if not completely solved the mysteries of the night, Sharpe skillfully interprets how artists have approached the meanings of darkness and, in a Melvillean touch, of light itself.<br> — D. Schuyler </article> <article> <h4>San Francisco Chronicle</h4>New York City claimed the title 'capital of the 20th century' not owing to its magnitude and energy but for its hold on the imagination of people around the world. While we wait to see what will succeed it as capital of the 21st, Columbia University Professor of English William Chapman Sharpe provides a brilliant look back in New York Nocturne. . . . Ranging freely between the literary and visual arts, Sharpe seeks the roots of American modernism in nighttime city life. He has something involving and informative to say about every topic he touches.<br> — Kenneth Baker </article> <article> <h4>Soho Journal</h4>My favorite book of the year. New York Nocturne is a chronicle in words, photographs and paintings of New York City at night. . . . Although this is a book about New York City, it's also a book about artists, writers and photographers who were drawn to and inspired by the evolution of the illumination of the city and all that it brought about. The social and cultural changes that light brought about are examined here and strung together magnificently by author William Chapman Sharpe. . . . The art and photography are brilliantly reproduced—the color plates are especially handled with great care and one can see that the author has taken pain-staking pride in his research and efforts.<br> — Norman Maine </article> <article> <h4>The Barnes & Noble Review</h4>The blackout of 2003 offered New Yorkers their most recent opportunity to experience something exceedingly rare: the city enveloped in darkness. William Chapman Sharpe begins <em>New York Nocturne</em> at a time when nighttime darkness was the norm and light -- first in the form of gas, then of electricity -- was radically disorienting, eventually transforming patterns of commerce and leisure. In this gorgeous, erudite book, the Barnard College professor examines the myriad ways that writers, painters, and photographers have represented New York nightlife, beginning in the mid-19th century, when works by Herman Melville, Walt Whitman, and Edgar Allan Poe dramatized the moral perils of the artificially lit city. Sharpe's journey takes him to the middle of the 20th century, by which time artists like Edward Hopper and Weegee exploit the nighttime's theatrical, voyeuristic potential. In between he covers James McNeill Whistler, Stephen Crane, John Sloan, Alfred Stieglitz, Georgia O'Keeffe, Joseph Stella, and many others, with close readings of the literature and black-and-white and color reproductions of the art. Sharpe, whose own affection for the city is charmingly apparent here, insists throughout that artists and writers haven't simply reacted to the changes in urban existence; rather, they have "helped turn the unscouted terrain of the urban night into a legible part of contemporary life." --<i>Barbara Spindel</i> </article>
304Poets of World War IIVarious0<p><P>Harvey Shapiro, editor, flew thirty-five missions as an Air Force radio gunner during World War II and was decorated for his service. He has edited both <i>The New York Times Book Review</i> and <i>The New York Times Magazine</i>, and his many books of poetry include <i>National Cold Storage Company</i> (1988) and <i>How Charlie Shavers Died and Other Poems</i> (2001).</p>Various, Harvey Shapiropoets-of-world-war-iivarious97819310823341931082332$17.71HardcoverLibrary of AmericaJuly 2002Poetry Anthologies, War Poetry, American Poetry, American Literature Anthologies2624.78 (w) x 7.80 (h) x 0.84 (d)<p>Acclaimed poet and World War II veteran Harvey Shapiro's pathbreaking gathering of work by more than sixty poets of the war years includes Randall Jarrell, Anthony Hecht, George Oppen, Richard Eberhart, William Bronk, and Woody Guthrie.</p><p><P>Acclaimed poet and World War II veteran Harvey Shapiro's pathbreaking gathering of work by more than sixty poets of the war years includes Randall Jarrell, Anthony Hecht, George Oppen, Richard Eberhart, William Bronk, and Woody Guthrie.</p><h3>The New York Review of Books</h3><p>There's a freshness to the language of the best of these poems that finally speaks to the freshness of the combatants themselves&#151;a haunted recognition that the corpses requiring contemplation were not men but boys, many of them still in their teens. Here were souls unfamiliar with the Homeric parallels their hacked, contorted bodies evoked....<br> <i>Poets of World War II</i> may well be the first anthology adequately to reflect the range of responses&#151;and ultimately the depth of the hurt&#151;of a war whose surviving veterans are now old men. -- <i>Bard Leithauser</i></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Defeat</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Canto LXXXIII</TD><TD WIDTH="10%" ALIGN="RIGHT">2</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">R.A.F</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pearl Harbor</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bloody Sire</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Keeping Their World Large"</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three Star Final</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from By the Well of Living and Seeing</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"When he was small, when he would fall"</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ode to Our Young Pro-consuls of the Air</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To a Military Rifle</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moonlight Alert</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Night of Battle</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Witness</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fury of Aerial Bombardment</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Ceremony by the Sea</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Aesthetics After War: Instruments</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Song for the Year's End</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflection by a Mailbox</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Careless Love</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">September 1, 1939</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snatch</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Patton</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rank</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">P.O.E.</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Survival: Infantry</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Of Being Numerous</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rifle Range: Louisiana</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pacific</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amphibians</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Three American Women and a German Bayonet</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Spool</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The City of Beggars</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Airman Who Flew Over Shakespeare's England</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Raid</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blinding of Isaac Woodard</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Navigator</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shot Down at Night</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scyros</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Troop Train</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Full Moon: New Guinea</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lord, I Have Seen Too Much</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homecoming</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Moon and the Night and the Men</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eighth Air Force</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Death of the Ball Turret Gunner</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transient Barracks</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">O My Name It Is Sam Hall</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Camp in the Prussian Forest</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">June 1940</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The City as Hero</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the Grave of My Brother: Bomber Pilot</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Explaining the Big One</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some Remarks When Richard Hugo Came</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Men</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To the Woman in Bond Street Station</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy Just in Case</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">V-J Day</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Box Comes Home</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy for a Cove Full of Bones</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homecoming</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Remembering That Island</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kilroy</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Vale" from Carthage</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ripeness Is All</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Beach Red</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Negro Hero</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Eve of the Feast of the Immaculate Conception: 1942</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bomber</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memories of West Street and Lepke</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Soldiers in Death</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memorial</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epithalamium in Olive Drab</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pidgin Pinch</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Columbus Circle Swing</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Spring Memorandum: Fort Knox</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Navy Field</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Letter from an Impossible Land</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Simile</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Flight as a Way of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Fable of the War</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Memory of the War</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Night Operations, Coastal Command RAF</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The War in the Air</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">IFF</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On a Certain Engagement South of Seoul</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jethro Somes' Apostrophe to His Former Comrades</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mined Country</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Snow in Alsace</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Place Pigalle</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Firebombing</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memorial Service for the Invasion Beach Where the Vacation in the Flesh Is Over</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Portrait from the Infantry</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Self-Exhortation on Military Themes</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stentor and Mourning</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Rites and Ceremonies: The Room</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"More Light! More Light!"</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Still Life</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where We Crashed</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spinizzola: Quella Cantina La</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Note from Capri to Richard Ryan on the Adriatic Floor</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arm in Arm</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carentan O Carentan</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memories of a Lost War</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Soldier</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Ledge</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Bower of Roses</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stoic: For Laura Von Courten</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">World War II</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mothball Fleet: Benicia, California</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Battle Report</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">War Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sniper</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Carelessness</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To World War Two</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beachhead</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ten Days Leave</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Returned to Frisco, 1946</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lost Pilot</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Biographical Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sources and Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Titles and First Lines</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD></TABLE><article> <h4>The New York Review of Books</h4>There's a freshness to the language of the best of these poems that finally speaks to the freshness of the combatants themselves—a haunted recognition that the corpses requiring contemplation were not men but boys, many of them still in their teens. Here were souls unfamiliar with the Homeric parallels their hacked, contorted bodies evoked....<br> <i>Poets of World War II</i> may well be the first anthology adequately to reflect the range of responses—and ultimately the depth of the hurt—of a war whose surviving veterans are now old men. -- <i>Bard Leithauser</i> </article> <article> <h4>The Washington Post</h4>… an intelligent and vital selection of 120 poems that are often hard-nosed and eloquent — <i>John Palattella</i> </article><article> <h4>Library Journal</h4>These inaugural volumes in "The American Poets Project" series form a useful introduction to the evolution of modern American poetry in loose historical progression. The volume on Whitman, father of modern American poetry, restores the voice of a poet who initiated free verse to speak of a growing America and thus takes us into the 20th century and beyond. Fortunately, editor Bloom ignores all of the psycho-social-sexual labels doled out to Whitman and lauds him simply as "the principal writer that America...has brought to us." Selections include some of Whitman's best, e.g., "Out of the Cradle Endlessly Rocking" and the spiritual bridge between Whitman and his future readers, "Crossing Brooklyn Ferry." Millay, one of America's strongest female poets, is similar in her metrics to 19th-century poets, but her flamelike intensity is pure 20th century. When she died in 1950, her poetry almost died with her; not until after the women's rights movements did her once acclaimed verse resurface. Editor McClatchy provides a generous sample of her poetry, highlighting her early years ("Renascence," "A Few Figs from Thistles"), the lesser-known poems never before published, and the posthumously published "Mine the Harvest." World War II sliced the 20th century in half and forever changed the American way of life as idealism and self-reliance ceded to franchising and instant gratification. The poets appearing in the World War II anthology-compiled by Harvey Shapiro, himself a poet of the war-portend this major mind shift by their tone, which questions rather than sanctions patriotism, valor, and the values of the 1940s. Arranged by the poets' birth dates, the poems include Robinson Jeffers's cynical nod to violence as a natural cause of earth events; Randall Jarrell's graphic depictions of airborne death; and John Ciardi's whimsical renditions of horror. Lastly, Karl Shapiro, one of the more influential voices of the late 20th century, displayed complex and contrary tendencies in both his life and his poetry. Editor Updike notes that Shapiro's experimentation with voices and forms alienated those who admired the metrical dexterity of his early poems. This commanding new series, which the Library of America will expand each spring and fall season by adding two or three titles, is a worthy addition to all libraries.-Nedra Crowe Evers, Sacramento P.L., CA Copyright 2003 Reed Business Information. </article>
305Voices from the Harlem RenaissanceNathan Irvin Huggins0<p><P>The late <b>Nathan Irvin Huggins</b> was W.E.B. Du Bois Professor of History and Director of the W.E.B. Du Bois Institute at Harvard University. His books include <b>The Harlem Renaissance</b>.</p>Nathan Irvin Hugginsvoices-from-the-harlem-renaissancenathan-irvin-huggins97801950936050195093607$23.05PaperbackOxford University Press, USAJanuary 1995ReprintGeneral & Miscellaneous American Art, Places - Literary Anthologies, Regional American Anthologies, African American Regional History - Northeastern & Mid-Atlantic States, Peoples & Cultures - American Anthologies, Literary Movements - General & Miscellan44810.52 (w) x 6.52 (h) x 1.15 (d)<br> The Harlem Renaissance of the 1920s symbolized black liberation and sophistication--the final shaking off of slavery, in the mind, spirit, and character of African-Americans. It was a period when the African-American came of age, with the clearest expression of this transformation visible in the remarkable outpouring of literature, art, and music. In these years the "New Negro" was born, as seen in the shift of black leadership from Booker T. Washington to that of W.E.B. Du Bois, from Tuskegee to New York, and for some, even to the African nationalism of Marcus Garvey. <p>In <em>Voices from the Harlem Renaissance</em>, Nathan Irvin Huggins provides more than 120 selections from the political writings and arts of the period, each depicting the meaning of blackness and the nature of African-American art and its relation to social statement. Through these pieces, Huggins establishes the context in which the art of Harlem Renaissance occurred. We read the call to action by pre-Renaissance black spokesmen, such as A. Philip Randolph and W.E.B. DuBois who--through magazines such as The Messenger ("the only radical Negro magazine"), and the NAACP's Crisis--called for a radical transformation of the American economic and social order so as to make a fair world for black men and women. We hear the more flamboyant rhetoric of Marcus Garvey, who rejected the idea of social equality for a completely separate African social order. And we meet Alain Locke, whose work served to redefine the "New Negro" in cultural terms, and stands as the cornerstone of the Harlem Renaissance.</p> <p>Huggins goes on to offer autobiographical writings, poetry, and stories of such men and women as Langston Hughes, Nancy Cunard, Helen Johnson, and Claude McKay--writings that depict the impact of Harlem and New York City on those who lived there, as well as the youthfulness and exuberance of the period. The complex question of identity, a very important part of the thought and expression of the Harlem Renaissance, is addressed in work's such as Jean Toomer's Bona and Paul and Zora Neale Hurston's Sweat. And Huggins goes on to attend to the voices of alienation, anger, and rage that appeared in a great deal of the writing to come out of the Harlem Renaissance by poets such as George S. Schuyler and Gwendolyn Bennett. Also included are over twenty illustrations by such artists as Aaron Douglas whose designs illuminated many of the works we associate with the Harlem Renaissance: the magazines Fire and Harlem; Alain Locke's The New Negro; and James Weldon Johnson's God's Trombones.</p> <p>The vitality of the Harlem Renaissance served as a generative force for all New York--and the nation. Offering all those interested in the evolution of African-American consciousness and art a link to this glorious time, <em>Voices from the Harlem Renaissance</em> illuminates the African-American struggle for self-realization.</p> <p>Nathan Irvin Huggins showcases more than 120 selections from the political writings and arts of the Harlem Renaissance. Featuring works by such greats as Langston Hughes, Aaron Douglas, and Gwendolyn Bennett, here is an extraordinary look at the remarkable outpouring of African-American literature and art during the 1920s. </p><p>The Harlem Renaissance of the 1920s symbolized black liberation and sophistication - the final shaking off of slavery from the minds, spirits, and characters of African Americans. It was a period when the African American came of age - when the "New Negro" was born - with the clearest expression of this transformation visible in its remarkable outpouring of literature, art, and music. In Voices from the Harlem Renaissance, Nathan Irvin Huggins provides more than 120 selections from the political writings, literature, and art of this watershed period. Bringing together the most trenchant works from such writers as Langston Hughes, Nancy Cunard, Alain Locke, and Zora Neale Hurston, this fascinating collection depicts the impact of Harlem and New York City on those who lived there. While focusing on the youthfulness and exuberance of the period, Huggins attends to the voices of alienation, anger, and rage - whether softly intoned or stridently voiced - so widely reflected in the writing of poets such as George S. Schuyler and Gwendolyn Bennett. Also included are over twenty paintings and sculptures of the Renaissance period by such artists as Aaron Douglas, Sargent Johnson, and Hale Woodruff. The vitality of the Harlem Renaissance served as a generative force for all New York - and the nation. Offering all those interested in the evolution of African-American consciousness and art a link to this glorious time, Voices of the Harlem Renaissance illuminates the African-American struggle for self-realization.</p><p>Introduction</p> <p>1. "New Negro" Radicalism<br> 2. Harlem Renaissance: The Urban Setting<br> 3. Reflections on the Renaissance and Art for a New Day<br> </p>
306A Loving Voice II: A Caregiver's Book of More Read-Aloud Stories for the ElderlyCarolyn Banks0<p>Banks, Carolyn; Rizzo, Janis<P>The contributors are all authors of books, short stories, and poetry. Their works have been published in various national magazines, journals, and literary anthologies.</p>Carolyn Banks, Janis Rizzoa-loving-voice-iicarolyn-banks9780914783701091478370X$23.95PaperbackCharles Press Publishers PAJuly 1994New EditionPoetry - General & Miscellaneous, American Literature Anthologies2920.66 (w) x 6.00 (h) x 9.00 (d)<p>The second of two very popular and unique anthologies of short stories that were written specifically be read out-loud to older adults, A Loving Voice II: A Caregiver's Book of More Read-Aloud Stories for the Elderly, offers an imaginative and creative way for family members, friends and professionals to reach out to, communicate with, and entertain the older people in their care, particularly those who are bed-ridden, confined to a nursing home or hospital and those with dementia or those beginning to slip into it.</p> <p>In a moment of inspiration that has been much-welcomed ever since by caregivers the world over, the idea for A Loving Voice came to it's editors, Carolyn Banks and Janis Rizzo, when they recognized the desperate need for, and the serious lack of, reading material for this large and ever-growing segment of the population. In response, they invited hundreds of writers to submit stories and poems for their anthology. The 56 selections they ended up including are those that they and the eldercare experts they consulted felt would be most valuable and entertaining for their elderly audience: stories that evoke nostalgic memories and warm feelings of the past, interesting stories that stimulate conversation, provide a bridge between the past and present and a bond between reader and listener. All of the selections can be read in one sitting (no longer than 10 minutes), are clear with easy-to-follow plots and simple dialogue that lends itself to reading aloud. Moreover, as Banks and Rizzo discovered, reading aloud is an intimate, warm and friendly activity that encourages physical closeness, something that is sorely needed as we age.</p> <p>As editor Carolyn Banksreports, "The pieces we have chosen are not insultingly simple. Even those who are able to read these selections on their own will find them engaging and entertaining. These are stories and poems with purpose, stories and poems with heart, stories and poems we are proud to present. Each we hope will help you find your own loving voice."</p> <p>Including short stories and poems written by an impressive array of American authors including Michael Dirda, Judith Bell and Christopher Woods as well as writers who are having their work appear in a book for the first time.</p> <p>This book and its accompanying first volume has received critical acclaim from professional caregivers and grateful family members alike and has been enthusiastically reviewed in hundreds of papers, magazines and journals for its inventive method of communicating with and bringing joy to the older adult.</p> <p>The book contains no figures. </p><p><P>The second of two very popular and unique anthologies of short stories that were written specifically be read out-loud to older adults, A Loving Voice II&#58; A Caregiver's Book of More Read-Aloud Stories for the Elderly, offers an imaginative and creative way for family members, friends and professionals to reach out to, communicate with, and entertain the older people in their care, particularly those who are bed-ridden, confined to a nursing home or hospital and those with dementia or those beginning to slip into it. <P>In a moment of inspiration that has been much-welcomed ever since by caregivers the world over, the idea for A Loving Voice came to it's editors, Carolyn Banks and Janis Rizzo, when they recognized the desperate need for, and the serious lack of, reading material for this large and ever-growing segment of the population. In response, they invited hundreds of writers to submit stories and poems for their anthology. The 56 selections they ended up including are those that they and the eldercare experts they consulted felt would be most valuable and entertaining for their elderly audience&#58; stories that evoke nostalgic memories and warm feelings of the past, interesting stories that stimulate conversation, provide a bridge between the past and present and a bond between reader and listener. All of the selections can be read in one sitting (no longer than 10 minutes), are clear with easy-to-follow plots and simple dialogue that lends itself to reading aloud. Moreover, as Banks and Rizzo discovered, reading aloud is an intimate, warm and friendly activity that encourages physical closeness, something that is sorely needed as we age. <P>As editor Carolyn Banksreports, "The pieces we have chosen are not insultingly simple. Even those who are able to read these selections on their own will find them engaging and entertaining. These are stories and poems with purpose, stories and poems with heart, stories and poems we are proud to present. Each we hope will help you find your own loving voice."<P>Including short stories and poems written by an impressive array of American authors including Michael Dirda, Judith Bell and Christopher Woods as well as writers who are having their work appear in a book for the first time.<P>This book and its accompanying first volume has received critical acclaim from professional caregivers and grateful family members alike and has been enthusiastically reviewed in hundreds of papers, magazines and journals for its inventive method of communicating with and bringing joy to the older adult.</p>
307Running a Thousand Miles for Freedom: The Escape of William and Ellen Craft from SlaveryWilliam Craft0<p><p>William Craft (1821-1900) and Ellen Craft (1826-1891) returned to the United States after the Civil War. For the rest of their lives, often at great personal risk, they worked to improve conditions for African Americans in the South. Barbara McCaskill is an associate professor of English at the University of Georgia and a founding editor of the journal <i>Womanist Theory and Research</i>.<p></p>William Craft, Ellen Craft, Richard J. Blackettrunning-a-thousand-miles-for-freedomwilliam-craft9780807123201080712320XPaperbackLouisiana State University PressFebruary 1999REPRINTBiographies &amp; Autobiographies, General<p><p>In 1848 William and Ellen Craft made one of the most daring and remarkable escapes in the history of slavery in America. With fair-skinned Ellen in the guise of a white male planter and William posing as her servant, the Crafts traveled by rail and ship--in plain sight and relative luxury--from bondage in Macon, Georgia, to freedom first in Philadelphia, then Boston, and ultimately England.<p>This edition of their thrilling story is newly typeset from the original 1860 text. Eleven annotated supplementary readings, drawn from a variety of contemporary sources, help to place the Crafts&#8217; story within the complex cultural currents of transatlantic abolitionism.<p></p>
308Motherland: Writings by Irish American Women about Mothers and DaughtersCaledonia Kearns0<p>Caledonia Kearns is the editor of Cabbage and Bones&#58;&#160; An Anthology of Irish American Women's Fiction.&#160; A graduate of the University of Massachusetts at Amherst, she lives with her husband and daughter in Brooklyn, New York.</p>Caledonia Kearns (Editor), Caledonia Kearnsmotherlandcaledonia-kearns97806881758630688175864$13.95PaperbackHarperCollins PublishersApril 2000Family - Assorted Topics, American Literature Anthologies, General & Miscellaneous Literature Anthologies2765.00 (w) x 8.00 (h) x 0.62 (d)In <i>Motherland</i> Caledonia Kearns celebrates the diversity and experience of Irish American women and explores the bonds that tie them to their mothers and their homeland. Ireland is the motherland of the Irish diaspora, and a sense of Irish heritage is often passed down from mother to daughter. Written from both perspectives, these twenty-four pieces — many of which have never been published in book form — are a testament to the complexities and blessings of the mother-daughter relationship.<br> <br> <p><br> </p> <p><font size="+2">Chapter One</font></p> <p><br> </p> <p align="center"><b><i>The Bonesetter</i></b></p> <p><b><br> </b></p> <p align="center"><b>Carolyn Curtin Alessio</b></p> <p><br> </p> <p>Until I was twelve. I considered my mother an ethnic renegade. She'd repudiated her Irish-immigrant parents in a single, flagrant act, by marrying a young engineer by the name of Sergio Antonio Alessio. My pride in my mother's daring was great, and for years, when I signed my full name, I often paused, considering all the Irish surnames I might have had if my mother had complied with tradition and added to Curtin, her maiden name, a last name that might have begun and not ended with <i>O</i>.</p> <p>&nbsp;&nbsp;&nbsp; In assuming my mother's heroism, however, I overlooked several key factors which suggested that perhaps my parents were not such an unlikely match: both were the children of European immigrants (my mother's parents hailed from County Limerick, my father's parents from Bassano del Grappa in Northern Italy); both were avid readers and had put themselves through college, and both were practicing Roman Catholics. But in my irrepressible ability to romanticize, I reveled in the improbability of their union. At Sunday Mass, when the priest spoke in his sermon of "mixed" marriages—ironically, he meant Catholic and Protestant—I privately substituted Irish and Italian. Even looking in the mirror took on a sort of mystique: though I have my father's dark eyes and ability to tan, my face has always been so freckled as to resemble an experiment in pointillism.</p> <p>&nbsp;&nbsp;&nbsp; I learned many Irish customs and habits from my mother's mother, Mary O'Connor Curtin. Though it seemedincongruous to me, my mother's family had not renounced her for her marital defection: perhaps they viewed it as an inevitable dilution of the gene pool, or yet another trial in the family's narrative. In any event, I often wound up with my mother in Grandma Curtin's dim kitchen, in a Depression-era bungalow in a predominantly Irish neighborhood on the West Side of Chicago.</p> <p>&nbsp;&nbsp;&nbsp; Sipping tea from Beleek china dotted with pale shamrocks, we'd listen to scratchy recordings of Irish tenor John McCormick, or sometimes, the more modern Clancy Brothers who cavorted and sang such whimsical numbers as "The Boys Won't Leave the Girls Alone." In that house on Massasoit Street, my grandmother read us obituaries from the <i>Tribune</i> (focusing on the deceased with Irish names), smoked, and imparted folk beliefs. For example, she told us that a bird lingering on the roof of one's house foretold certain death. And always, my grandmother told stories from the Old Country, a place that she always called "back home," though she'd left it at age sixteen to come to the States, where she took a job as a live-in nanny for a wealthy German family.</p> <p>&nbsp;&nbsp;&nbsp; Hardship and hyperbole were mainstays in my grandmother's tales. In one story that she repeated often, her mother broke her leg while working the family's farm. There were seven children then, a baby on the way, and a husband who wasn't always reliable. At this point in the story, my grandmother would pause and purse her lips, as though considering the pathos of the situation for the first time. Cigarette smoke rose up around her in tiny, gray cyclones. I would try to imagine my grandmother's family home, her ailing mother, her youngest sister Bridie, who later would die in my grandmother's arms. All I could summon up, though, was the damp Chicago kitchen in which we sat, sipping tea and listening. "But the Bonesetter came," my grandmother would say, leaning forward, "the Bonesetter came and fixed Ma's leg."</p> <p>&nbsp;&nbsp;&nbsp; We were never certain who the Bonesetter was—a combination chiropractor and orthopedist, or even some kind of Celtic shaman. My grandmother took it for granted that we would understand the power of such a person. Further, she seemed to believe that answering petty inquiries about his profession might somehow weaken the Bonesetter's storied capabilities. Years later, I would read of a bonesetter in <i>Ulysses</i>, an old lady's "medicineman," but somehow I could not connect this definition with the semimythical hero of my grandmother's tales.</p> <p>&nbsp;&nbsp;&nbsp; Despite the Bonesetter's ability to mitigate suffering, the majority of my grandmother's tales took on a maudlin twist, evolving into tales of misplaced love and longing, of dissipation and the failure to combat the cruelty of the surrounding world. Children, like her infant sister, died of quick, feverish illnesses; women over forty married out of desperation and bore children who were "never quite right." These tragedies were not confined to Ireland, however, but seemed to follow the immigrants to the States, where middle-aged men would keel over from heart attacks in pubs, priests would begin to spit up blood while saying a funeral mass, young women would spend their earnings on war bonds, only to receive word that their fiancés and their brothers had died overseas.</p> <p>&nbsp;&nbsp;&nbsp; It would be years before I would read Joyce, Yeats, Frank O'Connor and Flannery O'Connor, but I learned early from my grandmother's heartbreaking stories a sense of Irishness that I would later translate—however illogically—into my own sense of complicity in the disappointing of God. As a child, however, I knew only that I experienced a curious mixture of yearning and relief when my grandmother would finish her stories for the day, and bid us "Safe Home" as she waved from the front porch, a cigarette still burning in her hand.</p> <p>&nbsp;&nbsp;&nbsp; Predictably, it was my grandmother, not my mother, who told me about my mother's prophetic dream. One night during the late fifties in the Chicago house, my mother was awakened by a dream. A pleading, raspy voice was calling "Ma" again and again. Startled awake, my mother awoke her own mother, who assured her that nothing was wrong. The next morning, they received word from Ireland that Brigit McNamara O'Connor, my mother's grandmother, had passed away during the night.</p> <p><br> </p> <p>One night during the summer I was twelve, my mother and I played Trivial Pursuit. My father and younger sister had gone for a bike ride and I was pleased and a bit smug at the prospect of having my mother's undivided attention. If the game went well, I planned to tell her about a new crush of mine, a boy who could play the clarinet so bewitchingly that a group of us sometimes gathered around the practice rooms at school to listen.</p> <p>&nbsp;&nbsp;&nbsp; The game was barely underway. My mother had landed on Brown, our favorite category, "Arts &amp; Literature." I reached for the card, located the question, and read, "In the play, `Dial "M" for Murder,' where was the key hidden?"</p> <p>&nbsp;&nbsp;&nbsp; This one was easy. I knew that Hitchcock had made this play into a movie, and Grace Kelly had starred in it. My mother loved Grace Kelly, or Princess Grace, as she called her.</p> <p>&nbsp;&nbsp;&nbsp; "Mom," I said. I waited, looked around at the family room's paneled walls, then turned back to my mother. Her face was pale, I saw, and her freckles were darker than usual.</p> <p>&nbsp;&nbsp;&nbsp; "Mom? Are you tired?"</p> <p>&nbsp;&nbsp;&nbsp; "I don't know," she said. "A little."</p> <p>&nbsp;&nbsp;&nbsp; "Should we watch TV?"</p> <p>&nbsp;&nbsp;&nbsp; "I'm sorry," my mother said. "I'm thinking of a man I saw that movie with. Jim O'Flaherty. His parents, Rose and Fip, lived down the block from us."</p> <p>&nbsp;&nbsp;&nbsp; This was a name I had never heard her mention before. "Was he your boyfriend?" I said. "Did you go on dates?"</p> <p>&nbsp;&nbsp;&nbsp; "We'd go dancing and to the show. Hitchcock was one of his favorites."</p> <p>&nbsp;&nbsp;&nbsp; "Was he good-looking?"</p> <p>&nbsp;&nbsp;&nbsp; "Black curly hair," my mother said. "Tall."</p> <p>&nbsp;&nbsp;&nbsp; I didn't often get to talk to my mother on this level. "Did you kiss him?"</p> <p>&nbsp;&nbsp;&nbsp; "It was innocent back then," my mother said. "He had a car, but we'd only drive places in it."</p> <p>&nbsp;&nbsp;&nbsp; I still was not convinced he had existed. "What was his job?"</p> <p>&nbsp;&nbsp;&nbsp; "Schoolteacher," my mother said. "For a while he'd worked in personnel at a factory downtown, but the bosses made him turn away Blacks. Jim hated it so he went back to school and became a teacher. Sixth grade."</p> <p>&nbsp;&nbsp;&nbsp; A dark thought occurred to me. "Did he know Dad?"</p> <p>&nbsp;&nbsp;&nbsp; "No," my mother said, gazing at the wall behind me. "Jim died four years before I met your father. Our last date was two nights before Jim died. June 15, 1954. We went to the Chicago Theater to see `Dial M for Murder.'"</p> <p>&nbsp;&nbsp;&nbsp; I waited, and in a moment, she continued. "Ray Milland starred with Grace Kelly. I later read that they'd had an affair while they were filming it, but nobody seemed to know that then.</p> <p>&nbsp;&nbsp;&nbsp; "After the movie, when we went out to the car, a bird was perched on its roof. Jim held out his finger, but the bird wouldn't budge. Finally we got in the car and drove off."</p> <p>&nbsp;&nbsp;&nbsp; I struggled not to ask the next question, but I had already heard too much: "How did he die?"</p> <p>&nbsp;&nbsp;&nbsp; "Car accident," my mother said. "He and two pals were going on a driving trip out East, and somewhere in Ohio, Jim fell asleep at the wheel. They drove into a pole and it crushed him and one of his friends. Jim was twenty-four."</p> <p>&nbsp;&nbsp;&nbsp; I shifted position and my knee grazed the gameboard, knocking off one of the plastic pies. My chest felt tight inside; I was flooded with sorrow and shame.</p> <p>&nbsp;&nbsp;&nbsp; "I never told my mother this," my mother said, "but at the funeral, Jim's sister told me he'd tried to call me before he left on the trip. But the line was busy—my mother had been on the phone a long time that night."</p> <p>&nbsp;&nbsp;&nbsp; "Did you love him?" I asked. "Did you want to marry him?"</p> <p>&nbsp;&nbsp;&nbsp; My mother hesitated. "I was backward then," she said. "I was working in a steno pool and hadn't even thought about college yet. I think," she said, looking at me, "I think he would've tired of me after a while."</p> <p>&nbsp;&nbsp;&nbsp; I sat back, feeling enormously cheated by this answer; suddenly, my mother had betrayed both my romantic nature and the long-held belief that she had spent her early twenties forging a career and waiting to meet my father. Or at least, that she had tolerated other suitors until she discovered one whose family didn't eat soda bread and hold wedding receptions in basements that lasted all night, often into Sunday morning, at which point everyone would troop down the block to sunrise Mass. In my personal revisionist history, I had imagined my mother longing for supper-table conversation that floated around her in mellifluous, Mediterranean syllables, words she couldn't understand, but relished as foreign while she dipped her breadstick into a wine glass. This was my renegade version of my mother: an enterprising young woman determined to divert or at least complicate her own ethnic and cultural road. How, I wondered, could she have been someone who held hands at a Hitchcock movie with a young man who taught sixth graders to diagram sentences and held out his finger as a perch for a bird?</p> <p>&nbsp;&nbsp;&nbsp; Later, I would think that I should have comforted my mother that night, for she had likely not told anyone this story for years. But all I could think about as she talked was, selfishly, that I had been a product more of chance than intention; perhaps my mother's first dating impulse had not been to rebel. Even later, when she married an Italian, wasn't he, too, a gentle man who made frequent visits to his elderly mother, a superstitious woman who often spoke of "malocchio" or the Evil Eye?</p> <p>&nbsp;&nbsp;&nbsp; I wish I could say that I sympathized with my mother that night. Compassion, Flannery O'Connor once wrote, is a word that sounds good on anyone's lips. Years later, I would think of that night and the way my lips had failed to form any response to my mother's tale other than detached, factual questions, and a final, surly muteness. If she could not muster up fervor for a long-ago love, I reasoned, how could she understand my ardor for a thirteen-year-old clarinetist who wore skinny ties and smiled at me in the cafeteria? I sat there in the darkening family room, bitter, and embarrassed by my presumptions.</p> <p>&nbsp;&nbsp;&nbsp; We did not resume the game that night. Soon, from the driveway we heard the clicking of bikes and the lowering of kickstands. My father and sister had returned from their ride.</p> <p>&nbsp;&nbsp;&nbsp; "Well," my mother said, "we should clean up."</p> <p>&nbsp;&nbsp;&nbsp; I flipped over the card in my hand. "The fifth step," I read. "Under the fifth step."</p> <p>&nbsp;&nbsp;&nbsp; My mother looked at me.</p> <p>&nbsp;&nbsp;&nbsp; "The key," I said, "was hidden under the fifth step." I handed my mother the card.</p> <p>&nbsp;&nbsp;&nbsp; She studied it. "Yes," she said, then handed it back to me.</p> <p>&nbsp;&nbsp;&nbsp; I returned the card to the pile and considered clearing the board. My mother got up and began to close the curtains, pausing between windows as my father's voice filled the hallway above us.</p><p>From <i>Angela's Ashes</i> to <i>Riverdance,</i> Irish literature and art are capturing the American imagination as never before. Ireland's literary legacy has taken root in American soil, and this dazzling anthology captures the spirit of this Celtic renaissance.<P><i>Motherland</i> presents a poignant collection of Irish American women's writings about the mother-daughter bond in all its variety: sometimes a source of strength and solace, sometimes of sorrow and resentment, but always and everywhere central to the author's identity.<P>Acclaimed anthologist Caledonia Kearns has collected more than twenty pieces of fiction and nonfiction to create a rich tapestry of emotion, humor, and truth, featuring the work of contemporary writers, such as Anna Quindlen, Mary Gordon, Doris Kearns Goodwin, Mary Cantwell, Martha Manning, Rosemary Mahoney, Susan Minot, and Maureen Howard, along with voices from past eras like Margaret Sanger, Mother Jones, and M.F.K. Fisher.<P>This book speaks directly to the hearts of every mother and daughter. Irish or not, readers will find treasures to cherish, wisdom to live by, and words that sing with the spirit of the Celtic soul. It's a wonderful gift for St. Patrick's Day, Mother's Day, or any occasion when eloquence is the order of the day.</p><h3>Publishers Weekly</h3><p>Kearns (<i>Cabbage and Bones</i>) has done an exemplary job of assembling this anthology of writings by a wide variety of Irish-American women. Although many of the selections are memoirs and essays concerning motherhood, some fiction is also included, such as the sample from nearly forgotten novelist Ellin Mackay Berlin (Lace Curtain). Of particular interest are selections from the autobiographies of two important Irish-American labor activists: Helen Gurley Glynn (1890-1964) delivers a stirring tribute to her mother, an immigrant whose political activism made her a role model for her daughter; Mother Jones (1830-1930) recalls how she began agitating for the rights of strikers after the deaths of her husband and four children from yellow fever. There is a touching piece by historian Doris Kearns Goodwin, who recalls her childhood attempts to wish away her mother's serious illness. Mary Cantwell describes the painful birth of her baby. Other contributors in this thoughtful collection include Mary Gordon, Anna Quindlen and birth-control pioneer Margaret Sanger.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bonesetter</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Lace Curtain</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Uphill Walkers</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Eldest Child</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Manhattan, When I Was Young</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Mermaids Singing</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from What Girls Learn</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mother and Politics</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother and 'Miss E.'</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Rebel Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Wait Till Next Year</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mother Is Speaking from the Desert from Shadow Man</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Autobiography of Mother Jones</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trinity</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Charting Life with a Daughter</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Motherlove</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Child as Houseguest</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Likely Story: One Summer with Lillian Hellman</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Chasing Grace: Reflections of a Catholic Girl, Grown Up</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wildflowers from Monkeys</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Vocabulary of Absence</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Beginning from Living Out Loud</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Need to Feed</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Goal from The New Motherhood</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD></TABLE><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Kearns (<i>Cabbage and Bones</i>) has done an exemplary job of assembling this anthology of writings by a wide variety of Irish-American women. Although many of the selections are memoirs and essays concerning motherhood, some fiction is also included, such as the sample from nearly forgotten novelist Ellin Mackay Berlin (Lace Curtain). Of particular interest are selections from the autobiographies of two important Irish-American labor activists: Helen Gurley Glynn (1890-1964) delivers a stirring tribute to her mother, an immigrant whose political activism made her a role model for her daughter; Mother Jones (1830-1930) recalls how she began agitating for the rights of strikers after the deaths of her husband and four children from yellow fever. There is a touching piece by historian Doris Kearns Goodwin, who recalls her childhood attempts to wish away her mother's serious illness. Mary Cantwell describes the painful birth of her baby. Other contributors in this thoughtful collection include Mary Gordon, Anna Quindlen and birth-control pioneer Margaret Sanger. </article> <article> <h4>Library Journal</h4>Kearns, who previously edited an anthology of Irish American women's fiction (<i>Cabbage and Bones</i>, LJ 10/15/97), has collected 24 fiction and nonfiction pieces "to expose what motherhood can be and how daughters experience their mothers." The majority of the selections are reminiscences about mothers, some filled with praise and nostalgia, others with sorrow and anger. The most entertaining ones — Jean Kerr's satiricial essay about her returning adult children and Martha Manning's piece about her daughter's goldfish — focus on being a parent. Some selections lack clarity and effectiveness because they have been taken out of context from novels. Although they are all written by Irish American women, there is often no mention whatsoever of Irish ways or the Irish American experience. This uneven collection contains few outstanding pieces and is appropriate only for larger libraries with a demand for Irish-related materials. <br> --Ilse Heidmann, San Marcos, TX </article><article> <h4>Irish America Magazine</h4>...[A]ny reader will surely find something...which reflects their own relationship with Mom. </article> <article> <h4>Kirkus Reviews</h4>Kearns (who edited <i>Cabbage and Bones: An Anthology of Irish-American Women's Fiction</i>, 1997) has assembled a delightfully diverse collection of essays (old and new) and fiction about the struggles and unique joys of motherhood, written by some of America's finest Irish-American women writers. Two dozen stellar contributors examine motherhood in all its complexity, from the stresses of pregnancy, to the challenges of raising teenagers, to functioning as a single mother or a mother-in-law, to the difficulties of growing old and letting go. What unifies this collection is the consistent excellence of its prose and its profound respect for the mothering role. In an essay suffused with self-awareness and hypnotically spare prose, Anna Quindlen describes how her mother's death forced her to become a mature, independent woman. Doris Kearns Goodwin writes powerfully about how her mother taught her to love books and the beauty of language. In a comedic masterpiece, Jean Kerr bemoans that her adult, unmarried "children" have yet to leave the nest: "they don't belong to anybody else yet," so they show up unannounced for dinner, usually carrying a bag of dirty laundry. In another hilarious essay, Martha Manning describes how she accidentally killed her four-year-old daughter's pet goldfish, forcing her to confront the sort of absurd neurosis long associated with Woody Allen. "Mother" Jones, the legendary labor organizer, writes about her mother's unconquerable independence and how it encouraged her budding political activism. Mary Doyle Curran and Elizabeth Gurley Flynn strike similar themes of social activism triggered by a mother's courageous example. In the most emotionally powerfulcontribution, novelist Mary Gordon writes with lyrical intensity about caring for her aging, senile mother. These pieces, sad and funny and always surprising, work well individually but also form a thematically satisfying whole. A thoroughly outstanding exploration of motherhood that's sure to delight mothers, daughters, and lovers of skillfull prose, no matter their ethnic background. </article>
309The Lowell Offering: Writings by New England Mill Women (1840-1845)Benita Eisler0Benita Eisler (Editor), Benita Eisler (Commentaries by), Benita Eislerthe-lowell-offeringbenita-eisler97803933168580393316858$15.95PaperbackNorton, W. W. & Company, Inc.December 1997Social Sciences, Women's Studies<p>The industrial revolution in nineteenth-century New England, in the words of the workers.</p>
310The Best American Poetry 2010Amy Gerstler0<p><br><b>David Lehman</b> is the editor of <I>The Oxford Book of American Poetry</i> and the author of seven books of poetry, including <I>When a Woman Loves a Man.</i> He lives in New York City.</p>Amy Gerstler (Editor), David Lehmanthe-best-american-poetry-2010amy-gerstler97814391814781439181470HardcoverSimon & Schuster Adult Publishing GroupSeptember 2010Poetry<p><p>AMY GERSTLER&rsquo;S COMMITMENT TO INNOVATIVE POETRY that conveys meaning, feeling, wit, and humor informs the cross section of poems in the 2010 edition of <I>The Best American Poetry. </i>The works collected here represent the wealth, the breadth, and the tremendous energy of poetry in the United States today. Featuring poems from some of our country&rsquo;s top bards, including John Ashbery, Anne Carson, Louise Gl&Uuml;ck, Sharon Olds, and Charles Simic, <I>The Best American Poetry 2010 </i>also presents poems that poignantly capture the current moment, such as the sonnets John Updike wrote to chronicle his dying weeks. And there are exciting poems from a constellation of rising stars&#58; Bob Hicok, Terrance Hayes, Denise Duhamel, Dean Young, and Elaine Equi, to name a very few. <p>The anthology&rsquo;s mainstays are in place&#58; It opens with series editor David Lehman&rsquo;s incisive foreword about the state of American poetry and has a marvelous introduction by Amy Gerstler. Notes from the poets, illuminating their poems and their writing processes, conclude this delightful addition to a classic series.<P>Dick Allen <br>&bull; John Ashbery <br>&bull; Sandra Beasley <br>&bull; Mark Bibbins <br>&bull; Todd Boss <br>&bull; Fleda Brown <br>&bull; Anne Carson <br>&bull; Tom Clark <br>&bull; David Clewell <br>&bull; Michael Collier <br>&bull; Billy Collins <br>&bull; Dennis Cooper <br>&bull; Kate Daniels <br>&bull; Peter Davis <br>&bull; Tim Dlugos <br>&bull; Denise Duhamel <br>&bull; Thomas Sayers Ellis <br>&bull; Lynn Emanuel <br>&bull; Elaine Equi <br>&bull; Jill Alexander Essbaum <br>&bull; B. H. Fairchild <br>&bull; Vievee Francis <br>&bull; Louise Gl&Uuml;ck <br>&bull; Albert Goldbarth <br>&bull; Amy Glynn Greacen <br>&bull; Sonia Greenfield <br>&bull; Kelle Groom <br>&bull; Gabriel Gudding <br>&bull; Kimiko Hahn <br>&bull; Barbara Hamby <br>&bull; Terrance Hayes <br>&bull; Bob Hicok <br>&bull; Rodney Jones <br>&bull; Michaela Kahn <br>&bull; Brigit Pegeen Kelly <br>&bull; Corinne Lee <br>&bull; Hailey Leithauser <br>&bull; Dolly Lemke <br>&bull; Maurice Manning <br>&bull; Adrian Matejka <br>&bull; Shane McCrae <br>&bull; Jeffrey McDaniel <br>&bull; W. S. Merwin <br>&bull; Sarah Murphy <br>&bull; Eileen Myles <br>&bull; Camille Norton <br>&bull; Alice Notley <br>&bull; Sharon Olds <br>&bull; Gregory Pardlo <br>&bull; Lucia Perillo <br>&bull; Carl Phillips <br>&bull; Adrienne Rich <br>&bull; James Richardson <br>&bull; J. Allyn Rosser <br>&bull; James Schuyler <br>&bull; Tim Seibles <br>&bull; David Shapiro <br>&bull; Charles Simic <br>&bull; Frank Stanford <br>&bull; Gerald Stern <br>&bull; Stephen Campbell Sutherland <br>&bull; James Tate <br>&bull; David Trinidad <br>&bull; Chase Twichell <br>&bull; John Updike <br>&bull; Derek Walcott <br>&bull; G. C. Waldrep <br>&bull; J. E. Wei <br>&bull; Dara Wier <br>&bull; Terence Winch <br>&bull; Catherine Wing <br>&bull; Mark Wunderlich <br>&bull; Matthew Yeager <br>&bull; Dean Young <br>&bull; Kevin Young</p>
311Inside Out/Outside In: Exploring American LiteratureVictoria Holder0Victoria Holder, Holder, Dorothy Lindsay, Lyn Motai, Karen Wiederholtinside-out-outside-invictoria-holder97803959860590395986052$32.33HardcoverCengage LearningJuly 20051st EditionEnglish Language Readers, United States - Civilization, American Literature Anthologies, ESL (English as a Second Language) - Reference3606.50 (w) x 9.00 (h) x 0.50 (d)<p>With a focus on literary analysis, this anthology of short stories and poems helps students develop reading skills and enjoyment.</p><p><P>With a focus on literary analysis, this anthology of short stories and poems helps students develop reading skills and enjoyment.</p><P>1. Gaston by William Saroyan 2. At Home in the World by Rosemary Catacalos 3. Raymond's Run by Toni Cade Bambara 4. Bluebirdbluebirdthrumywindow by Sonia Sanchez 5. Two Kinds by Amy Tan 6. The Waltz by Dorothy Parker 7. Silent Snow, Secret Snow by Conrad Aiken 8. A Blessing by James Wright 9. Aunt Moon's Young Man by Linda Hogan 10. D.P. by Kurt Vonnegut, Jr. 11. Mass of the Moon Eclipse by Denise Levertov 12. Hills Like White Elephants by Ernest Hemingway 13. On the Road by Langston Hughes 14. The Local Production of Cinderella by Allegra Goodman 15. One Human Hand by Li-Young Lee 16. The Magic Barrel by Bernard Malamud 17. Romero's Shirt by Dagoberto Gilb 18. Sunday in the Park by Bel Kaufman 19. Black Boy by Kay Boyle 20. Gravity by David Leavitt 21. The Confounding by Steve Sanfield
312Glencoe Literature: American Literature: The Reader's ChoiceJeffrey D. Wilhelm0Jeffrey D. Wilhelm, Douglas Fisher, Beverly Ann Chinglencoe-literaturejeffrey-d-wilhelm97800784548130078454816$111.18HardcoverMcGraw-Hill Companies, TheJanuary 2006Student20th Century American Literature - General & Miscellaneous - Literary Criticism, 19th Century American Literature - Literary Criticism, American Literature Anthologies13518.72 (w) x 11.16 (h) x 2.06 (d)
313Transcendentalism: A ReaderJoel Myerson0<p><P>Joel Myerson is Carolina Distinguished Professor of American Literature at the University of South Carolina. He is the editor of <b>A Historical Guide to Ralph Waldo Emerson</b> (Oxford, 1999).</p>Joel Myerson, Joel Myersontranscendentalismjoel-myerson97801951221380195122135$45.45PaperbackOxford University Press, USADecember 20001st EditionRegional American Anthologies, American Literature Anthologies7529.00 (w) x 6.20 (h) x 1.80 (d)<p>The transcendentalist movement is generally recognized to be the first major watershed in American literary and intellectual history. Pioneered by Emerson, Thoreau, Orestes Brownson, Margaret Fuller, and Bronson Alcott (among others), Transcendentalism provided a springboard for the first distinctly American forays into intellectual culture: religion and religious reform, philosophy, literature, ecology, and spiritualism. This new collection, edited by eminent American literature scholar Joel Myerson, is the first anthology of the period to appear in over fifty years. <b>Transcendentalism: A Reader</b> draws together in their entirety the essential writings of the Transcendentalist group during its most active period, 1836-1844. It includes the major publications of the <b>Dial</b>, the writings on democratic and social reform, the early poetry, nature writings, and all of Emerson's major essays, as well as an informative introduction and annotations by Myerson.</p><p><P>The transcendentalist movement is generally recognized to be the first major watershed in American literary and intellectual history. Pioneered by Emerson, Thoreau, Orestes Brownson, Margaret Fuller, and Bronson Alcott (among others), Transcendentalism provided a springboard for the first distinctly American forays into intellectual culture&#58; religion and religious reform, philosophy, literature, ecology, and spiritualism. This new collection, edited by eminent American literature scholar Joel Myerson, is the first anthology of the period to appear in over fifty years. <b>Transcendentalism&#58; A Reader</b> draws together in their entirety the essential writings of the Transcendentalist group during its most active period, 1836-1844. It includes the major publications of the <b>Dial</b>, the writings on democratic and social reform, the early poetry, nature writings, and all of Emerson's major essays, as well as an informative introduction and annotations by Myerson.</p><h3>Library Journal</h3><p>This magnificent edition of the writings of the Transcendentalists introduces a consequential strain of American thinking to new readers. The works have been sensibly selected, and because the original spelling and punctuation have been preserved, the dazzling originality of thinkers such as Ralph Waldo Emerson, Louisa May Alcott, Elizabeth Peabody, and Margaret Fuller rises from the pages with the force and agility of a rousing sermon. Myerson (American literature, Univ. of South Carolina) has edited another collection on Transcendentalism and one on Emerson, but this work surpasses both. Here he deftly thumbnails each author's argument and, in an inspired introduction, reminds us that the seeds of much of America's greatest potential--the defiant belief in individual civil rights, justice, and equality--can be found by reading the Transcendentalists in their own words. This indispensable volume is highly recommended.--Ulrich Baer, New York University Copyright 2000 Cahners Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Note on the Texts</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Further Reading</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Likeness to God"</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Genius"</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Observations on the Growth of the Mind</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sermon CXXI</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Lord's Supper"</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Coleridge's Literary Character"</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Explanatory Preface" to Record of a School</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Letter to the Editor," Boston Daily Advertiser</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Letter to the Editor," Boston Daily Advertiser</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Doctrine and Discipline of Human Culture</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conversations with Children on the Gospels</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The American Scholar"</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Introductory" to Human Culture lecture series</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Divinity School Address"</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The New School in Literature and Religion"</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Personality of the Deity</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Previous Question between Mr. Andrews Norton and His Alumni Moved and Handled, in a Letter to All Those Gentlemen</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Wrongs of American Women. The Duty of American Women"</TD><TD WIDTH="10%" ALIGN="RIGHT">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Things and Thoughts in Europe, No. XVIII"</TD><TD WIDTH="10%" ALIGN="RIGHT">541</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Resistance to Civil Government"</TD><TD WIDTH="10%" ALIGN="RIGHT">546</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Sermon of the Public Function of Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">566</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Seventh of March Speech on the Fugitive Slave Law"</TD><TD WIDTH="10%" ALIGN="RIGHT">586</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Slavery in Massachusetts"</TD><TD WIDTH="10%" ALIGN="RIGHT">602</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Address at the Woman's Rights Convention"</TD><TD WIDTH="10%" ALIGN="RIGHT">615</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Plea for Captain John Brown"</TD><TD WIDTH="10%" ALIGN="RIGHT">628</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Gifts"</TD><TD WIDTH="10%" ALIGN="RIGHT">492</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The River"</TD><TD WIDTH="10%" ALIGN="RIGHT">492</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sonnet XI"</TD><TD WIDTH="10%" ALIGN="RIGHT">492</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Correspondences"</TD><TD WIDTH="10%" ALIGN="RIGHT">494</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"To the Autora Borealis"</TD><TD WIDTH="10%" ALIGN="RIGHT">494</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Enosis"</TD><TD WIDTH="10%" ALIGN="RIGHT">494</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sweet is the pleasure"</TD><TD WIDTH="10%" ALIGN="RIGHT">498</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Music"</TD><TD WIDTH="10%" ALIGN="RIGHT">498</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hymn: Sung at the Completion of the Concord Monument, April 19, 1836,"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Each and All"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Problem"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Uriel"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Harnatreya"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Ode, Inscribed to W. H. Channing"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Blight"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Threnody"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Brahma"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Days"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Two Rivers"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Terminus"</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"To the Same. A Feverish Vision"</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Leila in the Arabian Zone"</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Double Triangle, Serpent and Rags"</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"For the Power to whom we bow"</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Sacred Marriage"</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Flaxman"</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Meditations"</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sistrum"</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Questionings"</TD><TD WIDTH="10%" ALIGN="RIGHT">523</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I slept, and dreamed that life was Beauty"</TD><TD WIDTH="10%" ALIGN="RIGHT">524</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Better a sin which purposed wrong to none"</TD><TD WIDTH="10%" ALIGN="RIGHT">524</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Inspiration"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Poet's Delay"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Rumors from an AEolian Harp"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Smoke"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Haze"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On fields oer which the reaper's hand has passd"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Brother where dost thou dwell?"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Conscience is instinct bred in the house"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Low-anchored cloud"</TD><TD WIDTH="10%" ALIGN="RIGHT">525</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Nature"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Columbine"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The New Birth"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Song"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Soldier of the Cross"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Dead"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Rail Road"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Graveyard"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Flee to the Mountains"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Eagles"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Prisoner"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Finding the Truth"</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Theodore Parker's Experience as a Minister</TD><TD WIDTH="10%" ALIGN="RIGHT">648</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Thoreau"</TD><TD WIDTH="10%" ALIGN="RIGHT">654</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from "Cambridge"</TD><TD WIDTH="10%" ALIGN="RIGHT">670</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transcendentalism in New England</TD><TD WIDTH="10%" ALIGN="RIGHT">674</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliographies</TD><TD WIDTH="10%" ALIGN="RIGHT">683</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">697</TD></TABLE><article> <h4>Library Journal</h4>This magnificent edition of the writings of the Transcendentalists introduces a consequential strain of American thinking to new readers. The works have been sensibly selected, and because the original spelling and punctuation have been preserved, the dazzling originality of thinkers such as Ralph Waldo Emerson, Louisa May Alcott, Elizabeth Peabody, and Margaret Fuller rises from the pages with the force and agility of a rousing sermon. Myerson (American literature, Univ. of South Carolina) has edited another collection on Transcendentalism and one on Emerson, but this work surpasses both. Here he deftly thumbnails each author's argument and, in an inspired introduction, reminds us that the seeds of much of America's greatest potential--the defiant belief in individual civil rights, justice, and equality--can be found by reading the Transcendentalists in their own words. This indispensable volume is highly recommended.--Ulrich Baer, New York University Copyright 2000 Cahners Business Information. </article>
314The Best American Short Stories 2002Sue Miller29<p>Sue Miller is an expert in limning the pain of endings, but if this were the extent of her talents, she probably would not be as successful as she is. In Miller's books, one broken relationship often leads to the development of another. Her stories may not offer pat answers and perfect love stories, but readers find something more rewarding in the end.</p>Sue Miller (Editor), Katrina Kenison (Editor), Sue Miller (Introduction), Katrina Kenisonthe-best-american-short-stories-2002sue-miller97806181317300618131736$21.20PaperbackHoughton Mifflin HarcourtOctober 2002NoneAmerican Fiction, Short Story Collections (Single Author), Short Story Anthologies, American Literature Anthologies4025.50 (w) x 8.50 (h) x 0.89 (d)<p>Since its inception in 1915, the Best American series has become the premier annual showcase for the country's finest short fiction and nonfiction. For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to the twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected—and most popular—of its kind.</p> <p>This year's Best American Short Stories features a rich mix of voices, from both intriguing new writers and established masters of the form like Michael Chabon, Edwidge Danticat, Richard Ford, Jhumpa Lahiri, and Arthur Miller. The 2002 collection includes stories about everything from illicit love affairs to family, the immigrant experience and badly behaved children—stories varied in subject but unified in their power and humanity. In the words of this year's guest editor, the best-selling author Sue Miller, "The American short story today [is] healthy and strong . . . These stories arrived in the nick of time . . . to teach me once more what we read fiction for."</p><p>Foreword</p> <p>Although I read short stories all year long, trying to keep abreast of the journals and literary magazines that course across my desk, I don’t usually hunker down and get serious until right around Labor Day. As the days shorten and the weather turns, the annual reading deadline looms on the horizon, and I set aside all other tasks and get down to the business of reading. This year, of course, the end of summer was swiftly followed by the end of our national innocence. All of us who returned to work in the days and weeks that followed September 11 had to grapple with the changes the events of that day had wrought in our lives and endeavors. Projects that had seemed urgent just weeks before took a back seat to new priorities; work that had been fully engaging suddenly seemed less than compelling; it was hard to concentrate, harder still to figure out just what we should be doing. Instead of reading stories, I found myself drawn to the phone, to e-mail exchanges with distant friends, to snuggles with my husband and my kids, to long, heartfelt chats with my neighbor in the driveway. The human urge for connection seemed at odds with the stacks of magazines piled up in my office. For a while I couldn’t even sit still, let alone give the short stories before me the careful attention they deserved. Friends reported, “I can read the newspaper, but I can’t seem to read anything else.” I knew exactly what they meant. Preoccupied with the unfathomable changes in our world at large, it was almost impossible to focus on the details of a smaller picture.<br> And then one fall day I came upon Michael Chabon’s story “Along the Frontage Road.” As I reached the end of this brief, bittersweet account of a father and son’s expedition to choose a pumpkin from a roadside stand, I suddenly realized that I was holding my breath; not only that, I was praying for these characters, hoping with all my heart that each of them would receive grace, survive their losses, find love and understanding. The door back into stories had swung open. With that, I came to see that the kind of connection I’d been seeking was actually right in front of me, in stories that remind us that whatever happens, we aren’t alone in the world, that our own fears and concerns are universal, that the details of our ordinary everyday lives do matter.<br> Throughout the weeks and months that followed, as old routines reasserted themselves and the numbness and shock many of us felt gave way to a new kind of heightened awareness, I was struck by the sheer depth and breadth of human experience portrayed in the stories I read each day. All of them had been written well before September 11, and yet often I found it hard to believe that this could be the case; the truths they spoke seemed so timely, so necessary now. Other times I was astonished by a story’s timelessness, by a realization that an author’s insights into the human condition were no less urgent in 2001 than they would be in any other decade, any other situation. Reading on, choosing stories that still seemed important, that still seemed necessary, or that were simply great fun to read, I came to see in some of these works nothing less than an antidote to terror. As James McKinley, the editor of New Letters, wrote to his readers, “We deceive ourselves if we believe that what’s euphemistically called ‘the tragic events of September 11’ limn this nation any more than the coincident attack on the Pentagon or the anthrax onslaught define us. Ultimately, we are defined by what we create, not by what others destroy.” Here, then, are the stories of 2001, offered in the faith that we will continue to connect at the deepest levels through art, and that literature will remain as beneficial to the human community as any ideology, machine, or technological advance.<br> This year Sue Miller put aside her own fiction writing in order to read well over a hundred stories and compile this volume. She tackled the job with an open heart and an open mind, with the authors’ names blacked out and no preconceptions about what kinds of stories she intended to choose. As she reveals in her introduction, she wondered if the stamp of her personality would be evident in her choices for this collection. “In fact,” she writes, “I even looked forward to that possibility, with pleasure at the notion of discovering something about myself by those choices.” With no agenda beyond finding the choicest works of fiction of 2001, Sue Miller did indeed bring a generous spirit and an astute judgment to her task: she has given us a richly varied, vigorous, highly readable collection, twenty stories that reaffirm the health of this quintessentially American form. We are grateful for her effforts, and for a volume that is much more than the sum of its parts.</p> <p>The stories chosen for this anthology were originally publisheddddd between January 2001 and January 2002. The qualifications for selection are (1) original publication in nationally distributed American or Canadian periodicals; (2) publication in English by writers who are American or Canadian, or who have made the United States or Canada their home; (3) original publication as short stories (excerpts of novels are not knowingly considered). A list of magazines consulted for this volume appears at the back of the book. Editors who wish their short fiction to be considered for next year’s edition should send their publications to Katrina Kenison, c/o The Best American Short Stories, Houghton Mifflin Company, 222 Berkeley Street, Boston, MA 02116.</p> <p>K.K.</p> <p>Introduction</p> <p>I was forced to write short stories by the exigencies of my life at a certain moment. Of course, that’s not true; it’s just how I felt. For one thing, I didn’t have to write a word if I didn’t want to. No one was either asking to read what I wrote or offering to pay me for it, and the choice to write—which I was barely aware of making—was my own. I wound up writing short stories because I didn’t feel I had the time or the imaginative energy left to me—after being a mother, having a job, and running a house—to undertake the longer kind of work, the work of the novel, to which I felt more suited. Almost arbitrarily felt more suited, I would have to say. In any case, I wrote short stories for a number of years of my life, and when I was almost finished doing that—though I’m not sure even now that I’m shut of the form—I was lucky enough to have a collection of them published.<br> I had occasion recently to reread that book (I was trying to decide on a story to read aloud in front of an audience), and what struck me about the stories after all these years was what an odd collection, in fact, they make. How different they are, one from another—in tone, in subject matter, in structure, even in length. Motley.<br> This may not be how the collection would be received by others now, of course; and actually, it wasn’t received that way when it was published, by and large. The reviewer in the Sunday Times Book Review, I recall, saw the stories as unitary. They were, she wrote, too much about sex and too little about love. (Ouch. This was only my second book, and it was hard to feel so keenly that the reviewer didn’t care for my work. But I consoled myself that if ever a negative remark might help sell a book, “too much about sex” might be just that remark.) Still, I do think that writers often come around, willy-nilly, to doing, recognizably, what they do, even when they’re struggling hardest to do something new and fresh. This has happened to me sometimes with the novels I’ve written. After several years’ work I’ll produce something that feels like a bold step off into new terrain; there’s the long wait, it gets published, and the reviews say, essentially, “Oh, here she comes, doing that again.” I wondered, then, if the same stamp of personality would be evident in my choices for this collection. In fact, I even looked forward to that possibility, with pleasure at the notion of discovering something about myself by those choices. It was a small part of my motivation in saying yes to the job of editor—the first part being simply delight in having been asked, and the second being the notion that I might learn something about where the American short story was, what was going on with it at this moment in its history and in ours. But the third, yes, had to do with the idea that I might in some way meet myself through the stories I had chosen.<br> And after all, there must be some measure of hope in the editors who put this book together annually at Houghton Mifflin that such a mark, such an aesthetic or moral stamp, will be palpable—or why choose a different writer every year? Why choose a writer at all, except to have the book shaped somehow by what his taste is, what his standards are? (Of course, the book is shaped too by what is Out There this year, and that’s pure chance, combined in some measure, I suppose, with the pressures of the zeitgeist and the power, or lack of it, of some prevailing aesthetic of and for the short story.) As I’ve looked over past volumes of this collection, though, it strikes me that they don’t evenly wear the impress of their editor’s sensibility. Or at least not apparently so. And it further strikes me that the volumes I admire most wear it least; that the stories in these collections—the ones I like best—only seem excellent, each in its quite distinctive way, and not to have been chosen with any particular demands being placed on them except that: excellence. It seems reasonable to me that this should be so—that range and excellence should be available without a recognizable editorial imprimatur. After all, most of what a writer is likely to admire in others’ work is what she herself is unable to do, and this always encompasses a wider range of kinds of writing than what she is able to do.<br> And so, after I’d made my decisions, it was, oddly, with some relief that I discovered I could learn exactly nothing about my aesthetic-in-the- short-story by reading through all the stories I’d chosen. In the aggregate they had no voice, they didn’t speak; separately, they certainly did—but each was a perfect representative only of its own instance.<br> For example, I chose two stories about a deal that gets made and then goes awry. Both involve treacherous behavior. But what could be more different tonally than Leonard Michaels’s bemused, almost rueful account of Nachman’s foot-dragging and largely unconscious inability to keep the deal he’s made in “Nachman from Los Angeles,” and the story of John Henderson’s agonized alteration of the terms of his bargain and then the terrible price he exacts for that generosity in Karl Iagnemma’s “Zilkowski’s Theorem”?<br> Or, to move further to the ends of another spectrum, what could you say about Melissa Hardy’s “The Heifer,” so full of horrific events endured and indeed created by her otherwise stoic, even silent characters, that you could also say about Michael Chabon’s “Along the Frontage Road,” which slowly and elliptically reveals some measure of the human feeling underlying its seemingly ordinary behavior: the choosing of a Halloween pumpkin by a boy and his father, and their simple exchanges as they make this decision—except that both stories are wonderfully done?<br> There are two dog stories (and this may say more about me as a person, if not a reader, than any other choices I made), but Richard Ford’s “Puppy,” an account of a marriage revealed through the tale of what a couple does with a dog abandoned to their care, drew me because of the meandering, Peter Taylor-ish unreliability of the narrator; whereas what drew me to Arthur Miller’s story, “Bulldog,” was the funny and unexpected and completely exhilarating account of the birth of creative impulse that ends it.<br> Alice Munro is always utterly distinctive in the tone and fluid structure of her stories (I had a teacher once who referred to that quality as the Munro doctrine—he disapproved), and “Family Furnishings” is no exception, landing as it does at its conclusion on a moment that would have been midway in the chronology of the story but that aptly captures what we know only by then to be simultaneously false and utterly true of the narrator’s assumptions about the meaning and aims of her life to come.<br> But distinctive too is Jim Shepard’s astonishing “Love and Hydrogen,” the story of an illicit love affair set in the fantastic, enclosed, and doomed universe aboard the Hindenburg in 1937, or Tom McNeal’s “Watermelon Days,” which takes us to the Dust Bowl era in South Dakota to depict the beautiful and unexpected momentary reprieve of a difficult marriage, or Carolyn Cooke’s “The Sugar-Tit,” set on Beacon Hill in impoverished gentility, an account of another complicated marriage told in brilliant language (a tenor rising above “the rest of the men’s voices, in the quivery way of oil on water”)—an account that ends with an act of the bitterest fidelity.<br> Three of the stories speak of love and the immigrant experience, but with emphases so different as to make you forget the thematic connection—from Jhumpa Lahiri’s young graduate students wounding and exposing each other within their almost hermetically sealed-off universe of part-time jobs and study and improvised meals, to Edwidge Danticat’s Haitian lovers, reunited after a separation of seven years, alternating between their pleasure in being together again and the powerful sense of things unspoken and perhaps unspeakable between them, to the sense Beth Lordan gives us in “Digging” of the generations of hidden and lost hopes and sorrows that lie under the lives of the Irish American couple whose meeting and marriage she describes.<br> I found Jill McCorkle’s story “Billy Goats” remarkable for the unusual choice of narrative voice—it’s told mostly in the first-person plural; and for describing not so much a unique action, which usually gives shape to a story, as a pattern of habitual actions which make up the ordinary life of an ordinary place; and for the blessing pronounced on that ordinary life by the story’s ending. And I found E. L. Doctorow’s “A House on the Plains” remarkable for almost exactly the opposite qualities—its quite particular narrator, its long and intricate plot, the pace of its withholding and its revealing, and the sense of a simultaneously admirable and repugnant fidelity running under the dark and complicated events.<br> There’s “The Red Ant House,” by Ann Cummins, remarkable for being told in the quirky and slightly stylized voice of a child, about two girls trying to take control of their disordered lives by exposing themselves to the local bachelor (yes!); and Alice Mattison’s elegant and very funny story about a woman finding a kind of grace in giving up control of her life, “In Case We’re Separated.” And there’s “Surrounded by Sleep,” by Akhil Sharma, an at once amusing and sad story about a boy slowly understanding the small consolations possible within what he’s also slowly comprehending as the horrific callousness of a world that has dealt catastrophe to his family. There’s a nearly plotless meditation on the necessary and painful evanescence of memory, set lovingly in the shifting world just after the Second World War in Japan—“Aftermath,” by Mary Yukari Waters—and a neatly plotted tale of loss and the need for yearning in human life—“The Rug,” by Meg Mullins—which ends with one of the most indelible images in the collection.<br> They are fine, these powerful and distinctive stories, and my only fear in invoking what seems to me unique or startling about each one is that I may have been reductive. If that’s the case, I apologize to the writers of these stories, which I admire for so much more than the qualities that make them so markedly different one from another.<br> But different they are, as they should be. Mongrel (that dog again!), nearly polyglot in its variety of style, this collection says nothing clear about the American short story today except that it’s healthy and strong and still exploring its realist roots (there were almost no experimental works in the 150 or so stories Katrina Kenison sent on to me). That it’s being written by every ethnic version of American there is, about every ethnic version of the American experience there is. That it’s being enthusiastically embraced by young writers and reclaimed by older ones. That it’s being written by men and women in almost equal numbers, and that it’s being written equally about the present and the near past and the long ago. Perhaps the stories written next year or in the few years following will reflect more about what we are thinking of at this moment as our changed world—or perhaps we’ll find the world changed less than we thought. In any case, these stories, whose creation preceded that change, seem to belong less intensely than those imaginary stories-to-be to a particular time. Indeed, it almost seems that none of these stories needed this particular moment in history to be born.<br> Far less, I’d argue, did they need this particular editor to notice them. There may be one or two you wouldn’t have chosen, had you been editing; there may be one or two I would have chosen differently if the circumstances under which I chose had been different—if I’d read certain stories in some other order or in some other room or mood. If I’d read them all at 5 p.m. on a sunny day, for example. Well, yes. But since I’ve come to the end of this process with these twenty on my list, it seems to me that they were the inevitable twenty. And having now reread them several times over as a collection, I’ve confirmed that, for myself anyway.<br> And confirmed something else. These stories arrived in my life at an odd time. I’d been working for six months on a nonfiction book, my first ever; then, seconds after I turned that in, I was sent on the road to flog the novel I’d finished months earlier. By the end of the tour I hadn’t written fiction in almost a year, and sometimes I thought that if one more sweetly inquisitive aspiring writer asked me where I got my ideas from, I’d cry out, “Oh God, I don’t know. How would I know?” and exit stage left. I didn’t do that. I hope I wouldn’t do that; but it felt as though these stories arrived in the nick of time to make me believe again in that place—the place where ideas come from—and to teach me once more what we read fiction for. I’m grateful.</p> <p>Sue Miller</p> <p>Copyright © 2002 by Houghton Mifflin Company Introduction copyright © 2002 by Sue Miller Reprinted by permission of Houghton Mifflin Company.</p><p><p>Since its inception in 1915, the Best American series has become the premier annual showcase for the country's finest short fiction and nonfiction. For each volume, a series editor reads pieces from hundreds of periodicals, then selects between fifty and a hundred outstanding works. That selection is pared down to the twenty or so very best pieces by a guest editor who is widely recognized as a leading writer in his or her field. This unique system has helped make the Best American series the most respected -- and most popular -- of its kind.<p>This year's Best American Short Stories features a rich mix of voices, from both intriguing new writers and established masters of the form like Michael Chabon, Edwidge Danticat, Richard Ford, Jhumpa Lahiri, and Arthur Miller. The 2002 collection includes stories about everything from illicit love affairs to family, the immigrant experience and badly behaved children -- stories varied in subject but unified in their power and humanity. In the words of this year's guest editor, the best-selling author Sue Miller, "The American short story today [is] healthy and strong . . . These stories arrived in the nick of time . . . to teach me once more what we read fiction for."<p></p><h3>Library Journal</h3><p>This year's edition of the popular short story anthology contains many pieces that focus on the past as either a setting or a counterpoint to the protagonist's current life. As guest editor Miller states in her introduction, the realist story seems to have taken hold as the American form of this art. There is very little experimental writing, except perhaps in the trend toward covering a surprisingly broad span of time in a short amount of space. The always reliable Alice Munro gives us a fascinating character sketch in "Family Furnishings." In Akhil Sharma's "Surrounded by Sleep," a young Hindu boy's most comforting image of God is a cardigan-clad Clark Kent. And both E.L. Doctorow ("A House on the Plains") and Melissa Hardy ("The Heifer") remind us that the American frontier was far from quaint or picturesque. Writers like Arthur Miller, Michael Chabon, and Beth Lordan are also featured. Recommended for most collections.-Christine DeZelar-Tiedman, Univ. of Minnesota Libs., Minneapolis Copyright 2002 Cahners Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">ix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">xiii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Along the Frontage Road: from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sugar-Tit: from Agni Review</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Red Ant House: from McSweeney's</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seven: from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A House on the Plains: from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puppy: from The Southern Review</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Heifer: from Descant</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Zilkowski's Theorem: from Zoetrope</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nobody's Business: from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Digging: from The Atlantic Monthly</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Case We're Separated: from Ploughshares</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Billy Goats: from Bomb</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Watermelon Days: from Zoetrope</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nachman from Los Angeles: from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bulldog: from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rug: from The Iowa Review</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Family Furnishings: from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Surrounded by Sleep: from The New Yorker</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love and Hydrogen: from Harper's Magazine</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aftermath: from Manoa</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors' Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">100 Other Distinguished Stories of 2001</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editorial Addresses of American and Canadian Magazines Publishing Short Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">361</TD></TABLE><article> <h4>Library Journal</h4>This year's edition of the popular short story anthology contains many pieces that focus on the past as either a setting or a counterpoint to the protagonist's current life. As guest editor Miller states in her introduction, the realist story seems to have taken hold as the American form of this art. There is very little experimental writing, except perhaps in the trend toward covering a surprisingly broad span of time in a short amount of space. The always reliable Alice Munro gives us a fascinating character sketch in "Family Furnishings." In Akhil Sharma's "Surrounded by Sleep," a young Hindu boy's most comforting image of God is a cardigan-clad Clark Kent. And both E.L. Doctorow ("A House on the Plains") and Melissa Hardy ("The Heifer") remind us that the American frontier was far from quaint or picturesque. Writers like Arthur Miller, Michael Chabon, and Beth Lordan are also featured. Recommended for most collections.-Christine DeZelar-Tiedman, Univ. of Minnesota Libs., Minneapolis Copyright 2002 Cahners Business Information. </article> <article> <h4>Kirkus Reviews</h4>A varied portrait of the modern short story as we know it today-at least as seen in these 20, presumably best, pieces from the past calendar year: Miller, guest editor for 2001, says in her introduction that she took the B.A.S.S. job, in part, to "learn something about where the American short story [is], what was going on with it at this moment in its history, and in ours." We'll learn something too. The standouts here are Michael Chabon's "Along a Frontage Road," about a man's trip to choose a pumpkin with his son that becomes, through its innocence, a prism revealing love and affection; and Leonard Michaels's "Nachman from Los Angeles," a tale as weirdly sad as it is funny, about a man asked to write a term paper on Metaphysics for one Prince Ali Massid of Persia. Jim Shepherd's story of a homosexual love affair aboard the Hindenberg ("Love and Hydrogen") is granted poignancy from the doom we know to be approaching. Jhumpa Lahiri's "Nobody's Business" is a love story complicated by telephone suitors trying to arrange their own marriages; and another tale of complex love (Doctorow's "A House on the Plains") sees a woman place an ad for a husband, then turn to malfeasance. Richard Ford, Arthur Miller, and Alice Munro contribute pleasing pieces, though these bits might not make the "Best of . . . " in their own bodies of work. Akhil Sharma explores ideas of God through the tale of a family with a terribly injured son ("Surrounded by Sleep"), and mechanical engineer Karl Iagnemma explores love between mathematicians, if such is possible, in "Zilkowski's Theorem," where the refutation of one man's theory is revenge for past betrayal and the opening of an even larger can of worms. A bit thincompared to years past: heavy on realism and tales of simple theme. (Interestingly, there are only two duplications between this volume and the O. Henry's [see Dark, above]: "Family Furnishings," by Alice Munro, and "Seven," by Edwidge Danticat.) $100,000 ad/promo </article>
315A Loving Voice: A Caregiver's Book of Read-Aloud Stories for the ElderlyCarolyn Banks0Carolyn Banks, Janis Rizzoa-loving-voicecarolyn-banks97809147835960914783599$23.93PaperbackCharles Press Publishers PAJanuary 1992Poetry - General & Miscellaneous, American Literature Anthologies3206.00 (w) x 9.00 (h) x 0.72 (d)The first of two very popular and unique anthologies of short stories that were written specifically be read out-loud to older adults, A Loving Voice offers an imaginative and creative way for family members, friends and professionals to reach out to, communicate with, and entertain the older people in their care, particularly those who are bed-ridden, confined to a nursing home or hospital and those with dementia or those beginning to slip into it. <p>In a moment of inspiration that has been much-welcomed ever since by caregivers the world over, the idea for A Loving Voice came to it's editors, Carolyn Banks and Janis Rizzo, when they recognized the desperate need for, and the serious lack of, reading material for this large and ever-growing segment of the population. In response, they invited hundreds of writers to submit stories and poems for their anthology. The 52 never-before-published selections they ended up including (43 stories and nine poems, one for each week of the year), are those that they and the eldercare experts they consulted felt would be most valuable and entertaining for their elderly audience: stories that evoke nostalgic memories and warm feelings of the past, interesting stories that stimulate conversation, provide a bridge between the past and present and a bond between reader and listener. All of the selections can be read in one sitting (no longer than 10 minutes), are clear with easy-to-follow plots and simple dialogue that lends itself to reading aloud. Moreover, as Banks and Rizzo discovered, reading aloud is an intimate, warm and friendly activity that encourages physical closeness, something that is sorely needed as we age.</p> <p>As Carolyn Banks reports in preface to the book, "The pieces we have chosen are not insultingly simple. Even those who are able to read these selections on their own will find them engaging and entertaining. These are stories and poems with purpose, stories and poems with heart, stories and poems we are proud to present. Each we hope will help you find your own loving voice."</p> <p>Includes short stories and poems written by an impressive array of American authors including Louise Erdrich, Shelby Hearon, Carolyn Osborn and Paul Estaver.</p> <p>This book, and it's accompanying second volume, A Loving Voice II: A Caregiver's Book of More Read-Aloud Stories for the Elderly, has received critical acclaim from professional caregivers and grateful family members alike and has been enthusiastically reviewed in hundreds of papers, magazines and journals alike for its inventive method of communicating with, and bringing some moments of pleasure to, the older adult.</p><p>The first of two very popular and unique anthologies of short stories that were written specifically be read out-loud to older adults, A Loving Voice offers an imaginative and creative way for family members, friends and professionals to reach out to, communicate with, and entertain the older people in their care, particularly those who are bed-ridden, confined to a nursing home or hospital and those with dementia or those beginning to slip into it. <p><p>In a moment of inspiration that has been much-welcomed ever since by caregivers the world over, the idea for A Loving Voice came to it's editors, Carolyn Banks and Janis Rizzo, when they recognized the desperate need for, and the serious lack of, reading material for this large and ever-growing segment of the population. In response, they invited hundreds of writers to submit stories and poems for their anthology. The 52 never-before-published selections they ended up including (43 stories and nine poems, one for each week of the year), are those that they and the eldercare experts they consulted felt would be most valuable and entertaining for their elderly audience&#58; stories that evoke nostalgic memories and warm feelings of the past, interesting stories that stimulate conversation, provide a bridge between the past and present and a bond between reader and listener. All of the selections can be read in one sitting (no longer than 10 minutes), are clear with easy-to-follow plots and simple dialogue that lends itself to reading aloud. Moreover, as Banks and Rizzo discovered, reading aloud is an intimate, warm and friendly activity that encourages physical closeness, something that is sorely needed as we age. <p><p>As Carolyn Banksreports in preface to the book, "The pieces we have chosen are not insultingly simple. Even those who are able to read these selections on their own will find them engaging and entertaining. These are stories and poems with purpose, stories and poems with heart, stories and poems we are proud to present. Each we hope will help you find your own loving voice."<p><p>Includes short stories and poems written by an impressive array of American authors including Louise Erdrich, Shelby Hearon, Carolyn Osborn and Paul Estaver. <p><p>This book, and it's accompanying second volume, A Loving Voice II&#58; A Caregiver's Book of More Read-Aloud Stories for the Elderly, has received critical acclaim from professional caregivers and grateful family members alike and has been enthusiastically reviewed in hundreds of papers, magazines and journals alike for its inventive method of communicating with, and bringing some moments of pleasure to, the older adult.</p>
316Hispanic Caribbean Literature of Migration: Narratives of DisplacementVanessa Y. P&#233;rez Rosario0<p><p><B>Vanessa P&#233;rez Rosario</B> is an Assistant Professor of Puerto Rican and Latino Studies at The City University of New York&#8212;Brooklyn College. <p></p>Vanessa Y. Pérez Rosariohispanic-caribbean-literature-of-migrationvanessa-y-p-233-rez-rosario97802306206500230620655$85.00HardcoverPalgrave MacmillanJune 2010Social Sciences, General<p><p><P>This collection explores the literary tradition of Caribbean Latino literature written in the U.S. beginning with Jos&#233; Mart&#237; and concluding with 2008 Pulitzer Prize winning novelist, Junot D&#237;az. The contributors consider the way that spatial migration in literature serves as a metaphor for gender, sexuality, racial, identity, linguistic, and national migrations. <p><p></p><P>Acknowledgments vii<P>Introduction&#58; Historical Context of Caribbean Latino Literature Vanessa P&eacute;rez Rosario 1<P>I Migratory Identities<P>1 The Unbreakable Voice in a Minor Language&#58; Following Jos&eacute; Mart&iacute;'s Migratory Routes Laura Lomas 23<P>2 M&aacute;s que Cenizas&#58; An Analysis of Juan Bosch's Dissident Narration of Dominicanidad (Ausente) Lorgia Garc&iacute;a Pe&ntilde;a 39<P>3 Creating Latinidad&#58; Julia de Burgos' Legacy on U.S. Latina Literature Vanessa P&eacute;rez Rosario 57<P>II Dislocated Narratives<P>4 Travel and Family in Julia Alvarez's Canon Vivian Nun Halloran 75<P>5 Making It Home&#58; A New Ethics of Immigration in Dominican Literature Ylce Irizarry 89<P>6 Days of Awe and the Jewish Experience of a Cuban Exile&#58; The Case of Achy Obejas Carolyn Wolfenzon 105<P>III Gender Crossings<P>7 A Community in Transit&#58; The Performative Gestures of Manuel Ramos Otero's Narrative Triptych M&oacute;nica Lla&oacute;-Ortega 121<P>8 A Revolution in Pink&#58; Cuban Queer Literature Inside and Outside the Island Ana Bel&eacute;n Mart&iacute;n Sevillano 137<P>9 Gender Pirates of the Caribbean&#58; Queering Caribbeanness in the Novels of Zo&eacute; Vald&eacute;s and Christopher John Farley Omise'eke Natasha Tinsley 153<P>IV Racial Migrations<P>10 Insular Interventions&#58; Jes&uacute;s Col&oacute;n Unmasks Racial Harmonizing and Populist Uplift Discourses in Puerto Rico Maritza Stanchich 171<P>11 Coloniality of Diasporas&#58; Racialization of Negropolitans and Nuyoricans in Paris and New York Yolanda Mart&iacute;nez-San Miguel 189<P>12 The Dominican Diaspora Strikes Back&#58; Cultural Archive and Race in Junot D&iacute;az's The Brief Wondrous Life of Oscar Wao Juanita Heredia 207<P>Notes on Contributors 223<P>Index 227
317American Political Plays after 9/11Allan Havis0<p><p><p><B>Allan Havis </B>is a professor of theater and the provost of Thurgood Marshall College at the University of California, San Diego. He is the author of fifteen full-length published plays, which have been produced at many of the nation&#8217;s leading playhouses. He edited the collection <I>American Political Plays</I>. <p><p></p>Allan Havis, Anne Nelson, Chay Yew, Naomi Iizuka, Kia Corthronamerican-political-plays-after-9-11allan-havis97808093295400809329549$14.94PaperbackSouthern Illinois University PressJune 2010Drama Anthologies, American Drama, Political & Social Issues - Drama, American Literature Anthologies3046.00 (w) x 9.00 (h) x 0.80 (d)<p><i>American Political Plays after 9/11</i> is a diverse collection of bold, urgent, and provocative plays that respond to the highly charged, post 9/11 political landscape. Sparked by the terrorist attacks of September 11, 2001, and subsequently fueled by a series of controversial events—the Iraq war, the passing and enforcement of the U.S.A. Patriot Act, and the revelation of torture and other scandals at the Abu Ghraib prison—American political theater is currently experiencing a surge in activity. The plays in this collection include <i>The Guys</i> by Anne Nelson, <i>At the Vanishing Point</i> by Naomi Iizuka, <i>The Venus de Milo</i> <i>Is Armed</i> by Kia Corthron, <i>Back of the Throat</i> by Yusseff El Guindi, <i>Three Nights in Prague</i> by Allan Havis, and <i>Question 27, Question 28</i> by Chay Yew.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The characters range from a New York City fire captain trying to respectfully memorialize eight of his lost comrades, to the citizens of a hog-killing Louisville neighborhood who poignantly exemplify the underside of the economic crisis, to an Arab American citizen being harshly (and possibly unfairly) interrogated by two officers as a “person of interest.” Though not all of the plays deal explicitly with the Al Qaeda attacks, they collectively reveal themes of sorrow and anxiety, moral indignation, alarmist self-preservation, and economic and social insecurity stemming from the United States’ fairly sudden shift from cold war superpower to vulnerable target.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The lively introduction by Allan Havis includes a brief history of political theater in the United States, an extensive discussion about how theater communities responded to 9/11, and an informative analysis of the six plays in the book.&nbsp; A collection of dramatic material framed by this significant historical event, <i>American</i> <i>Political Plays after 9/11</i> will be indispensable for theater and cultural studies scholars and students.</p><p><p><p><I>American Political Plays after 9/11 </I>is a diverse collection of bold, urgent, and provocative plays that respond to the highly charged, post 9/11 political landscape. Sparked by the terrorist attacks of September 11, 2001, and subsequently fueled by a series of controversial events&#8212;the Iraq war, the passing and enforcement of the U.S.A. Patriot Act, and the revelation of torture and other scandals at the Abu Ghraib prison&#8212;American political theater is currently experiencing a surge in activity. The plays in this collection include <I>The Guys</I> by Anne Nelson, <I>At the Vanishing Point</I> by Naomi Iizuka, <I>The Venus de Milo </I><I>Is Armed</I> by Kia Corthron, <I>Back of the Throat</I> by Yusseff El Guindi, <I>Three Nights in Prague</I> by Allan Havis, and <I>Question 27, Question 28</I> by Chay Yew. <p>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The characters range from a New York City fire captain trying to respectfully memorialize eight of his lost comrades, to the citizens of a hog-killing Louisville neighborhood who poignantly exemplify the underside of the economic crisis, to an Arab American citizen being harshly (and possibly unfairly) interrogated by two officers as a &#8220;person of interest.&#8221; Though not all of the plays deal explicitly with the Al Qaeda attacks, they collectively reveal themes of sorrow and anxiety, moral indignation, alarmist self-preservation, and economic and social insecurity stemming from the United States&#8217; fairly sudden shift from cold war superpower to vulnerable target. <p>&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; The lively introduction by Allan Havis includes a brief history of political theater in the United States, an extensive discussion about how theater communities responded to 9/11, and an informative analysis of the six plays in the book.&#160; A collection of dramatic material framed by this significant historical event, <I>American</I> <I>Political Plays after 9/11 </I>will be indispensable for theater and cultural studies scholars and students. <p><p></p><P>Acknowledgments<P>Introduction Allan Havis Havis, Allan 1<P>The Guys Anne Nelson Nelson, Anne 17<P>At the Vanishing Point Naomi Iizuka Iizuka, Naomi 47<P>The Venus De Milo is Armed Kia Corthron Corthron, Kia 76<P>Back of the Throat Yussef El Guindi Guindi, Yussef El 137<P>Three Nights in Prague Allan Havis Havis, Allan 186<P>Question 27, Question 28 Chay Yew Yew, Chay 230<P>Contributors 279
318Best Plays of the Early American Theatre, 1787-1911John Gassner0John Gassner, Mollie Gassner (Editor), Mollie Gassnerbest-plays-of-the-early-american-theatre-1787-1911john-gassner97804864109820486410986$14.46PaperbackDover PublicationsJune 2000UnabridgedDrama Anthologies, American Drama, American Literature Anthologies7845.38 (w) x 8.46 (h) x 1.42 (d)Representative rather than comprehensive, this highly readable volume charts the progress of American theater between 1787–1911, with a chronological selection of 16 of the best works from that period. Included are: <i>Charles the Second</i> (1824); <i>Fashion</i> (1845); <i>Uncle Tom's Cabin</i> (1852); <i>The Count of Monte Cristo</i> (1883); <i>The Mouse-Trap</i> (1889); more. Background essay.<p><p>16 works from American theater, 1787&#150;1911&#58; <I>Charles the Second</I> (1824); <I>Fashion </I>(1845); <I>Uncle Tom's Cabin</I> (1852); <I>The Count of Monte Cristo</I> (1883); <I>The Mouse-Trap</I> (1889); <I>The Great Divide</I> (1906); more. Background essay.<p></p>
319Glances Backward: An Anthology of American Homosexual Writing, 1830-1920James J. Gifford0<p>James Gifford is Professor of Humanities at Mohawk Community College in Utica, New York. He is the editor of Imre: A Memorandum, by Edward Prime-Stevenson.</p>James J. Giffordglances-backwardjames-j-gifford97815511172871551117282$34.06PaperbackBroadview PressSeptember 20061st EditionPeoples & Cultures - American Anthologies, Gay & Lesbian Literature Anthologies, American Literature Anthologies3886.00 (w) x 9.00 (h) x 0.81 (d)<p>Glances Backward brings together in one volume a broad selection of nineteenth-century and early twentieth-century American writings about gay male love, including love stories, Westerns, ghostly tales, poetry, drama, essays, letters, and memoirs.</p> <p>Many of these works, such as The Cult of the Purple Rose, the story of a gay alliance at 1890s Harvard, are reprinted here for the first time since their original publication. Henry Blake Fuller’s "Allisonian Classical Academy" has until now been available only in manuscript form.</p> <p>In addition to works by lesser-known authors, selections by Henry James, Herman Melville, Walt Whitman, Horatio Alger, Jr., Jack London, and Willa Cather are included.</p><p>Acknowledgments</p> <p>Introduction</p> <p>Part I: The Intersexes</p> <p>Edward Prime-Stevenson From "Out of the Sun" (1913)<br> From The Intersexes (1908)</p> <p>Part II: Two-Spirit People</p> <p>Slim Curly From "The Mothway Myth" (recorded 1930)</p> <p>John Tanner From A Narrative of the Captivity and Adventures of John Tanner (1830)</p> <p>George Catlin<br> "Dance to the Berdashe" (1844)</p> <p>Part III: Luck, Pluck, and a Kindly Mentor</p> <p>Walt Whitman<br> "The Child’s Champion" (1841)<br> Selected Poems</p> <p>Horatio Alger, Jr.<br> From Charlie Codman’s Cruise (1866)</p> <p>Harry Enton From Young Sleuth, the Keen Detective (1877)</p> <p>Howard Pyle From The Merry Adventures of Robin Hood (1883)</p> <p>Part IV: Schooldays</p> <p>Frederick Wadsworth Loring From Two College Friends (1871)</p> <p>Henry Blake Fuller From The Allisonian Classical Academy (1876)</p> <p>Charles Macomb Flandrau From Harvard Episodes (1897)</p> <p>Shirley Everton Johnson From The Cult of the Purple Rose (1902)</p> <p>Part V: The Oscar Model</p> <p>Anonymous<br> "Wilde in Utica" (1882)</p> <p>Earl Lind<br> "The Case of Oscar Wilde" (1918)</p> <p>Part VI: Arcadia</p> <p>Bayard Taylor From Poems of the Orient (1855)<br> From The Poet's Journal (1863)<br> From Joseph and His Friend (1870)</p> <p>Charles Warren Stoddard<br> "Pearl-Hunting in the Pomotous" (1873)</p> <p>Henry James<br> "The Great Good Place" (1909)</p> <p>Part VII: The Domestic Homosexual</p> <p>Howard Overing-Sturgis From Belchamber (1905)</p> <p>George Santayana From Persons and Places (1986)</p> <p>Part VIII: Haunted</p> <p>Henry Blake Fuller At St. Judas’s (1896)</p> <p>Gertrude Atherton<br> "The Striding Place" (1896)</p> <p>George Sylvester Viereck From Nineveh and Other Poems (1908)<br> From The Candle and the Flame (1912)</p> <p>Part IX: Purloined Popular Fiction</p> <p>Bret Harte<br> "Tennessee’s Partner" (1869)<br> "Jim" (1870)</p> <p>Thomas Bailey Aldrich<br> "Marjorie Daw" (1873)</p> <p>Henry Cuyler Bunner<br> "Our Aromatic Uncle" (1895)</p> <p>Edward Prime-Stevenson From Mrs. Dee’s Encore (1896)</p> <p>Jack London<br> "The White Silence" (1899)</p> <p>James Weldon Johnson From The Autobiography of an Ex-Colored Man (1912)</p> <p>Edward Prime-Stevenson<br> "Aquae Multae Non—" (1913)</p> <p>Part X: Of Hearts Thrown Open</p> <p>Fitz-Greene Halleck Selected Poems</p> <p>James Whitcomb Riley<br> "Good-Bye, Jim" (1893)</p> <p>Bliss Carman and Richard Hovey From Songs from Vagabondia (1894)</p> <p>Edward Perry Warren From Itamos (1903)</p> <p>George Edward Woodberry From Selected Poems</p> <p>Trumbull Stickney Selected Poems</p> <p>George Cabot Lodge From Poems and Dramas (1911)</p> <p>George Santayana Selected Poems</p> <p>Part XI: Doctors, Case-Studies, and Erotopaths</p> <p>James Mills Peirce From Sexual Inversion "Letter from 'Professor X'" (1897)</p> <p>Claude Hartland From The Story of a Life (1901)</p> <p>Willa Cather<br> "Paul’s Case: A Study in Temperament" (1905)</p> <p>William Lee Howard<br> "Effeminate Men and Masculine Women" (1900)<br> "The Sexual Pervert in Life Insurance" (1906)</p> <p>Earl Lind From The Autobiography of an Androgyne (1918)</p> <p>Part XII: Men in Groups</p> <p>Josiah Flynt Willard<br> "Homosexuality Among Tramps" (1897)</p> <p>Morris Schaff From The Spirit of Old West Point (1907)</p> <p>Alexander Berkman From Prison Memoirs of an Anarchist (1912)</p> <p>Part XIII: To You Alone</p> <p>Herman Melville Two Letters to Nathaniel Hawthorne (1851)</p> <p>Francis Davis Millet Letters to Charles Warren Stoddard (1875)</p> <p>Bernard X.<br> "A Merry Christmas" (1887)</p> <p>Clyde Fitch Letter to DeWitt Miller (1891)</p> <p>George Sylvester Viereck Letter to George E. Woodberry (ca. 1912)</p> <p>Bibliography and Suggestions for Further Reading</p> <p>Sources</p>
320American Poetry: The Nineteenth Century (Melville to Stickney, American Indian Poetry, Folk Songs and Spirituals) (Library of America), Vol. 2Various0Various, John Hollanderamerican-poetryvarious9780940450783094045078X$35.00HardcoverLibrary of AmericaSeptember 19931st EditionLiterary Collections, English, Irish, Scottish, Welsh<p>In nineteenth-century America, poetry was, part of everyday life, as familiar as a hymn, a love song, a patriotic exhortation. American Poetry: The Nineteenth Century reveals the vigor and diversity of a tradition embracing solitary visionaries and congenial storytellers, humorists and dissidents, songwriters and philosophers. These two volumes reassess America's poetic legacy with a comprehensive sweep that no previous anthology has attempted. This second volume follows the evolution of American poetry from the monumental mid-century achievements of Herman Melville and Emily Dickinson to the modernist stirrings of Stephen Crane and Edwin Arlington Robinson. The cataclysm of the Civil War - reflected in fervent antislavery protests, in marching songs and poetic calls to arms, and in muted postbellum expressions of grief and reconciliation - ushered in a period of accelerating change and widening regional perspectives. Among the unfamiliar pleasures to be savored in this volume are the penetrating meditations of the reclusive Frederick Goddard Tuckerman, the eloquent lyricism of Emma Lazarus, the mournful, superbly crafted fin de siecle verse of Trumbull Stickney. Here too are the pioneering African-American poets (Frances Harper, Albery Allson Whitman, Paul Laurence Dunbar); popular humorists (James Whitcomb Riley, Eugene Field); writers embodying America's newfound cosmopolitanism (Edith Wharton, George Santayana); and extravagant self-mythologizing figures who could have existed nowhere else, like the actress Adah Isaacs Menken and the frontier poet Joaquin Miller. Parodies, dialect poems, song lyrics, and children's verse evoke the liveliness of an era when poetry was accessible to all. Here are poems that played a crucial role in American public life, whether to arouse the national conscience (Edwin Markham's "The Man with the Hoe") or to memorialize the golden age of the national pastime (Ernest Lawrence Thayer's "Casey at the Bat"). An entire section of t</p><h3>Library Journal</h3><p>In size and ambition, this may be the largest selection of poetry from our nation's first full century since Edmund Stedman's An American Anthology, 1787-1900, published more than 90 years ago. With its special sections of Native American poems, African American spirituals and hymns, folksongs, and popular or patriotic verses (e.g., ``Battle Hymn of the Republic,'' ``Home, Sweet Home!'' and Stephen Foster's lyrics), the present volume evokes an era when poetry was enjoyed more than studied, written out of the desire for self-expression rather than the need for tenure. Major poets like Dickinson and Whitman are amply represented, but the collection also allows readers to rediscover the graceful strength of Sarah Orne Jewett, Ella Wilcox's nearly modernist irony, the Goreyesque eccentricity of Ambrose Bierce, and president John Quincy Adams's way with ballad meter. Arrangement is chronological by poet's date of birth; the accompanying biographical sketches, a chronology, notes, and an essay on textual selection were not available for review. Though Hollander's selections will inspire much debate, this anthology is a necessary addition to most library shelves.-- Fred Muratori, Cornell Univ. Lib., Ithaca, N.Y.</p>
321Deaf Way II Anthology: A Literary Collection of Deaf and Hard of Hearing WritersTonya M. Stremlau0Tonya M. Stremlaudeaf-way-ii-anthologytonya-m-stremlau97815636812711563681277$22.95PaperbackGallaudet University PressJune 2002Peoples & Cultures - American Anthologies, American Literature Anthologies2086.00 (w) x 9.00 (h) x 0.60 (d)<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Rhythm, They Say</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Empty Ears</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Solo Dining While Growing Up</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Learning Up Front</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Tale of an Old Bay Fisherman</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hand Tied</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Noisy House</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hands of My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bone Bird</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Diving Bell</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Holiday</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Corresponding Oval</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Listening for the Same Thing</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leaves on the Water</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Is It a Sin?</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mother</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Plunge to Fame</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Q</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Exuberance</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Borrowed Time</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"If I could wish to hear well"</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Victim of the Silent Void</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yet: Jack Can Hear!</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When They Tell Me ...</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Silent Howl</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Letter to C.F.</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Be Tellin' Me</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Remember</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It Was His Movin' Hands</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Become a Backstabber</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Depths of the River</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Between Two Worlds</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cicadas Roar</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">2 Triple Ought</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Every Man Must Fall</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Salt in the Basement</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cycle of the X-Ray Technician</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Perfect Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Nice Romantic Dinner</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD></TABLE>
322American Short Story and Its Writer: An AnthologyAnn Charters10<p>Scholar, editor, and biographer of Beat generation writer Jack Kerouac -- she even penned the preface to his groundbreaking <I>On the Road</I> -- Ann Charters captures the passion and promise of one of the most culturally influential decades of the century.</p>Ann Charters, Ann Chartersamerican-short-story-and-its-writerann-charters97803121917640312191766$78.10PaperbackBedford/St. Martin'sAugust 19991st EditionShort Story Anthologies, American Literature Anthologies14955.90 (w) x 9.30 (h) x 1.79 (d)<p>This groundbreaking anthology is the first to offer a truly inclusive survey of the American short story along with a unique array of major critical statements and commentaries by the writers themselves.</p><p><p>This groundbreaking anthology is the first to offer a truly inclusive survey of the American short story along with a unique array of major critical statements and commentaries by the writers themselves.<p></p><p><b>Preface<br></b> <br> <b>Introduction <br></b> <b>Some Precursors of the American Short Story <br></b> <b>John Smith,</b> <i>The Smith-Pocahontas Legend</i><br> <b>Chekilli,</b> <i>The Origin of the Creek Confederacy</i><br> <b>Shasta,</b> <i>The Theft of Fire</i><br> <b>John Arthur Gibson,</b> From <i>Concerning the League</i><br> <b>John Heckewelder,</b> <i>The Arrival of the Dutch</i> <br> <b>Caesar Grant,</b> <i>All God's Chillen Had Wings</i> <br> <b>Davy Crockett Almanacs,</b> <i>Sunrise in My Pocket</i><br> <b>J. C. C. Nachtigal,</b> <i>Peter Klaus the Goatherd</i> <p><b>STORIES<br></b> <br> <b>1. Early Nineteenth Century&#58; 1819-1860 <br></b> <i>RELATED COMMENTARY&#58; Mary Russell Mitford, <i>Stories of American Life</i>; Edgar Allan Poe, Review of Hawthorne's <i>Twice-Told Tales</i> <br></i> <b>Washington Irving,</b> <i>Rip Van Winkle</i><br> <i>RELATED STORY&#58; J. C. C. Nachtigal, <i>Peter Klaus the Goatherd</i> <br></i> <i>RELATED COMMENTARY&#58; Washington Irving, <i>Letter to Henry Brevoort, December 11, 1824</i> <br></i> <b>William Austin,</b> <i>Peter Rugg, the Missing Man</i> <br> <b>James Hall,</b> <i>The Indian Hater</i> <br> <b>Catharine Maria Sedgwick,</b> <i>Cacoethes Scribendi</i> <br> <b>Augustus Baldwin Longstreet,</b> <i>The Dance</i> <br> <b>Nathaniel Hawthorne,</b> <i>The Minister's Black Veil</i><br> <i>RELATED COMMENTARIES&#58; Nathaniel Hawthorne, Preface to <i>Twice-Told Tales</i>; Henry James, From <i>Hawthorne</i>; Herman Melville, From <i>"Hawthorne and His Mosses"</i>; Edgar Allan Poe, Review of Hawthorne's <i>Twice-Told Tales</i><br></i> <b>Edgar Allan Poe</b>, <i>The Fall of the House of Usher</i><br> <i>RELATED COMMENTARIES&#58; James Russell Lowell, <i>Edgar Allan Poe and "The Fall of the House of Usher"</i>; Charles E. May, <i>Edgar Allan Poe--Critical Context</i>; Edgar Allan Poe, Review of Hawthorne's <i>Twice-Told Tales</i><br></i> <b>Thomas Bangs Thorpe,</b> <i>The Big Bear of Arkansas</i><br> <b>Lydia Maria Child,</b> <i>Slavery's Pleasant Homes</i><br> <b>Caroline Kirkland,</b> <i>The Land-Fever</i><br> <b>William Gilmore Simms,</b> <i>The Arm-Chair of Tustenuggee</i><br> <b>Harriet Beecher Stowe,</b> <i>The Two Altars; or, Two Pictures in One</i> <br> <b>Elizabeth Stuart Phelps,</b> <i>The Angel over the Right Shoulder</i><br> <b>Herman Melville,</b> <i>Bartleby, the Scrivener</i><br> <i>RELATED COMMENTARIES&#58; Herman Melville, From <i>"Hawthorne and His Mosses"</i>; J. Hillis Miller, <i>A Deconstructive Reading of Melville's "Bartleby, the Scrivener"</i> <br></i> <b>Frances E. W. Harper,</b> <i>The Two Offers</i><br> <b>Harriet Prescott Spofford,</b> <i>Circumstance</i><p><b>2. Late Nineteenth Century&#58; 1861-1899<br></b> <i>RELATED COMMENTARIES&#58; Hamlin Garland, <i>Local Color in Art</i>; Bret Harte, <i>The Rise of the "Short Story"</i>; Brander Matthews, From <i>The Philosophy of the Short-Story</i><br></i> <b>Rebecca Harding Davis,</b> <i>Life in the Iron-Mills, or The Korl Woman</i> <br> <b>Mark Twain (Samuel Langhorne Clemens),</b> <i>The Celebrated Jumping Frog of Calaveras County</i><br> <i>RELATED COMMENTARY&#58; Mark Twain, <i>How to Tell a Story</i> <br></i> <b>Bret Harte,</b> <i>The Luck of Roaring Camp</i><br> <i>RELATED COMMENTARY&#58; Bret Harte, <i>The Rise of the "Short Story"</i> <br></i> <b>George Washington Cable,</b> <i>Belles Demoiselles Plantation</i> <br> <b>Constance Fenimore Woolson,</b> <i>Rodman the Keeper</i><br> <b>Ambrose Bierce,</b> <i>One of the Missing</i><br> <b>Hamlin Garland,</b> <i>The Return of a Private</i> <br> <i>RELATED COMMENTARY&#58; Hamlin Garland, <i>Local Color in Art</i> <br></i> <b>Mary Wilkins Freeman,</b> <i>The Revolt of "Mother"</i><br> <b>Rose Terry Cooke,</b> <i>How Celia Changed Her Mind</i><br> <b>Charlotte Perkins Gilman,</b> <i>The Yellow Wallpaper</i><br> <i>RELATED COMMENTARIES&#58; Sandra M. Gilbert and Susan Gubar, <i>A Feminist Reading of Gilman's "The Yellow Wallpaper"</i>; Charlotte Perkins Gilman, <i>Undergoing the Cure for Nervous Prostration</i> <br></i> <b>Sarah Orne Jewett,</b> <i>The Queen's Twin</i><br> <i>RELATED COMMENTARIES&#58; Willa Cather, <i>Miss Jewett</i>; Sarah Orne Jewett, <i>Looking Back on Girlhood</i><br></i> <b>Madelene Yale Wynne,</b> <i>The Little Room</i><br> <b>Kate Chopin,</b> <i>Ath&eacute;na&iuml;se</i> <br> <i>RELATED COMMENTARY&#58; Kate Chopin, <i>On Certain Brisk, Bright Days</i><br></i> <b>Charles W. Chesnutt,</b> <i>The Wife of His Youth</i><br> <i>RELATED COMMENTARY&#58; William Dean Howells, <i>Mr. Charles W. Chesnutt's Stories</i><br></i> <b>Stephen Crane,</b> <i>The Bride Comes to Yellow Sky</i><br> <b>Alice Dunbar-Nelson,</b> <i>Tony's Wife</i><p><b>3. Early Twentieth Century&#58; 1900-1940 <br></b> <i>RELATED COMMENTARIES&#58; Sherwood Anderson, <i>Form, Not Plot, in the Short Story</i>; H. E. Bates, <i>Hemingway's Short Stories</i>; Zora Neale Hurston, <i>What White Publishers Won't Print</i>; Ruth Suckow, <i>The Short Story</i>; John Updike, <i>Twisted Apples&#58; On</i> Winesburg, Ohio; Edith Wharton, <i>Every Subject Must Contain within Itself Its Own Dimensions</i><br></i> <b>Zitkala-S&auml; (Gertrude Simmons Bonnin),</b> <i>The Trial Path</i><br> <b>O. Henry (William Sydney Porter),</b> <i>The Duplicity of Hargraves</i><br> <b>Willa Cather,</b> <i>A Wagner Matin&eacute;e</i><br> <i>RELATED COMMENTARY&#58; Willa Cather, <i>Miss Jewett</i> <br></i> <b>Edith Wharton,</b> <i>The Other Two</i><br> <i>RELATED COMMENTARY&#58; Edith Wharton, <i>Every Subject Must Contain within Itself Its Own Dimensions</i><br></i> <b>Jack London,</b> <i>All Gold Canyon</i><br> <b>Mary Austin,</b> <i>The Walking Woman</i><br> <i>RELATED COMMENTARY&#58; Mary Austin, <i>Regionalism in American Fiction</i><br></i> <b>Henry James,</b> <i>The Jolly Corner</i> <br> <i>RELATED COMMENTARIES&#58; Henry James, From <i>Hawthorne</i>; Floyd Stovall, <i>Henry James's "The Jolly Corner"</i><br></i> <b>Sui Sin Far (Edith Maud Eaton),</b> <i>"Its Wavering Image"</i><br> <b>Sherwood Anderson,</b> <i>Hands</i><br> <i>RELATED COMMENTARIES&#58; Sherwood Anderson, <i>Form, Not Plot, in the Short Story</i>; John Updike, <i>Twisted Apples&#58; On</i> Winesburg, Ohio<br></i> <b>Theodore Dreiser,</b> <i>The Lost Phoebe</i><br> <b>Susan Glaspell,</b> <i>A Jury of Her Peers</i><br> <b>Anzia Yezierska,</b> <i>My Own People</i><br> <b>F. Scott Fitzgerald,</b> <i>Winter Dreams</i><br> <i>RELATED COMMENTARY&#58; Charles Scribner III, <i>On F. Scott Fitzgerald's Stories</i><br></i> <b>Ring Lardner,</b> <i>The Golden Honeymoon</i><br> <i>RELATED COMMENTARY&#58; Ring Lardner, <i>How to Write Short Stories</i> <br></i> <b>Gertrude Stein,</b> <i>Miss Furr and Miss Skeene</i> <br> <b>Jean Toomer,</b> <i>Blood-Burning Moon</i> <br> <i>RELATED COMMENTARY&#58; Arna Bontemps, <i>On Jean Toomer and</i> Cane<br></i> <b>Ernest Hemingway,</b> <i>Soldier's Home</i> <br> <i>RELATED COMMENTARY&#58; H. E. Bates, <i>Hemingway's Short Stories</i><br></i> <b>Katherine Anne Porter,</b> <i>He</i><br> <b>Dorothy Parker,</b> <i>You Were Perfectly Fine</i><br> <i>RELATED COMMENTARY&#58; Dorothy Parker, <i>The Short Story, through a Couple of the Ages</i><br></i> <b>William Faulkner,</b> <i>Spotted Horses</i><br> <i>RELATED COMMENTARY&#58; Eudora Welty, <i>The Sense of Place in Faulkner's "Spotted Horses"</i><br></i> <b>Arna Bontemps,</b> <i>A Summer Tragedy</i> <br> <i>RELATED COMMENTARY&#58; Arna Bontemps, <i>On Jean Toomer and</i> Cane<br></i> <b>Langston Hughes,</b> <i>Red-Headed Baby</i><br> <b>William Saroyan,</b> <i>Seventy Thousand Assyrians</i><br> <i>RELATED COMMENTARY&#58; William Saroyan, <i>Writing Stories</i><br></i> <b>William Carlos Williams,</b> <i>The Use of Force</i><br> <i>RELATED COMMENTARY&#58; William Carlos Williams, <i>Notes on "A Beginning on the Short Story"</i><br></i> <b>John Steinbeck,</b> <i>The Snake</i><br> <b>Delmore Schwartz,</b> <i>In Dreams Begin Responsibilities</i><br> <b>Jack Conroy,</b> <i>He Is Thousands</i><br> <b>Richard Wright,</b> <i>The Man Who Was Almost a Man</i><p><b>4. Mid-Twentieth Century&#58; 1941-1965 <br></b> <i>RELATED COMMENTARIES&#58; Raymond Carver, <i>Creative Writing 101</i>; Flannery O'Connor, <i>Some Aspects of the Grotesque in Southern Fiction</i>; Frank O'Connor, <i>From</i> The Lonely Voice<br></i> <b>Pearl S. Buck,</b> <i>His Own Country</i><br> <b>Walter Van Tilburg Clark,</b> <i>The Portable Phonograph</i><br> <b>Mary McCarthy,</b> <i>The Man in the Brooks Brothers Shirt</i> <br> <b>Carson McCullers,</b> <i>A Tree. A Rock. A Cloud</i><br> <b>James Thurber,</b> <i>The Catbird Seat</i> <br> <i>RELATED COMMENTARY&#58; Earl Rovit, <i>On James Thurber and</i> The New Yorker <br></i> <b>Ralph Ellison,</b> <i>Flying Home</i> <br> <b>Gwendolyn Brooks,</b> <i>We're the only colored people here</i> <br> <b>Kay Boyle,</b> <i>Winter Night</i><br> <b>John Cheever,</b> <i>The Enormous Radio</i><br> <b>Caroline Gordon,</b> <i>The Petrified Woman</i> <br> <b>Shirley Jackson,</b> <i>The Lottery</i> <br> <i>RELATED COMMENTARY&#58; Shirley Jackson, <i>The Morning of June 28, 1948, and "The Lottery"</i> <br></i> <b>Tillie Olsen</b>, <i>I Stand Here Ironing</i> <br> <i>RELATED COMMENTARY&#58; Robert Coles, <i>Tillie Olsen&#58; The Iron and the Riddle</i><br></i> <b>James Baldwin,</b> <i>Sonny's Blues</i><br> <i>RELATED COMMENTARY&#58; James Baldwin, <i>Autobiographical Notes</i> <br></i> <b>Philip Roth,</b> <i>The Conversion of the Jews</i> <br> <b>Peter Taylor,</b> <i>Promise of Rain</i><br> <b>Flannery O'Connor,</b> <i>Everything That Rises Must Converge</i><br> <i>RELATED COMMENTARY&#58; Flannery O'Connor, <i>Some Aspects of the Grotesque in Southern Fiction</i><br></i> <b>John O'Hara,</b> <i>The Sharks</i><br> <b>Kurt Vonnegut Jr.,</b> <i>Harrison Bergeron</i><br> <b>Eudora Welty,</b> <i>Where Is the Voice Coming From?</i><br> <i>RELATED COMMENTARY&#58; Eudora Welty, <i>The Sense of Place in Faulkner's "Spotted Horses"</i><br></i> <br> <b>5. Late Twentieth Century&#58; 1966-present <br></b> <i>RELATED COMMENTARIES&#58; John Barth, <i>It's a Short Story</i>; Richard Ford, <i>Crazy for Stories</i>; Susan Lohafer, <i>From</i> Short Story Theory at a Crossroads; Ruth Suckow, <i>The Short Story</i><br></i> <b>William Gass,</b> <i>In the Heart of the Heart of the Country</i><br> <i>RELATED COMMENTARY&#58; William Gass, From Preface to <i>In the Heart of the Heart of the Country</i> <br></i> <b>John Barth,</b> <i>Title</i><br> <i>RELATED COMMENTARY&#58; John Barth, <i>It's a Short Story</i> <br></i> <b>Donald Barthelme,</b> <i>The Police Band</i><br> <b>Joyce Carol Oates,</b> <i>How I Contemplated the World from the Detroit House of Correction and Began My Life Over Again</i><br> <b>Richard Brautigan,</b> <i>1/3, 1/3, 1/3</i><br> <b>Grace Paley,</b> <i>A Conversation with My Father</i><br> <i>RELATED COMMENTARY&#58; Grace Paley, <i>A Conversation with Ann Charters</i> <br></i> <b>Raymond Carver,</b> <i>Are These Actual Miles?</i><br> <i>RELATED COMMENTARY&#58; Raymond Carver, <i>Creative Writing 101</i><br></i> <b>Alice Walker,</b> <i>Everyday Use</i> <br> <i>RELATED COMMENTARY&#58; Alice Walker, <i>Zora Neale Hurston&#58; A Cautionary Tale and a Partisan View</i><br></i> <b>Leslie Marmon Silko,</b> <i>Yellow Woman </i><br> <i>RELATED COMMENTARY&#58; Paula Gunn Allen, <i>Whirlwind Man Steals Yellow Woman</i> <br></i> <b>John Updike,</b> <i>Separating</i><br> <i>RELATED COMMENTARY&#58; John Updike, <i>Twisted Apples&#58; On</i> Winesburg, Ohio <br></i> <b>Bobbie Ann Mason,</b> <i>Big Bertha Stories</i><br> <i>RELATED COMMENTARY&#58; Bobbie Ann Mason, <i>On Tim O'Brien's "The Things They Carried"</i><br></i> <b>Amy Hempel,</b> <i>In the Cemetery Where Al Jolson Is Buried</i><br> <b>Bharati Mukherjee,</b> <i>The Tenant</i><br> <b>Tim O'Brien,</b> <i>The Things They Carried</i><br> <i>RELATED COMMENTARY&#58; Bobbie Ann Mason, <i>On Tim O Brien's</i> The Things They Carried<br></i> <b>Helena Mar&iacute;a Viramontes,</b> <i>Miss Clairol</i><br> <b>Ann Beattie,</b> <i>Second Question</i><br> <i>RELATED COMMENTARY&#58; Ann Beattie, <i>Where Characters Come From</i><br></i> <b>Ursula K. Le Guin,</b> <i>Texts</i><br> <b>John Edgar Wideman,</b> <i>newborn thrown in trash and dies</i><br> <b>Sherman Alexie,</b> <i>The Only Traffic Signal on the Reservation Doesn't Flash Red Anymore</i><br> <b>Mary Gaitskill,</b> <i>Tiny, Smiling Daddy</i> <br> <b>Lorrie Moore,</b> <i>Four Calling Birds, Three French Hens</i><br> <b>Gina Berriault,</b> <i>Who Is It Can Tell Me Who I Am?</i><br> <b>Edwidge Danticat,</b> <i>New York Day Woman</i> <br> <b>Charles Baxter,</b> <i>Saul and Patsy Are in Labor</i> <br> <b>Lan Samantha Chang,</b> <i>Water Names</i><br> <b>Annie Proulx,</b> <i>The Bunchgrass Edge of the World</i> <p><p><b>COMMENTARIES<br></b> <br> <b>Paula Gunn Allen,</b> <i>Whirlwind Man Steals Yellow Woman</i><br> <b>Sherwood Anderson,</b> <i>Form, Not Plot, in the Short Story</i><br> <b>Mary Austin,</b> <i>Regionalism in American Fiction</i><br> <b>James Baldwin,</b> <i>Autobiographical Notes</i><br> <b>John Barth,</b> <i>It's a Short Story</i><br> <b>H. E. Bates,</b> <i>Hemingway's Short Stories</i><br> <b>Ann Beattie,</b> <i>Where Characters Come From</i><br> <b>Arna Bontemps,</b> <i>On Jean Toomer and</i> Cane<br> <b>Raymond Carver,</b> <i>Creative Writing 101</i><br> <b>Willa Cather,</b> <i>Miss Jewett</i><br> <b>Kate Chopin,</b> <i>On Certain Brisk, Bright Days</i><br> <b>Robert Coles,</b> <i>Tillie Olsen&#58; The Iron and the Riddle</i><br> <b>Richard Ford,</b> <i>Crazy for Stories</i><br> <b>Hamlin Garland,</b> <i>Local Color in Art</i><br> <b>William Gass,</b> From Preface to <i>In the Heart of the Heart of the Country</i><br> <b>Sandra M. Gilbert and Susan Gubar,</b> <i>A Feminist Reading of Gilman's "The Yellow Wallpaper"</i><br> <b>Charlotte Perkins Gilman</b>, <i>Undergoing the Cure for Nervous Prostration</i><br> <b>Bret Harte,</b> <i>The Rise of the "Short Story"</i> <br> <b>Nathaniel Hawthorne,</b> <i>Preface to</i> Twice-Told Tales<br> <b>William Dean Howells,</b> <i>Mr. Charles W. Chesnutt's Stories</i><br> <b>Zora Neale Hurston,</b> <i>What White Publishers Won't Print</i> <br> <b>Washington Irving,</b> <i>Letter to Henry Brevoort, December 11, 1824</i><br> <b>Shirley Jackson,</b> <i>The Morning of June 28, 1948, and "The Lottery"</i><br> <b>Henry James,</b> From <i>Hawthorne</i><br> <b>Sarah Orne Jewett,</b> <i>Looking Back on Girlhood</i><br> <b>Ring Lardner,</b> <i>How to Write Short Stories</i> <br> <b>Susan Lohafer,</b> From <i>Short Story Theory at a Crossroads</i><br> <b>James Russell Lowell,</b> <i>Edgar Allan Poe and "The Fall of the House of Usher"</i><br> <b>Bobbie Ann Mason,</b> <i>On Tim O'Brien's "The Things They Carried"</i><br> <b>Brander Matthews,</b> From <i>The Philosophy of the Short-Story</i> <br> <b>Charles E. May,</b> <i>Edgar Allan Poe--Critical Context</i><br> <b>Herman Melville,</b> From <i>Hawthorne and His Mosses</i><br> <b>J. Hillis Miller,</b> <i>A Deconstructive Reading of Melville's "Bartleby, the Scrivener"</i><br> <b>Mary Russell Mitford,</b> <i>Stories of American Life</i><br> <b>Flannery O'Connor,</b> <i>Some Aspects of the Grotesque in Southern Fiction</i><br> <b>Frank O'Connor,</b> From <i>The Lonely Voice</i><br> <b>Grace Paley,</b> <i>A Conversation with Ann Charters</i><br> <b>Dorothy Parker,</b> <i>The Short Story, through a Couple of the Ages</i><br> <b>Edgar Allan Poe,</b> <i>Review of Hawthorne's</i> Twice-Told Tales<br> <b>Earl Rovit,</b> <i>On James Thurber and</i> The New Yorker <br> <b>William Saroyan,</b> <i>Writing Stories</i> <br> <b>Charles Scribner III,</b> <i>On F. Scott Fitzgerald's Stories</i> <br> <b>Floyd Stovall,</b> <i>Henry James's "The Jolly Corner"</i><br> <b>Ruth Suckow,</b> <i>The Short Story</i> <br> <b>Mark Twain (Samuel Langhorne Clemens),</b> <i>How to Tell a Story</i><br> <b>John Updike,</b> <i>Twisted Apples&#58; On</i> Winesburg, Ohio<br> <b>Alice Walker,</b> <i>Zora Neale Hurston&#58; A Cautionary Tale and a Partisan View </i><br> <b>Eudora Welty,</b> <i>The Sense of Place in Faulkner's "Spotted Horses"</i><br> <b>Edith Wharton,</b> <i>Every Subject Must Contain within Itself Its Own Dimensions</i><br> <b>William Carlos Williams,</b> <i>Notes on "A Beginning on the Short Story"</i><p><b>Selected Annotated Bibliography&#58; The American Short Story and Its Cultural Background<br></b> <b>Appendix&#58; Chronological List of Stories with Their Original Date and Place of Publication</b><p><p>
323Orpheus and Company: Contemporary Poems on Greek MythologyDeborah De Nicola0DEBORA DE NICOLA Visiting Professor of English Literature and Creative Writing at Massachusetts College of Art, is author of Where Divinity Begins (1994) and two chapbooks.Deborah De Nicolaorpheus-and-companydeborah-de-nicola97808745191810874519187$26.69PaperbackUniversity Press of New EnglandApril 19991st EditionPoetry Anthologies, Poetry - General & Miscellaneous, American Poetry, English Poetry, Greco-Roman Folklore & Mythology, English & Irish Literature Anthologies, American Literature Anthologies3566.00 (w) x 9.00 (h) x 0.79 (d)This collection offers myriad fresh, and often dazzling, interpretations of Greek myths at a time of renewed excitement about the role of myths and other archetypes in our culture, and about the spiritual themes which many of the poems suggest. The range is broad, from celebrated authors such as Rita Dove, Louise Glueck, Mark Strand, and Stephen Dobyns, to such respected emerging poets as Diann Blakely, Reginald Shepard, Mary Jo Bang, and Carl Phillips.<p><P>Today's poets provide a new spin on Greek myths.</p>
324Poems That Live ForeverHazel Felleman0Hazel Fellemanpoems-that-live-foreverhazel-felleman97803850035820385003587$18.55HardcoverKnopf Doubleday Publishing GroupJune 1965Poetry Anthologies, American Poetry, American Literature Anthologies, Inspirational & Religious Poetry - General & Miscellaneous4805.75 (w) x 8.55 (h) x 1.45 (d)Over 175,000 copies have been sold of this perennially popular collection of America's favorite poems.<p><P>Over 175,000 copies have been sold of this perennially popular collection of America's favorite poems.</p>
325The Best American Nonrequired Reading 2008Dave Eggers0<p><P>Dave Eggers is the editor of McSweeney's and a cofounder of 826 National, a network of nonprofit writing and tutoring centers for youth, located in seven cities across the United States. He is the author of four books, including What Is the What and How We Are Hungry.</p>Dave Eggers (Editor), Judy Blumethe-best-american-nonrequired-reading-2008dave-eggers9780618902835061890283X$13.48PaperbackHoughton Mifflin HarcourtOctober 2008NoneShort Story Anthologies, American Literature Anthologies4005.40 (w) x 8.10 (h) x 1.10 (d)<p>"This great volume highlights the very best of this year’s fiction, nonfiction, alternative comics, screenplays, blogs, and more” (OK!). Compiled by Dave Eggers and students of his San Francisco writing center, it is thoroughly “entertaining and thought-provoking reading” (Library Journal).</p> <p>The Best American Nonrequired Reading 2008 includes MARJORIE CELONA • DAVID GESSNER • ANDREW SEAN GREER • RAFFI KHATCHADOURIAN • STEPHEN KING • EMILY RABOTEAU • GEORGE SAUNDERS • PATRICK TOBIN • LAURA VAN DEN BERG • MALERIE WILLENS • and others</p><p><P>"This great volume highlights the very best of this year&#8217;s fiction, nonfiction, alternative comics, screenplays, blogs, and more&#8221; (OK!). Compiled by Dave Eggers and students of his San Francisco writing center, it is thoroughly &#147;entertaining and thought-provoking reading&#8221; (Library Journal).<P>The Best American Nonrequired Reading 2008 includes MARJORIE CELONA &#149; DAVID GESSNER &#149; ANDREW SEAN GREER &#149; RAFFI KHATCHADOURIAN &#149; STEPHEN KING &#149; EMILY RABOTEAU &#149; GEORGE SAUNDERS &#149; PATRICK TOBIN &#149; LAURA VAN DEN BERG &#149; MALERIE WILLENS &#149; and others</p>
326American Negro PoetryArna Bontemps0<p><P><b>Arna Bontemps</b> (1902-1973), produced more than twenty-five novels, anthologies, children's books, and histories of black life, including the novel <i>God Sends Sunday</i> and<b> </b><i>The Story of the Negro</i>. Bontemps's later years were spent at Fisk University as chief librarian and writer-in-residence.</p>Arna Bontemps (Editor), Arna Bontempsamerican-negro-poetryarna-bontemps97808090156410809015641$17.47PaperbackFarrar, Straus and GirouxDecember 1995ReissuePoetry, American Literature Anthologies, Anthologies2565.50 (w) x 8.50 (h) x 0.58 (d)<p>With 200,000 copies in print, this anthology has for decades been seen as a fundamental collection of African-American verse. Bontemps (1902-73), an important figure during and after the Harlem Renaissance, author of more than 25 novels, and longtime librarian at Fisk University, last revised this classic anthology just before his death, adding such crucial new voices as Audre Lorde, Nikki Giovanni, and Bob Kaufman, among others.</p> <p>This edition, issued in 1996, reprints the poems in Bontemps's revised volume along with updated biographical notes. Nearly seventy poets are represented, their works indexed by both author and title.</p> <p>The standard anthology of black American poetry that includes among the 68 poets represented: Langston Hughes, Richard Wright and Nikki Giovanni. </p><p><P>With 200,000 copies in print, this anthology has for decades been seen as a fundamental collection of African-American verse. Bontemps (1902-73), an important figure during and after the Harlem Renaissance, author of more than 25 novels, and longtime librarian at Fisk University, last revised this classic anthology just before his death, adding such crucial new voices as Audre Lorde, Nikki Giovanni, and Bob Kaufman, among others.<P>This edition, issued in 1996, reprints the poems in Bontemps's revised volume along with updated biographical notes. Nearly seventy poets are represented, their works indexed by both author and title.</p><P><b>Introduction</b><P><b>James Weldon Johnson</b><p>"O Black and Unknown Bards"<p>"Go Down Death (A Funeral Sermon)" <P><b>Paul Laurence Dunbar</b> <p>"Dawn"<p>"Compensation" <p>"The Debt"<p>"Life" <p>"My Sort o' Man"<p>"The Party" <p>"A Song"<p>"Sympathy" <p>"We Wear the Mask" <P><b>William Stanley Braithwaite </b><p>"Rhapsody"<p>"Scintilla"<P><b>Angelina W. Grimk&eacute;</b> <p>"To Clarissa Scott Delany" <p>"The Black Finger" <P><b>Anne Spencer</b> <p>"For Jim, Easter Eve" <p>"Lines to a Nasturtium (A lover muses)" <p>"Letter to My Sister" <P><b>Effie Lee Newsome</b><p>"Morning Light the Dew-Drief" <P><b>Georgia Douglas Johnson</b> <p>"Common Dust" <p>"Trifle" <p>"The Poet Speaks" <p>"I Want to Die While You Love Me"<p>"Your World"<p>"Lovelight" <p>"Prejudice" <p>"Conquest" <P><b>Fenton Johnson </b><p>"The Daily Grind"<p>"The World Is a Mighty Ogre"<p>"A Negro Peddler's Song"<p>"The Old Repair Man" <p>"Counting"<P><b>Claude McKay </b> <p>"The Tropics in New York"<p>"Outcast"<p>"St. Isaac's Church, Petrograd"<p>"Flame-Heart"<p>"If We Must Die"<p>"The White House"<P><b>Jean Toomer</b> <p>"Georgia Dusk"<p>"Song of the Son" <p>"Brown River, Smile"<P><b>0</b><b>Melvin B. Tolson </b><p>"Dark Symphony" <P><b>Frank Horne </b><p>"Kid Stuff" <p>"Notes Found Near a Suicide" <p>"To a Persistent Phantom" <p>"Symphony" <P><b>Marcus B. Christian </b><p>"McDonogh Day in New Orleans" <p>"Dialect Quatrain"<P><b>Sterling A. Brown </b><p>"Sister Lou" <p>"When de Saints Go Ma'chin' Home" <P><b>Clarissa Scott Delany</b><p>"Solace" <P><b>Langston Hughes </b><p>"Brass Spittons"<p>"Cross"<p>"Jazzonia"<p>"The Negro Speaks of Rivers"<p>"I, Too"<p>"Bound No'th Blues"<p>"Personal"<p>"Dream Variation"<p>"Mother to Son"<p>"Lenox Avenue Mural"<p>"Pennsylvania Station"<p>"I Dream a World" <p>"Without Benefit of Declaration"<P><b>Gwendolyn B. Bennett</b> <p>"Hatred" <p>"Heritage" <p>"Sonnet I" <p>"Sonnet II"<P><b>Arna Bontemps</b><p>"A Black Man Talks of Reaping"<p>"Close Your Eyes!"<p>"The Day-Breakers"<p>"Golgotha Is a Mountain"<p>"Idolatry" <p>"Reconnaissance"<p>"Southern Mansion"<p>"Nocturne at Bethesda"<P><b>Countee Cullen </b><p>"Heritage (For Harold Jackman)"<p>"That Bright Chimeric Beast" <p>"Yet Do I Marvel" <p>"Four Epitaphs"<p>"Simon the Cyrenian Speaks"<P><b>Donald Jeffrey Hayes</b><p>"Appoggiatura"<p>"Benediction"<p>"Haven"<p>"Poet"<p>"Threnody"<p>"Alien"<p>"Pastourelle"<P><b>Jonathan Brooks</b><p>"The Resurrection" <P><b>Frank Marshall Davis</b> <p>"Flowers of Darkness" <p>"Four Glimpses of Night"<P><b>Waring Cuney </b><p>"No Images" <p>"Threnody"<p>p0"Finis" <P><b>Helene Johnson </b><p>"Poem" <p>"The Road"<p>"Sonnet to a Negro in Harlem"<p>"Invocation" <P><b>Richard Wright</b><p>"Between the World and Me"<p>"Hokku Poems" <P><b>Charles Enoch Wheeler </b><p>"Adjuration" <P><b>Pauli Murray </b><p>"Without Name"<p>"Dark Testament"<P><b>Robert Hayden </b><p>"A Ballad of Remembrance"<p>"Witch Doctor"<p>"Middle Passage"<p>"Fredrick Douglas"<p>"Veracruz"<P><b>Dudley Randall </b><p>"Perspectives" <p>"I Loved You Once (From the Russian of Alexander Pushkin)" <P><b>Owen Dodson </b><p>"Sorrow Is the Only Faithful One"<p>"Drunken Lover"<p>"Sickle Pears (For Glidden Parker)"<p>"Hymn Written After Jeremiah Preached to Me in a Dream"<p>"Yardbird's Skull (For Charlie Parker)"<p>"Sailors on Leave"<P><b>Leslie M. Collins</b><p>"Stevedore" <P><b>Margaret Walker </b><p>"For My People" <p>"Molly Means"<p>"October Journey"<P><b>Frank Yerby </b><p>"The Fishes and the Poet's Hands" <p>"Weltschmerz" <p>"Wisdom" <p>"You Are a Part of Me"<p>"Calm After Storm" <P><b>Samuel Allen</b> <p>"A Moment Please"<p>"To Satch" <P><b>Catherine Cater </b><p>"Here and Now"<P><b>Gwendolyn Brooks </b><p>"Flags"<p>"The Old-Marrieds" <p>"Piano After War"<p>"The Chicago Defender Sends a Man to Little Rock, Fall, 1957" <P><b>Bruce McM. Wright </b><p>"The African Affair"<P><b>Alfred A. Duckett</b> <p>"Sonnet" <P><b>Myron O'Higgins</b> <p>"Sunset Horn"<P><b>M. Carl Holman </b><p>"And on This Shore" <p>"Letter Across Doubt and Distance"<p>"Notes for a Movie Script"<p>"Song"<P><b>Yvonne Gregory</b><p>"Christmas Lullaby for a New-Born"<P><b>Margaret Danner</b><p>"Far From Africa&#58; Four Poems"<p>"The Slave and the Iron Lace"<P><b>G. C. Oden</b><p>"A Private Letter to Brazil"<p>"The Carousel"<p>"' . . . As When Emotion Too Far Exceeds Its Cause'"<p>"The Map"<P><b>Mari E. Evans</b><p>"The Rebel"<p>"When in Rome"<p>"The Emancipation of George-Hector (a colored turtle)"<P><b>Oliver Pitcher</b><p>"Raison d'Etre" <P><b>James P. Vaughn</b><p>"Four Questions Addressed to His Excellency, the Prime Minister"<p>"So?"<P><b>Russell Atkins</b><p>"At War"<p>"Irritable Song"<p>"It's Here In The"<P><b>Ted Jones</b><p>"Lester Young"<p>"Voice in the Crowd"<P><b>William Browne</b><p>"Harelm Sounds&#58; Hallelujah Corner"<P><b>James A. Emanuel</b><p>"The Voyage of Jimmy Poo"<p>"The Treehouse"<p>"Get Up, Blues"<P><b>Conrad Kent Rivers</b><p>"Four Sheets to the Wind and a One-Way Ticket to France, 1933"<p>"To Richard Wright"<P><b>LeRoi Jones</b><p>"Preface to a Twenty Volume Suicide Note"<p>"The Invention of Comics"<p>"As a Possible Lover"<p>"The End of Man Is His Beauty"<P><b>Clarence Major</b><p>"Celebrated Return"<P><b>Julia Fields</b><p>"No Time for Poetry"<P><b>Horace Julian Bond</b><p>"The Bishop of Atlanta&#58; Ray Charles"<P><b>Carl Wendell Hines, Jr.</b><p>"Two Jazz Poems"<P><b>Bob Kaufman</b> <p>"Cocoa Morning" <p>"I Have Folded My Sorrows" <p>"African Dream"<p>"Battle Report"<p>"Forget to Not"<P>ql<p><b>Richard A. Long</b><p>"Hearing James Brown at the Caf&eacute; des Nattes"<p>"Juan de Pareja"<P><b>Audre Lorde</b><p>"If You Come Softly"<P><b>Calvin C. Hernton</b><p>"Young Negro Poet"<P><b>Helen Armstead Johnson</b><p>"Affirmation"<p>"Philodendron"<P><b>Naomi Long Madgett</b><p>"Woman with Flower"<P><b>Lucille Clifton</b><p>"Good Times"<P><b>Larry Neal</b><p>"Malcolm X&#8212;An Autobiography"<P><b>Don L. Lee</b><p>"But He Was Cool"<p>"Assassination"<p>"Education"<p>"Stereo"<P><b>Nikki Giovanni </b><p>"My Poem"<p>"Nikki-Rosa"<p>"Knoxville, Tennessee"<p>"The Funeral of Martin Luther King, Jr."<p>"Kidnap Poem"<p>"A Robin's Poem"<P><b>Frank Lamont Phillips</b><p>"No Smiles" <p>"Genealogy"<p>"Maryuma"<P><b>Marvin Wyche, Jr.</b><p>"And She Was Bad"<p>"We Rainclouds" <p>"Leslie"<p>"Five Sense"<P><b>Biographical Notes</b><P><b>Index of Titles</b><P><b>Acknowledgments</b><article> <h4>From the Publisher</h4>"[Bontemps's] most distinctive works are ringing affirmations of the human passion for freedom and the desire for social justice inherent in us all. Arnold Rampersad called him the conscience of his era and it could be fairly added that his tendency to fuse history and imagination represents his personal legacy to a collective memory."—Charles L. James, The Oxford Companion to African American Literature (on the life and work of Arna Bontemps, editor of American Negro Poetry) </article>
327Paradise Road: Jack Kerouac's Lost Highway and My Search for AmericaJay Atkinson30<p><P>Jay Atkinson is the author of two novels, three narrative nonfiction books, and a collection of stories. His work has appeared in the <i>New York Times, Men's Health,</i> the Boston Globe, and elsewhere. He teaches journalism at Boston University.</p>Jay Atkinsonparadise-roadjay-atkinson97804702376940470237694$20.10HardcoverWiley, John & Sons, IncorporatedMarch 2010120th Century American Literature - Post WWII - Literary Criticism, U.S. Authors - 20th Century - Literary Biography, General & Miscellaneous Americas History, American Literature Anthologies, General & Miscellaneous Literary Biography2726.30 (w) x 9.30 (h) x 1.10 (d)&nbsp; <p>praise for jay atkinson</p> <p>"The bard of New England toughness."<br> —Men's Health</p> <p>For Legends of Winter Hill: Cops, Con Men, and Joe McCain, the Last Real Detective:</p> <p>"A page-turner. Legends of Winter Hill, which had me cringing one minute and laughing the next, broadened my street education . . . I guarantee it will do the same for you."<br> —Boston Sunday Globe</p> <p>"Collaring the reader from the start, Legends of Winter Hill pushes hard and fast, propelling larger-than-life characters across the page, neverloosening its grip."<br> —Boston Herald</p> <p>For Ice Time: A Tale of Fathers, Sons, and Hometown Heroes:</p> <p>"A memorable journey, part reportage, part memoir, all heart."<br> —Bill Reynolds, The Providence Journal</p> <p>"[Atkinson] seamlessly weaves his past with current events, detailing the team's fortunes while lovingly recalling his own at that time of life."<br> —The Virginian-Pilot</p> <p>"A bona fide masterstroke."<br> —Publishers Weekly</p> <p>"Far more than just a chronicle of a high school hockey season, Jay Atkinson's book is an evocative, bittersweet, poetic journey of a grown man trying, as we all try, not to recapture youth but to remember the splendor of it."<br> —H. G. Bissinger, author of the bestselling Friday Night Lights</p> <p>For Caveman Politics:</p> <p>"Atkinson keeps his plot moving at a good pace, offering enough twists to keep the reader's attention, but it is the humor and insight of his characters that make the novel work."<br> —The New York Times Book Review</p><p><P>More than fifty years after its publication, Jack Kerouac's iconic novel On the Road remains one of the most important books of the twentieth century. Chronicling Kerouac's adventures as he traveled across North America with his companions Neal Cassady, William Burroughs, Allen Ginsberg, and other members of the Beat Generation, On the Road takes a unique look at a lost postwar America. In <i>Paradise Road</i>, Jay Atkinson sets out to re-create Kerouac's journeys of the late 1940s, depicting the travels of the author and his longtime friends as they retrace the five major trips Jack Kerouac took with his pals. Writing with a novelist's eye and ear, Atkinson creates a compelling portrait of North America&#58; its roaring blues bars and nightclubs, empty country roads, and remote prairie towns and byways as well as the enduring warmth and humor of its citizens. <P>Jay Atkinson grew up in Methuen, Massachusetts, a few miles from Jack Kerouac's hometown of Lowell. In this book, Atkinson compares his experiences with those of his former "neighbor," detailing how the country has changed since Kerouac's time. But perhaps the most intriguing aspect of this book is the various ways in which the small towns of America have remained the same. Bringing to mind the writing of Kerouac, Walt Whitman, Henry David Thoreau, and Jack London, Atkinson's narrative is a celebration of ordinary American towns and the extraordinary people who reside there. <P>Like Kerouac, Atkinson finds his journey interrupted, changed, and enriched by people he meets along the way?&#8212;a barmaid who struggles to quit drinking on the job, a wizened bus driver laboring to fix his car and drive his wife to her cancer treatment, and the former college basketball star who still lives with his ex-girlfriend because neither of them can afford to live alone. <P><i>Paradise Road</i> takes you on a fascinating, complex, and revealing American journey.</p><P>Preface&#58; "The big, Rushing Tremensousness". <P>Prologue Ghosts of the Pawtucketville Night. <P>PART ONE NEW YORK. <P>PART TWO NEW ORLEANS. <P>PART THREE MEXICO. <P>PART FOUR CALIFORNIA. <P>PART FIVE COLORADO. <P>Acknowledgments. <P>Index. <P>Credits.
328The Black Woman: An AnthologyToni Cade Bambara0Toni Cade Bambara (Editor), Eleanor W Traylorthe-black-womantoni-cade-bambara97807434769730743476972$16.02PaperbackSimon & Schuster Adult Publishing GroupMarch 2005ReprintPeoples & Cultures - American Anthologies, African Americans - General & Miscellaneous3525.31 (w) x 8.25 (h) x 1.00 (d)<p>A collection of early, emerging works from some of today's most celebrated African American female writers</p> <p> When it was first published in 1970, <i>The Black Woman</i> introduced readers to an astonishing new wave of voices that demanded to be heard. In this groundbreaking volume of original essays, poems, and stories, a chorus of outspoken women — many who would become leaders in their fields: bestselling novelist Alice Walker, poets Audre Lorde and Nikki Giovanni, writer Paule Marshall, activist Grace Lee Boggs, and musician Abbey Lincoln among them — tackled issues surrounding race and sex, body image, the economy, politics, labor, and much more. Their words still resonate with truth, relevance, and insight today.</p><p><P>A collection of early, emerging works from some of today's most celebrated African American female writers<P>When it was first published in 1970, <i>The Black Woman</i> introduced readers to an astonishing new wave of voices that demanded to be heard. In this groundbreaking volume of original essays, poems, and stories, a chorus of outspoken women &#151; many who would become leaders in their fields&#58; bestselling novelist Alice Walker, poets Audre Lorde and Nikki Giovanni, writer Paule Marshall, activist Grace Lee Boggs, and musician Abbey Lincoln among them &#151; tackled issues surrounding race and sex, body image, the economy, politics, labor, and much more. Their words still resonate with truth, relevance, and insight today.<br></p><h3>Library Journal</h3><p>This 1970 collection, edited by Bambara, sports fiction, poetry, and essays by heavy-hitters such as Alice Walker, Nikki Giovanni, Paule Marshall, and Abbey Lincoln on race, sex, politics, and lots more. Copyright 2005 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Re calling the black woman</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman poem</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nikki-Rosa</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Naturally</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">And what about the children</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reena</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The diary of an African nun</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tell Martha not to moan</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mississippi politics - a day in the life of Ella J. Baker</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Motherhood</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dear black man</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To whom will she cry rape?</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The black woman as a woman</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Double jeopardy : to be black and female</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the issue of roles</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black man, my man, listen!</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Is the black male castrated?</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The kitchen crisis</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">End racism in education : a concerned parent speaks</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I fell off the roof one day (a view of the black university)</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black romanticism</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black people and the Victorian ethos</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black pride? : some contradictions</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The pill : genocide or liberation?</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The black social workers' dilemma</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ebony minds, black voices</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poor black women's study papers by poor black women of Mount Vernon, New York</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A historical and critical essay for black women in the cities, June 1969</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The black revolution in America</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Looking back</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the family notebook</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thinking about the play</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Are the revolutionary techniques employed in The battle of Algiers applicable to Harlem?</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD></TABLE><article> <h4>Library Journal</h4>This 1970 collection, edited by Bambara, sports fiction, poetry, and essays by heavy-hitters such as Alice Walker, Nikki Giovanni, Paule Marshall, and Abbey Lincoln on race, sex, politics, and lots more. Copyright 2005 Reed Business Information. </article>
329Thom Pain (based on nothing)Will Eno0<p><p>Will Eno's play Thom Pain (based on nothing) won the First Fringe Award with its Edinbugh Festival premiere, and had acclaimed productions in London and New York. His plays have been produced in London at the Gate Theatre, Soho Theatre Company, BBC Radio; in New York by Rude Mechanicals, NY Power Company, Naked Angels.<p></p>Will Enothom-painwill-eno97815593627571559362758$13.95PaperbackTheatre Communications GroupApril 2005Drama, American<p><p>"Will Eno is a Samuel Beckett for the Jon Stewart Generation."--The New York Times<p></p><h3>London Daily Telegraph</h3><p>It's hard to imagine more dazzling writing on any stage...Eno is light, rhythmic and meticulous.</p><P>Thom Pain (based on nothing) 9<P>Lady Grey (in ever-lower light) 39<P>Mr. Theatre comes home different 57
330American Fantastic Tales: Terror and the Uncanny from Poe to the PulpsPeter Straub8<p><P>PETER STRAUB is the <i>New York Times</i> bestselling author of more than a dozen novels. Two of his most recent, <i>Lost Boy Lost Girl</i> and <i>In the Night Room,</i> are winners of the Bram Stoker Award. He lives in New York City.</p>Peter Straubamerican-fantastic-talespeter-straub9781598530476159853047X$33.77HardcoverLibrary of AmericaOctober 2009Fiction, American Literature Anthologies, Fiction Subjects7505.22 (w) x 8.18 (h) x 1.29 (d)From early on, American literature has teemed with tales of horror, of hauntings, of terrifying obsessions and gruesome incursions, of the uncanny ways in which ordinary reality can be breached and subverted by the unknown and the irrational. As this pathbreaking two-volume anthology demonstrates, it is a tradition with many unexpected detours and hidden chambers, and one that continues to evolve, finding new forms and new themes as it explores the bad dreams that lurk around the edges—if not in the unacknowledged heart—of the everyday. Peter Straub, one of today's masters of horror and fantasy, offers an authoritative and diverse gathering of stories calculated to unsettle and delight. <p>This first volume surveys a century and a half of American fantastic storytelling, revealing in its 44 stories an array of recurring themes: trance states, sleepwalking, mesmerism, obsession, possession, madness, exotic curses, evil atmospheres. In the tales of Irving, Poe, and Hawthorne, the bright prospects of the New World face an uneasy reckoning with the forces of darkness. In the ghost-haunted Victorian and Edwardian eras, writers including Henry James, Edith Wharton, Mary Wilkins Freeman, Charlotte Perkins Gilman, and Ambrose Bierce explore ever more refined varieties of spectral invasion and disintegrating selfhood.</p> <p>In the twentieth century, with the arrival of the era of the pulps, the fantastic took on more monstrous and horrific forms at the hands of H. P. Lovecraft, Robert E. Howard, Robert Bloch, and other classic contributors to <i>Weird Tales</i>. Here are works by acknowledged masters such as Stephen Crane, Willa Cather, Conrad Aiken, and F. Scott Fitzgerald, along with surprising discoveries like Ralph Adams Cram's "The Dead Valley," Emma Francis Dawson's "An Itinerant House," and Julian Hawthorne's "Absolute Evil."</p> <p><i>American Fantastic Tales</i> offers an unforgettable ride through strange and visionary realms.</p><p>From early on, American literature has teemed with tales of horror, of hauntings, of terrifying obsessions and gruesome incursions, of the uncanny ways in which ordinary reality can be breached and subverted by the unknown and the irrational. As this pathbreaking two-volume anthology demonstrates, it is a tradition with many unexpected detours and hidden chambers, and one that continues to evolve, finding new forms and new themes as it explores the bad dreams that lurk around the edges&#151;if not in the unacknowledged heart&#151;of the everyday. Peter Straub, one of today's masters of horror and fantasy, offers an authoritative and diverse gathering of stories calculated to unsettle and delight.<p> This first volume surveys a century and a half of American fantastic storytelling, revealing in its 44 stories an array of recurring themes: trance states, sleepwalking, mesmerism, obsession, possession, madness, exotic curses, evil atmospheres. In the tales of Irving, Poe, and Hawthorne, the bright prospects of the New World face an uneasy reckoning with the forces of darkness. In the ghost-haunted Victorian and Edwardian eras, writers including Henry James, Edith Wharton, Mary Wilkins Freeman, Charlotte Perkins Gilman, and Ambrose Bierce explore ever more refined varieties of spectral invasion and disintegrating selfhood.<p> In the twentieth century, with the arrival of the era of the pulps, the fantastic took on more monstrous and horrific forms at the hands of H. P. Lovecraft, Robert E. Howard, Robert Bloch, and other classic contributors to <i>Weird Tales</i>. Here are works by acknowledged masters such as Stephen Crane, Willa Cather, Conrad Aiken, and F. Scott Fitzgerald, along with surprising discoveries like Ralph Adams Cram's "The Dead Valley," Emma Francis Dawson's "An Itinerant House," and Julian Hawthorne's "Absolute Evil."<p> <i>American Fantastic Tales</i> offers an unforgettable ride through strange and visionary realms.</p><h3>Publishers Weekly</h3><p>Starred Review. <P>In a time when the Fantastic is regaining popularity in American literature, this wide-ranging collection of horror and supernatural stories is a welcomed reeducation into the genre's roots. Some of the selections are already unquestioned classics-Hawthorne's "Young Goodman Brown," Poe's "Berenice," Gilman's "The Yellow Wall Paper." Although, any reader may find Robert E. Howard, Clark Ashton Smith, Henry S. Whitehead, David H. Keller, Seabury Quinn, Francis Stevens, H.L. Lovecraft and August Derleth just as worthy. Even those most well-acquainted with the genre will be pleasantly surprised with the tales by lesser-known writers, such as Willa Cather's "Consequences" and Gertrude Atherton's "The Striding Place." Editor Straub highlights a Feminist strain with female writers of the late 19th and early 20th centuries: Harriet Prescott Spoofed, Kate Chopin, Madeline Yale Wynne, Alice Brown-to name a few, offering an interesting reassessment of a crucial era in fantastic fiction. <BR>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p><article> <h4>From Barnes & Noble</h4>The Library of America is now adding to its pathbreaking series an exemplary two-volume anthology of fantastic tales of the unknown and the irrational. In the first volume, editor Peter Straub presides over a distinguished roster of authors, including Edgar Allan Poe, Washington Irving, Charles Brocken Brown, Herman Melville, Charlotte Perkins Gilman, Robert W. Chambers, Kate Chopin, Lafcadio Hearn, F. Marion Crawford, Ellen Glasgow, Ambrose Bierce, Henry James, Edith Wharton, F. Scott Fizgerald, H.&nbsp;P. Lovecraft, and Robert Bloch. A fine addition to a bibliophile's top shelf. </article> <article> <h4>Publishers Weekly</h4>Starred Review. <p>In a time when the Fantastic is regaining popularity in American literature, this wide-ranging collection of horror and supernatural stories is a welcomed reeducation into the genre's roots. Some of the selections are already unquestioned classics-Hawthorne's "Young Goodman Brown," Poe's "Berenice," Gilman's "The Yellow Wall Paper." Although, any reader may find Robert E. Howard, Clark Ashton Smith, Henry S. Whitehead, David H. Keller, Seabury Quinn, Francis Stevens, H.L. Lovecraft and August Derleth just as worthy. Even those most well-acquainted with the genre will be pleasantly surprised with the tales by lesser-known writers, such as Willa Cather's "Consequences" and Gertrude Atherton's "The Striding Place." Editor Straub highlights a Feminist strain with female writers of the late 19th and early 20th centuries: Harriet Prescott Spoofed, Kate Chopin, Madeline Yale Wynne, Alice Brown-to name a few, offering an interesting reassessment of a crucial era in fantastic fiction.<br> Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p> </article><article> <h4>Black Gate</h4>Fortunately, a perfectly apropos choice landed on my doorstep last month, compliments of the Library of America. Peter Straub's two-volume American Fantastic Tales, subtitled Terror and the Uncanny, is one of those genre-defining collections, a banquet of spooky fall reading that will likely last me months. And just like Thanksgiving, it's unapologetically American in focus.<br> <br> </article> <article> <h4>Globe and Mail</h4>Normally when one uses the phrase "essential reading" in a review, one qualifies it: "Title X is essential reading for people who . . . " There's no such qualification here: American Fantastic Tales is essential reading. Full stop. Every story is rewarding in its own right, but the overall effect of the volumes is staggering. The familiar stories, including Charlotte Perkins Gilman's The Yellow Wall Paper and Harlan Ellison's I Have No Mouth, And I Must Scream stand alongside horror writing from figures not normally known for such writing, including Vladimir Nabokov and Michael Chabon, and a new generation of writers unfamiliar to those whose experience of horror stories ended with their adolescence, including Kelly Link and Caitlin Kiernan. <br> <br> </article> <article> <h4>Kirkus Reviews</h4>Vast two-volume anthology of horror and supernatural fiction, precisely divided along lines drawn by the modern American experience. Editor Straub's first volume gathers tales that express the sense of "instability" that developed from the erosion of the 18th-century faith in reason and essential human goodness, resulting in an implicit consensus of doubt and fear. Standard classic stories from such masters as Poe, Hawthorne, Ambrose Bierce, Henry James and Edith Wharton are inevitably and rightfully displayed. (Wharton's "Afterward" is magnificent.) But many readers will be most intrigued by several truly impressive sleepers. Among the best of these are Harriet Spofford's deliciously ironic "The Moonstone Mass"; Sarah Orne Jewett's understated, dialogue-driven "In Dark New England Days"; Stephen Vincent Benet's stunning re-creation of the traditional folktale "The King of the Cats"; and Henry S. Whitehead's improbably persuasive Haitian voodoo tale, "Passing of a God." Volume Two's contents reflect confused and perturbed reactions to radical changes in people's daily lives and the larger world around them during periods of instability beginning around the time of World War II and extending into the dizzying technological changes of the past quarter-century. A handful of dated or overwrought clunkers (from Tennessee Williams, Anthony Boucher, Stephen King, et al.) aside, this is a valuable selection of excellent, often deeply disturbing stories. The choicest include "Smoke Ghost," Fritz Leiber's brilliant paranoid's-eye view of industrialism run amok; Shirley Jackson's subtle, moving "The Daemon Lover"; Davis Grubb's neatly twisted piece of American Gothic, "Where the Woodbine Twineth";Jeff VanderMeer's nightmarish Korean War story, "The General Who Was Dead"; "Stone Animals," Kelly Link's sublime creation of an eerie alternative reality; and "Family," one of Joyce Carol Oates' best pieces ever. A terrific, must-have collection. </article>
331100 Poems by 100 PoetsHarold Pinter0Harold Pinter (Editor), Anthony Astbury (Editor), Geoffrey Godbert100-poems-by-100-poetsharold-pinter97808021327960802132790$13.50PaperbackGrove/Atlantic, Inc.January 1994ReprintPoetry, American Literature Anthologies, Anthologies, English, Irish, & Scottish Poetry1765.52 (w) x 8.25 (h) x 0.47 (d)With its surprising juxtapositions and gargantuan range of voice and style, '100 Poems by 100 Poets' brings old favorites into a new light and less well-known poems out of the shadows.<p><p>To pass the time on a long train ride from London to Cromwell, playwright Harold Pinter and his two companions, Geoffrey Godbert and Anthony Astbury, set up a challenge&#58; Choose 100 poems by 100 poets &#8212; living poets excluded &#8212; to represent the finest poetry ever written in English. The three agreed to organize this collection unconventionally, alphabetically by author rather than chronologically. The resulting anthology is challenging, eclectic, very personal, and great fun. With its surprising juxtapositions and gargantuan range of voice and style, 100 Poems by 100 Poets brings old favorites into a new light and less well-known poems out of the shadows.<p></p>
332Chocolate Thoughts: Short Stories, Essays and Poetry from the Hearts and Minds of Real Black MenS. James Guitard0<p>S. James Guitard is the nationally renowned author of three consecutive national best-selling books: Chocolate Thoughts, Mocha Love and Blessed Assurance. His latest book, a novel entitled Delilah s Revenge: There is Nothing More Dangerous for a Man than a Woman with a Plan, will be released June 27, 2006. His first book, Chocolate Thoughts, has consistently been rated one of the nation s best African-American books and has appeared on numerous bestseller lists. The paperback version of Chocolate Thoughts will be released May 31. 2006. <P> An exceptional public and motivational speaker, Mr. Guitard will be participating in book signings as well as radio and television interviews during his upcoming national book tour. In addition, Mr. Guitard is also a featured consultant author of the Anointed Author Workshop Series, a comprehensive writing and publishing workshop for aspiring and contemporary Christian authors. Mr. Guitard has written Bible commentary for Real: The New Testament by Thomas Nelson Publishers, one of the world s largest producers of Bibles. <P> A native of New York who now resides in the Washington, DC area, Mr. Guitard has devoted his professional career to improving the quality of education for poor and minority children as a college instructor, administrator, school teacher, Capitol Hill lobbyist, as well as an education policy specialist. Chocolate Thoughts, Mocha Love and Blessed Assurance comprise the beginning of a series of books, plays and movie scripts written by the author.</p>S. James Guitardchocolate-thoughtss-james-guitard97819296423731929642377PaperbackLiterally Speaking Pub HouseMay 2006<p>Consistently rated one of the nation's best African-American books, <I>Chocolate Thoughts</I> provide candid insight and uncompromising truth about how Black men truly feel about themselves, relationships, family, sex, marriage, work, careers, religion, love, money, racism, music, violence nad sports. It uniquley captures the commonality of Black men irrespective of their socio-economic background or educational attainment. A searing modern commentary,the national bestseller <I>Chocolate Thoughts</I> provides a spirited, at times austere look at psychological, social, political, and economic views that are often held but not expressed by Black men to the general public.<P> No Black man will read "I Won't Bow Down", "Reflections on My Relationship with Love", "Black Men" or "Time Bomb" and not recognized the Black man that he has been, currently is, or has known during his life. Every Black woman after reading "Whose Fault Is It", "Chocolate Thoughts and Almond Questions", "Unfulfilled Desires" and "You Can Get All The Shoes You Want" is guaranteed to gain a deeper understanding of the Black men in their lives or missing from their lives irrespective of whether or not that Black man is her son, boyfriend, lover, husband, brother, cousin, uncle, friend, or significant other.<P> Being Black can definitely give the reader a connection to <I>Chocolate Thoughts</I>, but anyone irrespective of race or gender will find these writing thought provoking, intimate, captivating, powerful, titillating and engaging.</p>
333Oxford Anthology of African American PoetryArnold Rampersad0<p><P><b>Arnold Rampersad</b> is Sara Hart Kimball Professor in the Humanities and Associate Dean for the Humanities at Stanford University. His many books include the two-volume <b>Life of Langston Hughes; Days of Grace&#58; A Memoir</b> (co-authored with Arthur Ashe); and the definitive <b>Collected Poems of Langston</b> <b>Hughes</b>.<P>Associate Editor, <b>Hilary Herbold</b>, a graduate of the University of California at Irvine, also earned a doctorate in English and American Literature in 1997 from Princeton University. After teaching for several years in the Department of English, Dr. Herbold is now Associate Dean of Undergraduate Students at Princeton.</p>Arnold Rampersad (Editor), Hilary Herbold (Editor), Hilary Herboldoxford-anthology-of-african-american-poetryarnold-rampersad97801951256340195125630$27.47HardcoverOxford University Press, USAOctober 2005New EditionPoetry Anthologies, American Poetry, American Literature Anthologies4649.30 (w) x 6.30 (h) x 1.70 (d)<p>For over two centuries, black poets have created verse that captures the sorrows, joys, and triumphs of the African-American experience. Reflecting their variety of visions and styles, <b>The Oxford Anthology of African-American Poetry</b> aims to offer nothing less than a definitive literary portrait of a people.<br> Here are poems by writers as different as Paul Laurence Dunbar and W.E.B. Du Bois; Countee Cullen and Langston Hughes; Gwendolyn Brooks and Amiri Baraka; Rita Dove and Harryette Mullen; Yusef Komunyakaa and Nathaniel Mackey. Acclaimed as a biographer and editor, Arnold Rampersad groups these poems as meditations on key issues in black culture, including the idea of Africa; the South; slavery; protest and resistance; the black man, woman, and child; sexuality and love; music and religion; spirituality; death and transcendence.<br> With their often starkly contrasting visions and styles, these poets illuminate some of the more controversial and intimate aspects of the black American experience. Poetry here is not only or mainly a vehicle of protest but also an exploration of the complex and tender subtleties of black culture. One section offers tributes to celebrated leaders such as Sojourner Truth and Malcolm X, but many more reflect the heroism compelled by everyday black life. The variety of poetic forms and language captures the brilliant essence of English as mastered by black Americans dedicated to the art of poetry.<br> Loving and yet also honest and unsparing, <b>The Oxford Anthology of African-American Poetry</b> is for readers who treasure both poetry and the genius of black America.</p><p><P>For over two centuries, black poets have created verse that captures the sorrows, joys, and triumphs of the African-American experience. Reflecting their variety of visions and styles, <b>The Oxford Anthology of African-American Poetry</b> aims to offer nothing less than a definitive literary portrait of a people. <br> Here are poems by writers as different as Paul Laurence Dunbar and W.E.B. Du Bois; Countee Cullen and Langston Hughes; Gwendolyn Brooks and Amiri Baraka; Rita Dove and Harryette Mullen; Yusef Komunyakaa and Nathaniel Mackey. Acclaimed as a biographer and editor, Arnold Rampersad groups these poems as meditations on key issues in black culture, including the idea of Africa; the South; slavery; protest and resistance; the black man, woman, and child; sexuality and love; music and religion; spirituality; death and transcendence.<br> With their often starkly contrasting visions and styles, these poets illuminate some of the more controversial and intimate aspects of the black American experience. Poetry here is not only or mainly a vehicle of protest but also an exploration of the complex and tender subtleties of black culture. One section offers tributes to celebrated leaders such as Sojourner Truth and Malcolm X, but many more reflect the heroism compelled by everyday black life. The variety of poetic forms and language captures the brilliant essence of English as mastered by black Americans dedicated to the art of poetry. <br> Loving and yet also honest and unsparing, <b>The Oxford Anthology of African-American Poetry</b> is for readers who treasure both poetry and the genius of black America.</p>
334Freedom in This Village: Twenty-Five Years of Black Gay Men's Writing, 1979 to the PresentE. Lynn Harris31<p>How to categorize E. Lynn Harris? An African-American novelist? A gay novelist? A literary romance writer? Nothing quite fits, but to Harris s fans, his bestselling novels belong in a genre of their own: one in which the characters are as difficult and complex as their problems, and the solutions as bittersweet and resonant as they often are in life.</p>E. Lynn Harris, E. Lynn Harrisfreedom-in-this-villagee-lynn-harris97807867138750786713879$15.15PaperbackDa Capo PressSeptember 2004Fiction, American Literature Anthologies, Anthologies, Gay & Lesbian Studies, Fiction Subjects, Peoples & Cultures - Fiction4595.42 (w) x 8.40 (h) x 0.63 (d)<p>Freedom in This Village charts for the first time ever the innovative course of black gay male literature of the past 25 years. Starting in 1979 with the publication of James Baldwin's final novel, Just Above My Head, then on to the radical writings of the 1980s, the breakthrough successes of the 1990s, and up to today's new works, editor E. Lynn Harris collects 47 sensational stories, poems, novel excerpts, and essays. Authors featured include Samuel R. Delany, Essex Hemphill, Melvin Dixon, Marlon Riggs, Assotto Saint, Larry Duplechan, Reginald Shepherd, Carl Phillips, Keith Boykin, Randall Kenan, Thomas Glave, James Earl Hardy, Darieck Scott, Gary Fisher, Bruce Morrow, John Keene, G. Winston James, Bil Wright, Robert Reid Pharr, Brian Keith Jackson, as well as an array of exciting new and established writers.</p><p><p>Freedom in This Village charts for the first time ever the innovative course of black gay male literature of the past 25 years. Starting in 1979 with the publication of James Baldwin&#8217;s final novel, <i>Just Above My Head</i>, then on to the radical writings of the 1980s, the breakthrough successes of the 1990s, and up to today&#8217;s new works, editor E. Lynn Harris collects 47 sensational stories, poems, novel excerpts, and essays.<p>Authors featured include Samuel R. Delany, Essex Hemphill, Melvin Dixon, Marlon Riggs, Assotto Saint, Larry Duplechan, Reginald Shepherd, Carl Phillips, Keith Boykin, Randall Kenan, Thomas Glave, James Earl Hardy, Darieck Scott, Gary Fisher, Bruce Morrow, John Keene, G. Winston James, Bil Wright, Robert Reid Pharr, Brian Keith Jackson, as well as an array of exciting new and established writers.<p></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Just above my head</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Passion</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Assumption about the Harlem brown baby</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brother to brother : words from the heart</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Flight from Neveryon</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Michael Stewart is dead</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On not being white</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">19 a poem about Kenny/portrait of a hard rock</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The trouble I've seen</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Other countries : the importance of difference</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Couch poem</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brothers loving brothers</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Non, Je Ne Regrette Rien"</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The tomb of sorrow</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aunt Ada pieces a quilt</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For colored boys who have considered s-curls when the hot comb was enuf</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm going out lke a fucking meteor</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black macho revisited : reflections of a SNAP! queen</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uprising</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From 2nd time around</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fantasy</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arabesque</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Your mother from Cleveland</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The letter</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Living as a lesbian</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to handle a boy in women's shoes</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Minotaur</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A long and liberating moan</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Magnetix</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Beyond the down low : sex and denial in black America</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The death and light of Brian Williamson</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Palimpsest</TD><TD WIDTH="10%" ALIGN="RIGHT">353</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Game</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Walt loves the bearcat</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Infidelity</TD><TD WIDTH="10%" ALIGN="RIGHT">401</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What I did for love</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD></TABLE>
335Bandana Republic: A Literary Anthology by Gang Members and Their AffliliatesLouis Reyes Rivera0Louis Reyes Rivera, Bruce Georgebandana-republiclouis-reyes-rivera97815937619431593761945$16.95PaperbackSoft Skull Press, Inc.May 2008Settings & Atmosphere - Fiction, American Literature Anthologies2885.40 (w) x 8.40 (h) x 0.80 (d)<p>Urban youth gangs are typically viewed as no more than training grounds for thugs and felons. This breakthrough anthology presents a far different picture, revealing present and former gang members’ and street activists’ artistic impulses, emotional sensitivities, political beliefs, and capacities to assess the social conditions that created them. <i>The Bandana Republic</i> contains powerful writing: fiction and essays, poetry, and polemics written by adolescents from gangs like the Crips and Bloods and the Mexican Mafia. There's also creative work by ex-gangbangers who have become activists, artists, musicians, and movie stars. J. Sheeler’s “Seven Immortals” finds grim poetry in a young girl’s gang initiation. Jaha Zainabu’s “The Jungle (Blood Territory)” is a lacerating portrait of an L.A. Blood. Commander’s “The Brothas Gunnin’” piercingly profiles a neighborhood — and a world — under siege. These writings give voice to an American subculture far richer and more complex than the headlines indicate.</p>
336The Civil Rights Reader: American Literature from Jim Crow to ReconciliationJulie Buckner Armstrong0<p><p>Julie Buckner Armstrong is an associate professor of English at the University of South Florida, St. Petersburg. She is coeditor of <i>Teaching the American Civil Rights Movement&#58; Freedom's Bittersweet Song</i>. <p>Amy Schmidt is completing a doctoral degree in English at the University of Arkansas.<p></p>Julie Buckner Armstrong (Editor), Amy Schmidtthe-civil-rights-readerjulie-buckner-armstrong97808203322530820332259$23.70PaperbackUniversity of Georgia PressJanuary 2009New EditionPeoples & Cultures - American Anthologies, American Literature Anthologies3926.10 (w) x 9.10 (h) x 1.00 (d)<p>This anthology of drama, essays, fiction, and poetry presents a thoughtful, classroom-tested selection of the best literature for learning about the long civil rights movement. Unique in its focus on creative writing, the volume also ranges beyond a familiar 1954-68 chronology to include works from the 1890s to the present. The civil rights movement was a complex, ongoing process of defining national values such as freedom, justice, and equality. In ways that historical documents cannot, these collected writings show how Americans negotiated this process--politically, philosophically, emotionally, spiritually, and creatively.</p> <p>Gathered here are works by some of the most influential writers to engage issues of race and social justice in America, including James Baldwin, Flannery O'Connor, Amiri Baraka, and Nikki Giovanni. The volume begins with works from the post-Reconstruction period when racial segregation became legally sanctioned and institutionalized. This section, titled "The Rise of Jim Crow," spans the period from Frances E. W. Harper's <i>Iola Leroy</i> to Ralph Ellison's <i>Invisible Man</i>. In the second section, "The Fall of Jim Crow," Martin Luther King Jr.'s "Letter from Birmingham Jail" and a chapter from <i>The Autobiography of Malcolm X</i> appear alongside poems by Robert Hayden, June Jordan, and others who responded to these key figures and to the events of the time. "Reflections and Continuing Struggles," the last section, includes works by such current authors as Rita Dove, Anthony Grooms, and Patricia J. Williams. These diverse perspectives on the struggle for civil rights can promote the kinds of conversations that we, as a nation, still need to initiate.</p><p><p>This anthology of drama, essays, fiction, and poetry presents a thoughtful, classroom-tested selection of the best literature for learning about the long civil rights movement. Unique in its focus on creative writing, the volume also ranges beyond a familiar 1954-68 chronology to include works from the 1890s to the present. The civil rights movement was a complex, ongoing process of defining national values such as freedom, justice, and equality. In ways that historical documents cannot, these collected writings show how Americans negotiated this process--politically, philosophically, emotionally, spiritually, and creatively.<p>Gathered here are works by some of the most influential writers to engage issues of race and social justice in America, including James Baldwin, Flannery O'Connor, Amiri Baraka, and Nikki Giovanni. The volume begins with works from the post-Reconstruction period when racial segregation became legally sanctioned and institutionalized. This section, titled "The Rise of Jim Crow," spans the period from Frances E. W. Harper's <i>Iola Leroy</i> to Ralph Ellison's <i>Invisible Man</i>. In the second section, "The Fall of Jim Crow," Martin Luther King Jr.'s "Letter from Birmingham Jail" and a chapter from <i>The Autobiography of Malcolm X</i> appear alongside poems by Robert Hayden, June Jordan, and others who responded to these key figures and to the events of the time. "Reflections and Continuing Struggles," the last section, includes works by such current authors as Rita Dove, Anthony Grooms, and Patricia J. Williams. These diverse perspectives on the struggle for civil rights can promote the kinds of conversations that we, as a nation, still need to initiate.<p></p>
337American Sonnets: An AnthologyDavid Bromwich0David Bromwichamerican-sonnetsdavid-bromwich97815985301551598530151$20.00HardcoverLibrary of AmericaOctober 2007Poetry, American2244.76 (w) x 7.76 (h) x 0.78 (d)
338Voices in First Person: Reflections on Latino IdentityLori Marie Carlson0<p><b>Lori Marie Carlson</b> is the author of two novels, two landmark bilingual poetry anthologies, and many other young adult and children's books. <b>Oscar Hijuelos</b> is a first-generation Cuban American and the first Latino to win the Pulitzer Prize for fiction. He has written six novels, the most recent of which is <I>A Simple Habana Melody.</i> They live in New York City.<p></p>Lori Marie Carlson, Flavio Morais (Illustrator), Manuel Rivera-Ortizvoices-in-first-personlori-marie-carlson97814169063531416906355$13.80HardcoverSimon & Schuster Children's PublishingAugust 2008American Literature Anthologies966.25 (w) x 8.38 (h) x 0.44 (d)<p><b>WANTING TO BELONG. WANTING TO GO HOME. LOVE. REGRET. FAMILY LEGENDS. DREAMS. REVENGE. ENGLISH. SPANISH.</b></p> <p> This eclectic, gritty, and groundbreaking collection of short monologues features twenty-one of the most respected Latino authors writing today, including Sandra Cisneros, Oscar Hijuelos, Esmeralda Santiago, and Gary Soto. Their fictional narratives give voice to what it's like to be a Latino teen in America. These voices are yearning. These voices are angry. These voices are, above all else, hopeful. These voices are America.</p><p>EDITOR'S NOTE</p> <p>by Lori Marie Carlson</p> <p>THE TEENAGE YEARS ARE YEARS OF EMOTION, ALL KINDS OF EMOTION.</p> <p>Love, hate, betrayal, hilarity, loss, longing, feeling mad, feeling sad...these are but some of the emotional states given voice by accomplished Latino authors — among them Esmeralda Santiago, Melinda Lopez, Trinidad Sánchez Jr., Oscar Hijuelos, Sandra Cisneros, and Quiara Alegría Hudes — in this book. In a sense Voices in First Person is a collection of monologues that can be read aloud in the classroom — in theater workshops, social studies, English language labs, ESL, literature courses — or in the privacy of your room, at a community center, in a field of flowers, in the basement of a church, or on the street. But I think this collection of narratives, some short and others long, can also be considered a multitestimonial of lives in inner cities, rural communities, suburbs, and villages. These pieces speak truths — sometimes hard truths — about the incredibly diverse life experiences of youth in America today, Latino or otherwise. With their sometimes biting potency and bouncing lyricism, they are earthy and powerful. They grab at the heart and the mind because they say it like it is. And there is something here for everyone. These fictional narratives are proclamations of pride, cries of despair, funny reflections on food and family, angry shouts, fearful thoughts of giving birth, revelations about God, whispers of hopelessness, declarations of violence, admissions of passion, love, and hope.</p> <p>RITUAL</p> <p>by Claudia Quiroz Cahill</p> <p>A GIRL IMAGINES THE HOMELAND OF HER MOTHER.</p> <p>Mami, come sit down. The day is over. Let's smile a bit. Do you think you'll have that flying dream again? The one where you open all the glittering windows, float out above the rose-painted casitas, the opaque trees, the soft llama grass, to Bolivia, back to your home, before I was born. I can only imagine the sound of flutes, the sound of women singing. Ancient song. Andean villancicos. A metronome ticks in my chest. Bolivia, Bolivia, the Spanish sounds, Bolivia, my tongue snails over, Bolivia, Bolivia, making my teeth clean. In a room full of notes I rise up, good as new.</p> <p>RECLAIM YOUR RIGHTS AS A CITIZEN OF HERE, HERE</p> <p>by Michele Serros</p> <p>A GIRL OF MEXICAN ANCESTRY WHO WAS BORN IN CALIFORNIA IS FED UP WITH PEOPLE ASKING HER WHERE SHE IS FROM.</p> <p>I can't get by one week without a white person asking me the Question:</p> <blockquote>"So, where are you from?" <p>"From Oxnard," I answer.</p> <p>"No, I mean originally."</p> <p>"Oh, Saint John's Hospital,the old one over on F Street."</p> <p>"No, you know what I mean!"</p> </blockquote> <p>No, what do you mean? And why is it important to you and why do you really need to know? When Latinos ask me where I'm from, it really doesn't bother me. I can't help but feel some sort of familiar foundation is being sought and a sense of community kinship is forming. "Your family's from Cuernavaca? And what? They own the IHOP on Via San Robles? Wow, we really need to do lunch sometime!"</p> <p>But when whites ask me the Question, it's just a reminder that I'm not like them, I don't look like them, which must mean I'm not from here. Here in California, where I was born, where my parents were born, and where even my great-grandmothers were born. I can't help but feel that whites always gotta know the answer to everything. It's like they're uncomfortable not being able to categorize things they're unfamiliar with, and so they need to label everything as quickly and neatly as possible. Sometimes when I'm asked the Question, I like to lie and make up areas within the Latin world from where I supposedly originated:</p> <blockquote>WHITE PERSON #1. So, where did you say you're from? <p>ME. From Enchiritova, it's actually a semipopulated islet off the coast of Bolivia.</p> <p>WHITE PERSON #2. Yep! I knew it! I knew it! Kevin, didn't I tell you I thought she was an Enchirito!</p> <p>WHITE PERSON #1. Tag her!</p> </blockquote> <p>SPENDING MONEY</p> <p>by Gary Soto</p> <p>A BOY, AGE FOURTEEN, IS HOLDING A RAKE. A FEW LEAVES ARE SCATTERED AROUND HIM.</p> <p>Ben Franklin said something like "A penny saved is a penny earned." I think a lot of people lived by this rule. Let me go back three days.... Uncle Joe was waking up on his couch, poor old Uncle with more hair in his ears than on his head. I walked up the steps, looked in the window of his little house, and I caught him sleeping, two sweaters on 'cause he's so cheap the thought of body heat escaping makes him shiver. I called, "Uncle," and he rose straight like a corpse in a coffin, spooky like. He rubbed his eyes, looked at me, and said, "You were supposed to be here this morning!" You see, my mom and my aunts had told me if I was a really good boy, I should do volunteer work — work for the family, is what they meant. (Pause.) So Uncle let me in the house, real quick because he didn't want the furnace heat to escape — he was tight there, too. He let me in the house to get to the backyard — no gates on the side of his house 'cause that cost money. But first, in the kitchen, he swallowed three prunes like goldfish and said, "You can have one if you want." He thrust a nasty-looking jar at me, and I said, "Nah, Unc, I had my Cap'n Crunch this morning. I'm here to work." (Pause.) So then out in the yard he was asking if he had ever told me the story 'bout how the tips of his boots got run over by a German tank in World War II. I told him, "Yeah, lots of times, and the one about making a broom out of twigs in 1932." All mad, he turned his dentures upside down like fangs. He said, "I don't know how your teeth stay in your face, always talking that way. Do you talk like that with your friends?" I almost said, "Yeah, about the same as you talking 'bout the war." Then those prunes made him fart, and I jumped away and got to work stirring up the leaves for some air sweeter than the wind he just released. He went away, and I raked the yard clean, then poked an orange down from the tree. Uncle came out happy and stood on the back porch. He had put on yet another sweater and righted his dentures so his fangs were gone. "Pretty days don't cost nothing," old Stingy quipped. I twirled the rake and muttered, "That's why you never had a girlfriend. They cost money." He made his bushy eyebrows go up and down, and said, "I didn't hear what you said, but I know it was something smart-alecky." He told me that he was in such a good mood that nothing was going to make him mad, especially a snotty teenager like me. He then started telling me stuff like when to plant tomato seeds, and I made a thousand faces to show how interested I was. He gave me three quarters for my work, and I said, "Gee, Unc, I just might go buy me some tomato seeds." "What?" he asked, and I answered, "Nothing, Unc." Then, with one hand on the rail, he climbed down the porch steps, farting every other one. I backed away and crumpled a leaf in my hand for some neutralizing odor. He gave me a look and said, "Nephew, how far do you think you'll go from the money I've given you over the years?" I looked around the yard, with a smirk playing on my face, and I said, "Maybe to that rosebush there, or far as the orange tree." With that, Uncle turned his dentures upside down again like fangs. He twisted open my palm and rolled those quarters back into the leathery pouch of his tightfisted hand. (Pause.) I don't know who's older, Ben Franklin or my uncle in three sweaters.</p> <p>Text copyright © 2008 by Lori Marie Carlson</p><p><P><center><b>WANTING TO BELONG. WANTING TO GO HOME. LOVE. REGRET. FAMILY LEGENDS. DREAMS. REVENGE. ENGLISH. SPANISH.</b></center><P>This eclectic, gritty, and groundbreaking collection of short monologues features twenty-one of the most respected Latino authors writing today, including Sandra Cisneros, Oscar Hijuelos, Esmeralda Santiago, and Gary Soto. Their fictional narratives give voice to what it's like to be a Latino teen in America. These voices are yearning. These voices are angry. Thesevoices are, above all else, hopeful. These voices are America.<br></p><h3>Horn Book Magazine</h3><p><P>"While Laura Amy Schlitz introduced younger readers to voices from a medieval village in her recent Newbery Medal winner, Carlson, editor of the bilingual poetry anthology <I>Cool Salsa</i> (rev. 11/94), returns here with a superb collection of contemporary voices from the Latino community. All the contributors are Latino, and a few, such as Gary Soto and Sandra Cisneros, should already be familiar to young adults. While there is quite a range of style and content in these vignettes, they all evince pride in a cultural heritage that celebrates faith and tradition, food and language, and the importance of family."</p><P>Editor's Note<P>Ritual<P>by Claudia Quiroz Cahill<P>Reclaim Your Rights as a Citizen of Here, Here<P>by Michele Serros<P>Spending Mone<P>by Gary Soto<P>I Stand at the Crosswalk<P>by Esmeralda Santiago<P>Angel's Monologue <P>by Gwylym Cano<P>Jos&#233; <P>by Caridad de la Luz<P>The Evil Eye<P>by Raquel Valle Sent&#237;es<P>Poultrymorphosis<P>by Oscar Hijuelos<P>Last Week I Wanted to Die<P>by Susan Guevara<P>I'm Mad at My Father<P>by Trinidad S&#225;nchez Jr.<P>Translating Things<P>by Marjorie Agos&#237;n<P>Mujeriego<P>by Michael Mejias<P>Birth <P>by Walkiris Portes<P>Me American <P>by Jesse Villegas <P>My First American Summer<P>by Lissette Mendez <P>God Smells Like a Roast Pig<P>by Melinda Lopez<P>Oh, Beautiful?<P>by Ren&#233; Pedraza del Prado<P>Futureboy<P>by Juan Felipe Herrera<P>Emily<P>by Elaine Romero<P>Sylvia<P>by Elaine Romero<P>Barrio ABCs<P>by Quiara Alegr&#237;a Hudes<P>Darius and the Clouds<P>by Sandra Cisneros<P>Biographical Notes<P>Copyright <P>Acknowledgments<br><article> <h4>Horn Book Magazine</h4><p>"While Laura Amy Schlitz introduced younger readers to voices from a medieval village in her recent Newbery Medal winner, Carlson, editor of the bilingual poetry anthology <i>Cool Salsa</i> (rev. 11/94), returns here with a superb collection of contemporary voices from the Latino community. All the contributors are Latino, and a few, such as Gary Soto and Sandra Cisneros, should already be familiar to young adults. While there is quite a range of style and content in these vignettes, they all evince pride in a cultural heritage that celebrates faith and tradition, food and language, and the importance of family."</p> </article> <article> <h4>VOYA - <span class="author">Leslie Wolfson</span> </h4>The title of this collection of poems, essays, short stories, and monologues is at first misleading. One expects the teen-oriented selections to be biographical, written by teens for other teens. In fact, each piece is fictional and has been written by several adult Latino authors. Two of the most famous, Sandra Cisneros and Gary Soto, are well known in young adult literature. Others will not be as familiar to most readers. With twenty-two stories in all, they are written in varying degrees of "giving voice to what it's like to be a Latino teen in America," as the book jacket proclaims. Mujeriego by Michael Mejias for instance, sounds like an actual teen speaking as he sits in custody for burning down a South Bronx social club and killing thirty-three people. Susan Guevara's realistic Last Night I Wanted to Die also explores a teen girl's contemplation of suicide. Other selections do not ring as true in terms of capturing the teen voice. The topics covered in the selections vary: teen pregnancy, crushes, immigrating to the United States, abusive fathers, evil spells, and how to cook a pig. Overall the subjects are serious, although a few have a humorous bent. The book also includes black-and-white photographs, interior illustrations, and short bios of each author. Reviewer: Leslie Wolfson </article><article> <h4>School Library Journal</h4><p>Gr 6-10</p> <p>As in <i>Moccasin Thunder</i> (HarperCollins, 2005) and <i>Red Hot Salsa</i> (Holt, 2005), Carlson has drawn from both established and new writers, focusing on finding Latino voices that speak to contemporary readers. Collected here are poems and short stories whose subjects range from finding God in the clouds to a lust for eating chicken, from someone's fingers on the hole in your jeans in a crowded café to someone asking, once again, "So, where are you from?" This collection sparkles more than its predecessors because of its dynamic design, featuring black-and-white photographs and line illustrations incorporated with the text in a collagelike magazine layout. Few pieces are longer than a spread or two, and the entire package encourages endless browsing, flipping, and double-dipping. Too bad this is a hardcover-only release, and too bad someone thought it needed the odd synopses that float like loud subtitles, prosaically describing and overburdening the pieces. Why does the title "Last Week I Wanted to Die" need a caption that reads: "A girl, plagued by thoughts of not fitting in, contemplates the meaning of death"? Why diminish "Poultrymorphosis" with the explanation "A boy describes eating his favorite food," thereby soddening the appetite? But forgive this book its overzealousness-it still sings, and nudges its readers to do the same.-<i>Nina Lindsay, Oakland Public Library, CA</i></p> </article>
339Montana Women Writers: A Geography of the HeartFarcountry Press0<p><B>Caroline Patterson</B>'s work has appeared in numerous publications, including Epoch, Seventeen, Southwest Review, Via, and Sunset. She has an M.F.A. in creative writing from the University of Montana, was a 1990-1992 Stegner Fellow in Fiction at Stanford University, and has received fellowships from the Montana Arts Council and the San Francisco Foundation. She lives in Helena with her husband, writer Fred Haefele, and their two children.</p>Farcountry Press, Sue Hartmontana-women-writersfarcountry-press97815603737971560373792$18.95PaperbackFarcountry PressOctober 2006Women Authors - Literature Anthologies, Regional American Anthologies, American Literature - Regional Literature - Literary Criticism, American Literature Anthologies3955.92 (w) x 8.70 (h) x 1.18 (d)<b>AWARDS:<br> Winner of the Willa Award for Creative Nonfiction, 2007.<br> <br> Silver Medal, ForeWord Magazine's Book of the Year Awards, Anthologies category, 2006.</b><br> <br> The anthology features forty women writers representing a spectrum of voices and perspectives—ranging from women of the 1800s to contemporary writers, from women of the plains to women in small towns. The collection includes works of fiction, nonfiction, and poetry. <br> <br> Organized into sections featuring writing set in the plains, mountains, and towns, the anthology reflects the state's geography and a broad range of sensibilities, from Mary Ronan's depiction of life in the Jocko Valley in the early 1800s to Deirdre McNamer's vivid portrayal of a settler's train ride west at the turn of the twentieth century in One Sweet Quarrel; from M. J. Smoker's depiction of her dead mother in her poem "From the river's edge" to Melanie Rae Thon's mysterious Didi, a small-town woman who takes in the children that others abandon in her story "Heavenly Creatures." The anthology features book excerpts from Judy Blunt's memoir Breaking Clean, Maile Meloy's Half in Love, and Sandra Alcosser's "What Makes Grizzlies Dance," from Except by Nature.<br> <br> <br><p><b>AWARDS: <br>Winner of the Willa Award for Creative Nonfiction, 2007. <br><br>Silver Medal, ForeWord Magazine's Book of the Year Awards, Anthologies category, 2006.</b><br><br>The anthology features forty women writers representing a spectrum of voices and perspectives-ranging from women of the 1800s to contemporary writers, from women of the plains to women in small towns. The collection includes works of fiction, nonfiction, and poetry. <br><br>Organized into sections featuring writing set in the plains, mountains, and towns, the anthology reflects the state's geography and a broad range of sensibilities, from Mary Ronan's depiction of life in the Jocko Valley in the early 1800s to Deirdre McNamer's vivid portrayal of a settler's train ride west at the turn of the twentieth century in One Sweet Quarrel; from M. J. Smoker's depiction of her dead mother in her poem "From the river's edge" to Melanie Rae Thon's mysterious Didi, a small-town woman who takes in the children that others abandon in her story "Heavenly Creatures." The anthology features book excerpts from Judy Blunt's memoir Breaking Clean, Maile Meloy's Half in Love, and Sandra Alcosser's "What Makes Grizzlies Dance," from Except by Nature.</p>
34081 Famous PoemsAlexander Scourby0Alexander Scourby, William Shakespeare, Walt Whitman, A. Yeats, Bramwell Fletcher81-famous-poemsalexander-scourby97809453538290945353820$24.95Compact DiscAudioGOAugust 19932 CDsLiterary Collections<p>Poetry meant to be heard from some of the greatest poets in the English language: Dickinson, Thomas Hardy, Shelley, Keats, Shakespeare, and others. 2 cassettes.</p>
341Califauna: A Literary Field GuideTerry Beers0Terry Beers (Editor), Emily Elrodcalifaunaterry-beers9781597140492159714049X$21.29PaperbackHeyday BooksApril 2007Animals - General, Nature, American Literature Anthologies, General & Miscellaneous Literature Anthologies, Plants & Fungi4646.18 (w) x 9.00 (h) x 0.76 (d)<p>Cultural Writing. Fiction. Poetry. Essays. Art. From Native American tales and explorers' accounts to fiction and poetry by established and emerging writers, this new anthology is a playful exploration of how animals excite our imagination and compassion. Each piece in the anthology is a snapshot of a different animal, with "field notes" preceding each selection. The book also includes a collection of artwork and a timeline of animal-related milestones in California.. "CALIFAUNA is.an important book for the state of California. These essays, poems, and excerpts are windows onto the romantic California of recent history and its most native inhabitants, seen through the eyes of some of the earliest and most articulate modern visitors of the area"—The Bloomsbury Review. A one-of-a-kind collection, CALIFAUNA not only encourages us to indulge in the richness of the animal world but also celebrates the creativity our fellow creatures inspire in us.</p>
342Thousand and One Afternoons in ChicagoBen Hecht0<p><p><p>Ben Hecht</B> (1894&#8211;1964) was a reporter and columnist for the <I>Chicago Daily Journal</I> and the <I>Chicago Daily News</I> as well as a playwright, novelist, short story writer, and scriptwriter.<p><p><p><I></I> <p><I></I> <p><I></I> <p><p></p>Ben Hecht, B. Hecht, Herman Rosse (Illustrator), William Savagethousand-and-one-afternoons-in-chicagoben-hecht97802263227420226322742PaperbackUniversity of Chicago PressJune 2009Literary Collections<p><p><p>In 1921, Ben Hecht wrote a column for the <I>Chicago Daily News</I> that his editor called &#8220;journalism extraordinary; journalism that invaded the realm of literature.&#8221; Hecht&#8217;s collection of sixty-four of these pieces, illustrated with striking pen drawings by Herman Rosse, is a timeless caricature of urban American life in the jazz age, updated with a new Introduction for the twenty-first century. From the glittering opulence of Michigan Avenue to the darkest ruminations of an escaped convict, from captains of industry to immigrant day laborers, Hecht captures 1920s Chicago in all its furor, intensity, and absurdity.<p><p>&#8220;The columns in <I>1,001 Afternoons in </I><I>Chicago</I> are scruffy time capsules of an earlier Chicago, an era that is long gone but still recognizable to readers' imaginations. Michigan Avenue, Lake Michigan, street names such as Dearborn and Adams and LaSalle and Wabansia, places such as the Art Institute of Chicago&#8212;they're all here, sprinkled amid Hecht's nervous little haikus of urban life. He calls Chicago &#8216;a razzle-dazzle of dreams, tragedies, fantasies,&#8217; and his tales capture gorgeous scraps of it, vivid vignettes starring businessmen and hobos and cops and socialites and janitors. . . . Thanks to Hecht, the Chicago of 1922 and the Chicago of 2009 bump into each other, shake hands, exchange greetings. Then, this being Chicago, they go for a drink and talk about old times. New ones too.&#8221;&#8212;Julia Keller, <I>Chicago</I><I> Tribune</I><p><p>&#8220;The hardboiled audacity and wit that became Hecht&#8217;s signature as Hollywood&#8217;s most celebrated screen-writer are conspicuous in these vignettes. Most of them are comic and sardonic, some strike muted tragic or somber atmospheric notes. . . . The best are timeless character sketches that have taken on an added interest as shards of social history.&#8221;&#8212;L. S. Klepp, <I>Voice Literary Supplement</I><p><I></I> <p><I></I> <p><p></p><h3>Chicago Tribune</h3><p><p>&#8220;The columns in <i>1,001 Afternoons in </i><i>Chicago</i> are scruffy time capsules of an earlier Chicago, an era that is long gone but still recognizable to readers' imaginations. Michigan Avenue, Lake Michigan, street names such as Dearborn and Adams and LaSalle and Wabansia, places such as the Art Institute of Chicago&#8212;they're all here, sprinkled amid Hecht's nervous little haikus of urban life. He calls Chicago &#8216;a razzle-dazzle of dreams, tragedies, fantasies,&#8217; and his tales capture gorgeous scraps of it, vivid vignettes starring businessmen and hobos and cops and socialites and janitors. . . . Thanks to Hecht, the Chicago of 1922 and the Chicago of 2009 bump into each other, shake hands, exchange greetings. Then, this being Chicago, they go for a drink and talk about old times. New ones too.&#8221;&#8212;Julia Keller, <i>Chicago</i><i> Tribune</i><br><i></i> <br><i></i> <p>&#151; Julia Keller</p><p>A Self-Made Man An Iowa Humoresque An Old Audience Speaks Clocks and Owl Cars Confessions Coral, Amber and Jade Coeur De Lion and The Soup and Fish Dapper Pete and The Sucker Play Dead Warrior Don Quixote and His Last Windmill <BR>"Fa'n Ta Mig!" <BR>Fanny Fantastic Lollypops Fog Patterns Grass Figures Ill-Humoresque Jazz Band Impressions Letters Meditation in E Minor Michigan Avenue Mishkin's Minyon Mottka Mr. Winkelberg Mrs. Rodjezke's Last Job Mrs. Sardotopolis' Evening Off Night Diary Nirvana Notes For a Tragedy On A Day Like This Ornaments Pandora's Box Pitzela's Son Queen Bess' Feast Ripples Satraps At Play Schopenhauer's Son Sergt. Kuzick's Waterloo Sociable Gamblers Ten-Cent Wedding Rings The Auctioneer's Wife The Dagger Venus The Exile The Great Traveler The Indestructible Masterpiece The Lake The Little Fop The Man From Yesterday The Man Hunt The Man With a Question The Mother The Pig The Snob The Soul of Sing Lee The Sybarite The Tattooer The Thing In The Dark The Watch Fixer The Way Home Thumbnail Lotharios Thumbs Up and Down To Bert Williams Vagabondia Waterfront Fancies Where The "Blues" Sound World Conquerors<p>
343Philadelphia Stories: America's Literature of Race and FreedomSamuel Otter0<p><P><b>Samuel Otter</b> is Professor of English at the University of California, Berkeley, where he has taught since 1990. He is the author of <b>Melville's Anatomies</b> and the coeditor, with Robert Levine, of <b>Frederick Douglass and Herman Melville&#58; Essays in Relation</b>.</p>Samuel Otterphiladelphia-storiessamuel-otter97801953959210195395921$29.95HardcoverOxford University Press, USAApril 2010Literary Collections<p><P>A historic and symbolic city on the border between slavery and freedom, antebellum Philadelphia was home to one of the largest and most influential "free" African American communities in the United States. The city was seen by residents and observers as the stage on which the possibilities of freedom would be tested and a post-slavery future would be played out for the nation. Philadelphia's charged setting produced a distinctive literary tradition that confronted issues of race, character, violence, and liberty. Verbal performance and social behavior assumed the weight of race and nation. The city's social experiments would have international consequences. <P>This account of Philadelphia's literary history from 1790 to1860 brings together writers familiar (Charles Brockden Brown, Edgar Allan Poe, John Edgar Wideman), lesser known (Hugh Henry Brackenridge, George Lippard, Frank J. Webb), and obscure (Mathew Carey, Robert Montgomery Bird, William Whipper, Joseph Willson). It draws on a host of diverse, often discounted expressive forms, from fever accounts and metempsychic fiction to caricatures and book covers. <P>Samuel Otter's authoritative study considers the significance of geographical, social, and literary "place." It offers a model for thinking about the relationships between literature and history and among European-American and African-American writers. It challenges conventional narratives of American literary history. And finally, it establishes Philadelphia as fundamental to our understanding of not only the political but also the imaginative life of nineteenth-century America.</p><P>INTRODUCTION&#58; Philadelphia Stories, 1790-1860<br>1. FEVER Mathew Carey, Absalom Jones, Richard Allen, and the Color of Fever...<br> Ministers and Criminals&#58; Richard Allen, John Joyce, and Peter Matthias Benjamin Rush's Heroic Interventions Mathew Carey's Fugitive Philadelphians Charles Brockden Brown's Experiments in Character<P>2. MANNERS Hugh Henry Brackenridge, and the Irrepressible Teague Edward W. Clay's "Life in Philadelphia"<br> "The Rage for Profiles"&#58; Silhouettes at Peale's Museum Philadelphia Metempsychosis in Robert Montgomery Bird's Sheppard Lee The Peculiar Position of Our People William Whipper and Debates in the Black Conventions..<br> Disfranchisement and Appeal Joseph Willson's Higher Classes of Colored Society in Philadelphia<P>3. RIOT<br> "Doomed to Destruction"&#58; The History of Pennsylvania Hall The Portraiture of the City of Philadelphia, and Henry James's American Scene The Mysteries of the City&#58; George Lippard, Edgar Allan Poe The Fiction of Riot&#58; George Lippard, John Beauchamp Jones The Condition of the Free People of Color<P>4. FREEDOM The Struggle over "Philadelphia"&#58; Mary Howard Schoolcraft, Sara Josepha Hale, Martin Robison Delany, James McCune Smith, and William Whipper Frank J. Webb's The Garies and Their Friends <br> "A Rather Curious Protest"<br> Still Life in Georgia History and Farce Parlor and Riot Philadelphia Vanitas The Social Experiment in Herman Melville's Benito Cereno<P>CODA&#58; John Edgar Wideman's Philadelphia<P>Bibliography
344Voices of Black America: Historical Recordings of Poetry, Humor and Drama, 1908-1947Washington0Washington, Langston Hughes, Paul Laurence Dunbar, William Shaman (Produced by), Peter Adamsonvoices-of-black-americawashington9789626342480962634248X$17.98Compact DiscNaxos AudiobooksFebruary 2002Large TypeLiterary Collections<p><P>This unique collection, compiled especially for Naxos Audiobooks, features original recordings from 1908&ndash;1946 of Booker T. Washington&rsquo;s Atlanta Exposition Address, the poetry of Paul Laurence Dunbar and Langston Hughes, the rarely heard humour of Charley Case, readings from God&rsquo;s Trombones by James Weldon Johnson, and much much more.</p><h3>School Library Journal</h3><p>Gr 9 Up-Unique in what it offers, Voices of Black America allows listeners to hear the actual voices of such luminaries as Booker T. Washington, Langston Hughes, and Paul Robeson. They are joined by lesser-known personalities such as Bert Williams and Charley Case who are among the public figures from the first half of the 20th century. In all, there are nine men from various walks of life presented. Unfortunately, no women are included, and, with the exception of Hughes giving the name of his poems, no one is introduced. Sound quality is variable because some segments include the sounds of earlier recording devices. The producers have not taken advantage of the rich music of the time to clarify breaks between performers. The lengthy liner notes include a picture and biographical information on each person as well as the location of each selection and its place on the CD. That will enable teachers to have easy access to Hughes reading "I Too Sing America" or Robeson as Othello. This supplemental recording will be useful in high school libraries where U.S. history and American literature are studied.-Barbara Wysocki, Cora J. Belden Library, Rocky Hill, CT Copyright 2003 Reed Business Information.</p>
345The Wind Shifts: New Latino PoetryFrancisco Arag&#243;n0<p>FRANCISCO ARAG"N is director of Letras Latinas at the Institute for Latino Studies, University of Notre Dame. He is the founding editor of Momotombo Press and is the author of Puerta del Sol.</p>Francisco Aragón, Juan Felipe Herrerathe-wind-shiftsfrancisco-arag-243-n97808165249380816524939$18.95PaperbackUniversity of Arizona PressApril 20071st EditionPoetry Anthologies, American Poetry, American Literature Anthologies2666.00 (w) x 9.00 (h) x 0.70 (d)<p>Join us across the nation with <i>The Wind Shifts</i> ON TOUR</p> <p>The Wind Shifts gathers, for the first time, works by emerging Latino and Latina poets in the twenty-first century. Here readers will discover 25 new and vital voices including Naomi Ayala, Richard Blanco, David Dominguez, Gina Franco, Sheryl Luna, and Urayoán Noel. All of the writers included in this volume have published poetry in well-regarded literary magazines. Some have published chapbooks or first collections, but none had published more than one book at the time of selection. This results in a freshness that energizes the enterprise. Certainly there is poetry here that is political, but this is not a polemical book; it is a poetry book. While conscious of their roots, the artists are equally conscious of living in the contemporary world—fully engaged with the possibilities of subject and language. The variety is tantalizing. There are sonnets and a sestina; poems about traveling and living overseas; poems rooted in the natural world and poems embedded in suburbia; poems nourished by life on the U.S.–Mexico border and poems electrified by living in Chicago or Los Angeles or San Francisco or New York City. Some of the poetry is traditional; some is avant-garde; some is informed by traditional poetry in Spanish; some follows English forms that are hundreds of years old. There are love poems, spells that defy logic, flashes of hope, and moments of loss. In short, this is the rich and varied poetry of young, talented North American Latinos and Latinas.</p><p><P>Join us across the nation with <i>The Wind Shifts</i> ON TOUR<P>The Wind Shifts gathers, for the first time, works by emerging Latino and Latina poets in the twenty-first century. Here readers will discover 25 new and vital voices including Naomi Ayala, Richard Blanco, David Dominguez, Gina Franco, Sheryl Luna, and Urayo&Atilde;&iexcl;n Noel. All of the writers included in this volume have published poetry in well-regarded literary magazines. Some have published chapbooks or first collections, but none had published more than one book at the time of selection. This results in a freshness that energizes the enterprise. Certainly there is poetry here that is political, but this is not a polemical book; it is a poetry book. While conscious of their roots, the artists are equally conscious of living in the contemporary world&#151;fully engaged with the possibilities of subject and language. The variety is tantalizing. There are sonnets and a sestina; poems about traveling and living overseas; poems rooted in the natural world and poems embedded in suburbia; poems nourished by life on the U.S.-Mexico border and poems electrified by living in Chicago or Los Angeles or San Francisco or New York City. Some of the poetry is traditional; some is avant-garde; some is informed by traditional poetry in Spanish; some follows English forms that are hundreds of years old. There are love poems, spells that defy logic, flashes of hope, and moments of loss. In short, this is the rich and varied poetry of young, talented North American Latinos and Latinas.</p><br>Foreword&nbsp;&nbsp;&nbsp;Juan Felipe Herrera&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xiii<br>Preface&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;xviii<br>Introduction&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1&nbsp;&nbsp;&nbsp;Rosa Alcala<br>Cante Grande&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;12<br>The Silversmith's Wife & the Chestnut Vendor&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;13<br>Migration&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;14<br>Class&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;15<br>The Sixth Avenue Go-Go Lounge&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;17<br>Patria&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;19&nbsp;&nbsp;&nbsp;Francisco Aragon<br>Cafe Central&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;23<br>Lunch Break&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;24<br>Bridge over Strawberry Creek&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;24<br>Ernesto Cardenal in Berkeley&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;25<br>Poem with Citations from the O.E.D.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;26<br>Portrait with Lines of Montale&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;27<br>Grid&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;28<br>Far Away&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;29<br>Al Viejo Mundo&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;30&nbsp;&nbsp;&nbsp;Naomi Ayala<br>Papo, Who'd Wanted to Be an Artist&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;33<br>It Was Late and She Was Climbing&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;34<br>This Breathless Minute&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;34<br>My Brother Pito&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;35<br>For "S"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;36<br>Hole&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;37<br>Within Me&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;37<br>Thus&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;38<br>Griot&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;39<br>Horses&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;40&nbsp;&nbsp;&nbsp;Richard Blanco<br>Mother Picking Produce&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;42<br>Shaving&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;42<br>Varadero en Alba&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;43<br>Chilo's Daughters Sing for Me in Cuba&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;45<br>What Is Not Mine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;46<br>Crossing Boston Harbor&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;46<br>Mexican Almuerzo in New England&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;47<br>Time as Art in The Eternal City&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;48<br>In Defense of Livorno&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;49<br>Somewhere to Paris&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;50&nbsp;&nbsp;&nbsp;Brenda Cardenas<br>Empty Spaces&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;53<br>Report from the Temple of Confessions in Old Chicano English&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;53<br>Cartoon Coyote Goes Po-Mo&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;54<br>from Sound Waves: A Series&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;55<br>Medicine&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;57<br>Our Language&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;59<br>Song&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;61&nbsp;&nbsp;&nbsp;Albino Carrillo<br>De las Mujeres Tristes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;63<br>Animal Time&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;63<br>La Invencion del Televisor Segun Huitzilopochtli&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;64<br>H. Writes His Dead Amigos for the Sake of Clarity&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;64<br>Lament for the chilero from Las Cruces&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;65&nbsp;&nbsp;&nbsp;Steven Cordova<br>Testing Positive&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;72<br>Sissy Boy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;72<br>Across a Table&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;73<br>Meditations on the Jordaan&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;74<br>Daydream to You&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;74<br>In Your Defense&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;75<br>Pecking Orders&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;76<br>Of Sorts&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;77<br>At the Delacourt&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;78<br>Driving toward Lake Superior&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;79&nbsp;&nbsp;&nbsp;Eduardo C. Corral<br>Night Gives to Things the Turning Beauty of Leaves&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;81<br>Ditat Deus&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;82<br>There Is a Light that Never Goes Out&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;82<br>Pear&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;83<br>To a Mojado Who Died Crossing the Desert&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;84<br>Monologue of a Vulture's Shadow&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;85<br>Midnight Coffee: Rafael Rodriguez Rapun, 1936&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;86<br>Julio Galan: Misael: Oil, Acrylic, Mixed Media on Canvas, 2001&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;86<br>Poem after Frida Kahlo's Painting The Broken Column&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;87&nbsp;&nbsp;&nbsp;David Dominguez<br>Pig&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;91<br>Fingers&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;91<br>Mexicali&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;92<br>Empty Lot&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;93<br>Framework&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;94<br>Roof&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;95<br>Chicago Title&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;96<br>Cowboy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;97<br>Elwood&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;98&nbsp;&nbsp;&nbsp;John Olivares Espinoza<br>Aching Knees in Palm Springs&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;101<br>Contemporary American Hunger&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;102<br>Learning Economics at Gemco&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;103<br>Las Cucarachas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;104<br>The City of Date Fruits and Bullet Wounds&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;105<br>The Story My Grandfather Told My Mother a Few Months before His Death&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;107<br>I Go Dreaming, Raking Leaves&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;108<br>Network of Bone&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;109&nbsp;&nbsp;&nbsp;Gina Franco<br>Everything Goes Down a Changeling&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;112<br>Darkling&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;112<br>Velvet&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;113<br>These Years, in the Deepest Holes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;115<br>The Walk Like Old Habits&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;116<br>The Earth Without&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;118&nbsp;&nbsp;&nbsp;Venessa Maria Engel-Fuentes<br>Cebolla&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;123<br>Como Park, 1975&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;124<br>Hermanita, Hermanota&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;124<br>Unit 502&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;126<br>Glass Grapes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;126<br>Record-Keeping&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;127<br>Funeral&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;128<br>Pinkie&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;129<br>Insomnia&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;130&nbsp;&nbsp;&nbsp;Kevin A. Gonzalez<br>The Night Tito Trinidad KO'ed Fernando Vargas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;132<br>Cultural Stakes; or, How to Learn English as a Second Language&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;133<br>Cultural Stud&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;136<br>The Night Bernard Hopkins KO'ed Tito Trinidad&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;138<br>To Roberto Clemente&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;139<br>Cultural Silence; or. How to Survive the Last American Colony&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;139&nbsp;&nbsp;&nbsp;David Hernandez<br>Dysfunctional&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;142<br>Exploded View&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;143<br>Wile E. Coyote Attains Nirvana&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;144<br>Dog with Elizabethan Collar&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;145<br>Ropes&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;146<br>Suburban Story&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;146<br>Whitman Dying&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;147<br>St. Mary's Hospital&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;148<br>Man on an Island&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;149<br>Dear Spanish&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;150&nbsp;&nbsp;&nbsp;Scott Inguito<br>Guadalupe Beach&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;152<br>Main Street&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;154<br>Papa George&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;154<br>Parade&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;156<br>Bats Trace Their Droppings Painting Words&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;159<br>I Have Been Resisting, Due to Bad Knees, 'Falling into the Work of the Living'&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;160&nbsp;&nbsp;&nbsp;Sheryl Luna<br>Her Back, My Bridge&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;163<br>Slow Dancing with Frank Perez&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;164<br>Learning to Speak&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;165<br>Two Girls from Juarez&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;166<br>Poesia de Maquiladora&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;167<br>Pity the Drowned Horses&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;168<br>An Atheist Learns to Pray&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;169<br>The Colt&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;170&nbsp;&nbsp;&nbsp;Carl Marcum<br>We Drove Some Chevys&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;172<br>Barrio Brisbane Gives Witness&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;176<br>First Snow&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;178<br>Notes from the Art Institute&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;179&nbsp;&nbsp;&nbsp;Maria Melendez<br>Remedio&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;181<br>In Birute's Camp&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;182<br>Nude Sonnet&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;183<br>Tonacacihuatl: Lady of Our Flesh&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;184<br>An Illustrated Guide to Things Unseen&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;185<br>A Secret Between Lady Poets&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;186<br>Has it been whispered all along?&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;188&nbsp;&nbsp;&nbsp;Carolina Monsivais<br>Writing the Circle of My Life by Remembering My Great-Grandmother&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;191<br>What I Remember about Almost Drowning in a Lake Somewhere in Kentucky&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;192<br>Early Signs&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;192<br>How the Eye Works&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;193<br>Phone Intake&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;194<br>The Interpreter&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;195<br>Granada&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;195<br>Seasons of Writing&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;197<br>From Houston Back to El Paso&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;198<br>The Funeral&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;199&nbsp;&nbsp;&nbsp;Adela Najarro<br>San Francisco&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;201<br>My Mother, Sex, and Dating&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;202<br>Throughout New York City&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;203<br>Between Two Languages&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;205<br>Playing around Cesar Vallejo&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;206<br>My Mother's High Heel Shoes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;207&nbsp;&nbsp;&nbsp;Urayoan Noel<br>Ballade of a Boy&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;210<br>Kool Logic&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;211<br>Barrio Speedwagon Blues&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;213<br>Death and Taxes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;215<br>Cave Painter Blues&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;216&nbsp;&nbsp;&nbsp;Deborah Paredez<br>Stella&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;218<br>Mobile, Alabama, 1963&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;218<br>The Gift, Uruguay, 1970&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 219<br>Sonnet for Rilke in February&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;220<br>The Fire&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;221<br>The Trumpets Raised&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;222<br>Avocados&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;223<br>The Early March&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;224<br>Nostos&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;225&nbsp;&nbsp;&nbsp;Emmy Perez<br>Solstice&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;227<br>Irrigation&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;227<br>When Evening Becomes Stellar&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;228<br>One Morning&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;229<br>Swimming&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;230<br>La Aurora&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;231<br>Ars Poetica&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;231<br>History of Silence&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;232&nbsp;&nbsp;&nbsp;Paul Martinez Pompa<br>How to Hear Chicago&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;237<br>After Words&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;237<br>Busted Lullaby&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;238<br>3 Little Pigs&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;238<br>Police Dog&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;239<br>Night&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;239<br>Want&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;240<br>Bones&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;241<br>While Late Capitalism&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;242<br>Nightshift&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;242&nbsp;&nbsp;&nbsp;Lidia Torres<br>Three Keys&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;245<br>Visiting the Dead&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;246<br>Listening for Her&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;246<br>Two Guavas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;247<br>A Weakness for Boleros&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;248<br>Daphne as a Drum&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;249<br>Spirit Boat&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;250<br>Adrift&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;251<br>Poema en un carro publico&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;251<br>Blackout&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;252<br>About the Contributors&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;254<br>Further Reading&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;261<br>Acknowledgments&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;262<br>Source Notes&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;263
346Slamma Lamma Ding Dong: An Anthology by Nebraska's Slam PoetsJ. M. Huscher0J. M. Huscher (Editor), Dan Leamen, Matt Mason, Dan Leamen (Editor), Matt Masonslamma-lamma-ding-dongj-m-huscher97805953629740595362974$11.95PaperbackiUniverse, IncorporatedJuly 2005Poetry Anthologies, Poetry - General & Miscellaneous, American Poetry, American Literature Anthologies1266.14 (w) x 9.12 (h) x 0.35 (d)Magic is what poetry is about. Magic can and does happen on the page, but the connection slams allow between poet and audience is both larger and more personal than the printed word. And it's reassuring, in a new century and millennium, to see that most ancient of the literary arts, poetry, return to its oral roots. When it comes to slams, poetry is the winner. <p>- from the essay "Downtown Slam" by JV Brummels</p> <p><i>Slamma Lamma Ding Dong</i> is the combined effort of 35 of Nebraska's slam poets. Appealing to fans of both the written and spoken word, it gives voice to the rich culture, the wild imagination, and the diverse spirit of the plains.</p><p>Magic is what poetry is about. Magic can and does happen on the page, but the connection slams allow between poet and audience is both larger and more personal than the printed word. And it's reassuring, in a new century and millennium, to see that most ancient of the literary arts, poetry, return to its oral roots. When it comes to slams, poetry is the winner.<P>- from the essay "Downtown Slam" by JV Brummels</i><P><I>Slamma Lamma Ding Dong</I> is the combined effort of 35 of Nebraska's slam poets. Appealing to fans of both the written and spoken word, it gives voice to the rich culture, the wild imagination, and the diverse spirit of the plains.</p>
347Shadowed Dreams: Women's Poetry of the Harlem RenaissanceMaureen Honey0Maureen Honey (Editor), Nellie Y. McKayshadowed-dreamsmaureen-honey97808135388600813538866$21.99PaperbackRutgers University PressOctober 20062nd EditionLiterary Collections3746.00 (w) x 8.90 (h) x 1.00 (d)
348Appalachia Inside Out: Conflict and Change, Vol. 1Robert J. Higgs0<p>The Editors: Robert J. Higgs is professor of English, emeritus, at East Tennessee State University and the author of Laurel and Thorn: The Athlete in American Literature.<br> Ambrose N. Manning is professor of English, emeritus, at East Tennessee State University and a noted collector of folk songs and folklore.<br> Jim Wayne Miller, a poet, novelist, and essayist, is a professor in the Department of Modern Languages and Intercultural Studies at Western Kentucky University.</p>Robert J. Higgsappalachia-inside-outrobert-j-higgs97808704987490870498746$18.00PaperbackUniversity of Tennessee PressMarch 19951st EditionRegional American Anthologies, United States - Civilization, Southern Region - History - General & Miscellaneous3766.12 (w) x 8.94 (h) x 1.08 (d)<p>Edited by Robert J. Higgs, Ambrose N. Manning, and Jim Wayne Miller These two volumes constitute the most comprehensive anthology of writings on Appalachia ever assembled. Representing the work of approximately two hundred authors—fiction writers, poets, scholars in disciplines such as history, literary criticism, and sociology—Appalachia Inside Out reveals the fascinating diversity of the region and lays to rest many of the reductive stereotypes long associated with it.<br> Intended as a sequel to the widely respected collection Voices of the Hills, edited by Robert Higgs and Ambrose Manning and published twenty years ago, these volumes reflect the recent proliferation of imaginative and critical writing about Appalachia—a proliferation that suggests nothing less than a renaissance of collective self-assessment. The selections are organized around a variety of themes (including "War and Revolution," "Feuds and Violence," "Nature and Progress," "Dialect and Language," "Exile, Return, and Sense of Place," and "Majority and Minority") and reveal both the radical changes the region has undergone as well as the persistence of certain defining features.<br> The title Appalachia Inside Out refers in part to the fact that Appalachia has never existed in timeless isolation from the rest of country and the world; rather, it has both absorbed outside influences and exerted influence of its own. The title also indicates the editors' effort to look not only at the visible Appalachia but at the forces that underlie its history and culture. What emerges in these pages is an Appalachia both familiar and strange: a mirror of lived life on the one hand and, on the other, a haunted realm of unimaginable loss and bewitching possibility.<br> The Editors: Robert J. Higgs is professor of English, emeritus, at East Tennessee State University and the author of Laurel and Thorn: The Athlete in American Literature.<br> Ambrose N. Manning is professor of English, emeritus, at East Tennessee State University and a noted collector of folk songs and folklore.<br> Jim Wayne Miller, a poet, novelist, and essayist, is a professor in the Department of Modern Languages and Intercultural Studies at Western Kentucky University.</p><p>The two volumes of Appalachia Inside Out constitute the most comprehensive anthology of writings on Appalachia ever assembled. Representing the work of approximately two hundred authors-fiction writers, poets, scholars in disciplines such as history, literary criticism, and sociology-Appalachia Inside Out reveals the fascinating diversity of the region and lays to rest many of the reductive stereotypes long associated with it.</p><h3>Booknews</h3><p>An anthology of fiction, poetry, history, literary criticism and folklore about the mountainous region and the influences on it. The selections in volume 2 are organized around themes such as family and community, dialect and language, sports and play, and regional identity and the future. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><article> <h4>Booknews</h4>An anthology of fiction, poetry, history, literary criticism and folklore about the mountainous region and the influences on it. The selections in volume 2 are organized around themes such as family and community, dialect and language, sports and play, and regional identity and the future. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
349Writing Los Angeles: A Literary AnthologyDavid L. Ulin0<p><P>David L. Ulin, editor, is a frequent contributor to the <i>Los Angeles Times</i>, the <i>LA Weekly</i>, and other publications. He recently edited <i>Another City</i>, an anthology of contemporary Los Angeles poetry and prose.</p>David L. Ulinwriting-los-angelesdavid-l-ulin97819310822731931082278$38.60HardcoverLibrary of AmericaSeptember 2002American Literature Anthologies, Fiction Subjects8806.34 (w) x 9.60 (h) x 1.81 (d)Los Angeles has always been a place of paradisal promise and apocalyptic undercurrents. Simone de Beauvoir saw a kaleidoscopic "hall of mirrors," Aldous Huxley a "city of dreadful joy." Jack Kerouac found a "huge desert encampment," David Thomson imagined "Marilyn Monroe, fifty miles long, lying on her side, half-buried on a ridge of crumbling rock." <p>In <i>Writing Los Angeles</i>, The Library of America presents a glittering panorama in fiction, poetry, essays, journalism, and diaries by more than seventy writers. It brings to life the entrancing surfaces and unsettling contradictions of The City of Angels, from Raymond Chandler's evocation of murderous moods fed by the Santa Ana winds to John Gregory Dunne's affectionate tribute to "the deceptive perspectives of the pale subtropical light." Here are fascinating strata of Los Angeles history, from the 1920s oil boom to 1980s graffiti art, from flamboyant evangelist Aimee Semple McPherson to surf music genius Brian Wilson, from German emigré intellectuals to hard-bitten homicide cops. Here are fragile ecosystems, architectural splendors, and social chasms, in the words of writers as various as M.F.K. Fisher, William Faulkner, Bertolt Brecht, Evelyn Waugh, Octavio Paz, Joan Didion, Norman Mailer, Walter Mosley, Mona Simpson, and Charles Mingus. Art Pepper discovers the Central Avenue of the 1940s jazz scene; screenwriter Robert Towne reflects on Chinatown's origin; David Hockney teaches himself to drive; Pico Iyer finds at LAX "as clear an image as exists today of the world we are about to enter."</p> <p><i>Writing Los Angeles</i> is an incomparable literary tour guide to a city of shifting identities and endless surprises.</p><p>Having previously compiled an anthology of contemporary poetry and prose about the southern California megalopolis, Ulin here gathers of it in several genres, in whole or excerpted, from a range of periods and mostly by writers who did not live there. Annotation c. Book News, Inc.,Portland, OR</p><h3>The New Yorker</h3><p>Before the first postcards arrived back East showing sunlit cactuses and mesas, railroad-company photographers and government surveyors had already begun to document the American West for commercial gain. In <a href="http://cart2.barnesandnoble.com/booksearch/isbnInquiry.asp?isbn=0300095228"><I>Print The Legend</I></a>, Martha A. Sandweiss writes that as early as the eighteen-sixties daguerreotypes, album plates, and glass lantern slides encouraged railroad barons and real-estate developers to plot their next moves. Desolate flatlands were paired with optimistic text, depicting "a visual story that affirmed and expanded the central fictions of nineteenth-century western history."</p> <p>The rodeo circuit provides another framework for Western legend; barrel-racing cowgirls spent their time away from the arena "polishing white boots and powdering white hats," according to <a href="http://cart2.barnesandnoble.com/booksearch/isbnInquiry.asp?isbn=1586481118"><I>Rodeo Queens and The American Dream</I></a>. Author Joan Burbick interviews female rodeo stars, starting with the foremothers of the nineteen-thirties. "Buckle bunnies," as they were called, "were on a strict work schedule. Western heritage was serious business."</p> <p>Farther west lay California, and particularly Southern California, with its stark contrasts of reality and fakery, history and amnesia. "Accept no man's statement that he knows this Country of Lost Borders well," Mary Austin warned in 1909, but more than seventy contributors take a shot in <I>Writing Los Angeles</I>. One of them, Helen Hunt Jackson, described L.A. in 1883 as a city of "century-long summers" -- an earlier version of Truman Capote's assessment: "Snow is on the mountains, yet flowers color the land, a summer sun juxtaposes December's winter sea." In other words, wish you were here.</p> <I>(Lauren Porcaro)</I></p><article> <h4>The New Yorker</h4>Before the first postcards arrived back East showing sunlit cactuses and mesas, railroad-company photographers and government surveyors had already begun to document the American West for commercial gain. In <a href="http://shop.barnesandnoble.com/booksearch/isbnInquiry.asp?sLinkPrefix&amp;isbn=0300095228"><i>Print The Legend</i></a>, Martha A. Sandweiss writes that as early as the eighteen-sixties daguerreotypes, album plates, and glass lantern slides encouraged railroad barons and real-estate developers to plot their next moves. Desolate flatlands were paired with optimistic text, depicting "a visual story that affirmed and expanded the central fictions of nineteenth-century western history."<br> <br> <p>The rodeo circuit provides another framework for Western legend; barrel-racing cowgirls spent their time away from the arena "polishing white boots and powdering white hats," according to <a href="http://shop.barnesandnoble.com/booksearch/isbnInquiry.asp?sLinkPrefix&amp;isbn=1586481118"><i>Rodeo Queens and The American Dream</i></a>. Author Joan Burbick interviews female rodeo stars, starting with the foremothers of the nineteen-thirties. "Buckle bunnies," as they were called, "were on a strict work schedule. Western heritage was serious business."</p> <p>Farther west lay California, and particularly Southern California, with its stark contrasts of reality and fakery, history and amnesia. "Accept no man's statement that he knows this Country of Lost Borders well," Mary Austin warned in 1909, but more than seventy contributors take a shot in <i>Writing Los Angeles</i>. One of them, Helen Hunt Jackson, described L.A. in 1883 as a city of "century-long summers" -- an earlier version of Truman Capote's assessment: "Snow is on the mountains, yet flowers color the land, a summer sun juxtaposes December's winter sea." In other words, wish you were here.</p> <i>(Lauren Porcaro)</i> </article> <article> <h4>Library Journal</h4>"The story of Los Angeles has always been, on the most basic level, the story of the interaction between civilization and nature an idiosyncratic hybrid of the urban and the elemental." The people, land, motion picture industry, and desert ecosystem and their complex interconnections form the foundation of this anthology. Together the works trace the history of Los Angeles with good writing. Editor Ulin, who frequently contributes to the Los Angeles Times and recently edited an anthology of contemporary Los Angeles poetry and prose, Another City, collects essays and excerpts from fiction, nonfiction, and poetry by over 70 writers as diverse as Mary Austin, Truman Capote, William Faulkner, Bertolt Brecht, Norman Mailer, and Joan Didion. Arranged chronologically, each selection includes a brief biography of the author that establishes his or her credentials for knowing Los Angeles at a particular time in its development. Recommended for all public libraries and academic libraries that collect writing about place. Sue Samson, Univ. of Montana, Missoula Copyright 2002 Cahners Business Information. </article>
350On Grandma's Porch: Stories and True Facts about Growing up Southern in the Good Old DaysSandra Chastain0Sandra Chastain, Martha Crockett, Debra Leigh Smithon-grandmas-porchsandra-chastain97809768760210976876027$14.49PaperbackBelleBooks, IncorporatedJune 2007Short Story Anthologies, Regional American Anthologies2495.90 (w) x 8.90 (h) x 0.60 (d)You could drink a glass of milk straight from the cow, ride a dirt road in the back of an old pick-up truck, and sleep on the back porch with a hound dog for company. A visit to Grandma and Grandpa's almost always promised a great adventure on their farm. Step back in time to the heartfelt innocence of a Southern childhood, a time when the rest of the world seemed far away and life was as clear as the morning dew on a ripe tomato.<center>* * * *</center> <p>The Good Son</p> <center>by Maureen Hardegree</center> <center>"Anything to do with the South resonates with me, because I'm Southern."</center> <center>--Mary Steenburgen, actress</center> <p>The dead, pretty much, have to take whatever we want to do to them "lying down," so to speak. But can you use the dead, I wondered, to make the living happy?</p> <p>I hadn't ever contemplated that question until recently, and why would I? Why would anyone other than a physician, mortician, or anatomy instructor?</p> <p>Guess I'd better begin at the beginning.</p> <center>* * * *</center> <p>It was the first cold, crisp day of fall when I walked through the back door of my house and encountered my mother sitting at the kitchen table. She raised her gray head, dabbed her teary eyes with some tissue, and sighed.</p> <p>I glanced out the window at the yellow leaves, which earlier in the week my wife had informed me were actually a burnished gold. The sky was a pretty blue. It was the kind of day that made most people happy--but not my mother.</p> <p>"Hi, Mom," I said with forced joviality and tossed my keys onto the desk.</p> <p>Rather than answer in kind, she blinked at me, then her small face crumpled like the tissue in her plump hand and she started boo-hooing in earnest.</p> <p>From the hunger-inducing smell of mozzarella, beef and garlic, I suspected my wife Hannah was baking a lasagna, which didn't usually make my mother cry. It often did, however, prompt Mom to tell my wife how our family had never eaten Italian food for supper.</p> <p>Maybe Hannah had borrowed one of Mom's dishes again. All hell broke loose several months ago when Hannah pulled out the electric frying pan with theintent of using it to make pork chops. You'd have thought my wife had committed murder the way my mother had carried on.</p> <p>Food cooking in the oven was only adding to my confusion. School was in session. Why was my wife home before sundown and preparing a hot meal? Had someone died?</p> <p>"What's wrong, Mom?"</p> <p>"Why did you let me leave your father in Augusta?"</p> <p>Mom's genteel Piedmont accent often lulled people into thinking she hadn't truly meant whatever hurtful thing she'd said, but I wasn't most people. I heard the veiled accusation--his being in Augusta was somehow my fault.</p> <p>"Maybe because he's been dead for six years," I said. "I don't think he minds."</p> <p>"Well, I don't want him there anymore. I can't drive down to see him without taking the whole day. Besides, I don't want to be in Augusta when I die. I want to be in Rutledge."</p> <p>"Your plot happens to be in Augusta, Mother. In fact, you've got seven of them."</p> <p>"Can't we move him?"</p> <p>Hannah, who was tearing the lettuce for a salad, drew her breath in sharply. Mom's question didn't shock me. She'd been talking about moving him ever since the questions began about when Davy, my father, was going to get his tombstone.</p> <p>"Daddy," I started to say, and my wife snorted.</p> <p>The way I say "daddy" amuses her to no end. My wife, a Yankee I married to help the height of my gene pool, claimed "daddy" sounded like "diddy" when I said it.</p> <p>I tried to ignore the snort. "Daddy didn't want to be buried in the first place, and now you want me to move him to the Rutledge Cemetery? He hated that town."</p> <p>Mom stood. Her little body shook like her voice. "I don't care."</p> <p>My father, a former Army officer, left the sleepy Georgia town where he'd grown to manhood as soon as he was able. He'd also provided clear instructions on what he wanted done at his death, which had come much sooner than any of us had imagined it would. A heart attack at fifty-three. He lingered in the hospital for a week.</p> <p>Of course, the fact that Daddy was a drinker and smoker didn't help. Since his death, though, who he'd been and what he'd wanted and liked had morphed into a person I didn't recognize. His name changed from Davy to Ezekiel, his middle name, and he'd become a saint, a teetotaler, and a man who was kind to all animals including the deer viewing his garden as an all-you-can-eat buffet. Several family members had even attempted praying his atheistic soul into heaven.</p> <p>Dad had wanted to be cremated and to have his ashes added to the soil in his garden, which had rivaled the one on the PBS show "The Victory Garden" in neatness and beauty.</p> <p>He'd canned his own vegetables, and his days in the summer and spring were spent weeding and protecting his fenced domain from the bed of his white Chevy pick-up. Deer and other animals daring to trespass for a little nibble got a load of buckshot. His company during his garden-guarding vigil? A shotgun, a pack of menthol Benson &amp; Hedges, and a tall glass of sweet tea. A screwdriver, the drink, not the tool, was actually his favorite beverage but wasn't appropriate during those after-hours guarding episodes.</p> <p>Even if his remains wouldn't be in the ground, he'd wanted a monument in a cemetery, and he truly liked the plot in Augusta, which had belonged to my mother's great-grandmother and had passed down to Mom. A tall oak shaded the ground, the perfect spot, in his opinion, for a nice granite headstone that mentioned his service to his country.</p> <p>When Dad died, my mother was a mess, so I couldn't count on her to follow through on his wishes. She'd always been what her family referred to as high-strung.</p> <p>Since she couldn't, I voiced what he'd wanted to the family at large, and the mention of cremation made one of my elderly relative's pale skin go stark white. Her blue eyes widened like she'd seen a ghost. I was afraid she would have a heart attack, and we'd have two funerals to argue over.</p> <p>My uncle quietly suggested a traditional burial, complete with displaying the dead body in the dining room of my parents' house and what we call "sitting up with the dead." I didn't sit up with Dad all night, and no one that I know did. I slept upstairs almost directly above the casket, which might be close enough. My Yankee wife was pretty shocked when I told her about that little tradition years later. I explained that I was only trying to be a good son, nephew, and grandson.</p> <p>In the years since Dad's funeral, Mom had never pulled herself together (which is why she was living with me and my wife), nor could she bring herself to buy Dad's monument. I was still trying to be the good son--"trying" being the key word, because she was trying my patience to no end.</p> <p>If I wasn't dreaming, Mom wanted me to move my father, a man who never wanted to be buried, to their homeplace, Rutledge, a town he hated. I had to take a stand for him. "You can't move him there."</p> <p>Mom worked her lips in and out in a down-turned pout. "Why not? I don't care how much it costs."</p> <p>"You know he didn't want to be buried at all, much less in Rutledge."</p> <p>"That's not true." She worked her lips faster. Her eyes brimmed to full pool.</p> <p>"Yes it is. Why don't we just pick out a monument? I'll come home early tomorrow afternoon and take you to the place on the highway."</p> <p>She scraped her chair back from the table and fisted her small, puffy hands. "You've taken everything from me, and now you want to keep your father where I can't go see him."</p> <p>My wife pulled the lasagna out of the oven and slammed it down on the stove. Her face was flushed, with anger I suspected. I knew what she was thinking. Right, being newly married we wanted nothing more than to take care of my crazy mother just so we could have all her things, such as the circa 1968 burnt-orange bedspread in the guest room and her deviled egg tray.</p> <p>"Look, Mom, you can't exactly see someone who's buried, anyway."</p> <p>"You're just being hateful," Mom said, now fully into the drama of her role. She'd be the first to tell you she liked to emote. With her lips pursed and the tears flowing, she stomped through the den to her bedroom and slammed the door behind her, her trademark gesture.</p> <p>She'd played her trump card to perfection, accusing me, her perfect only son, of being hateful.</p> <p>Now I was angry, too.</p> <p>"Fine," I yelled from the other side of the door separating us. "You want to move him, we'll move him."</p> <p>My wife probably thought I was as touched as my mother.</p> <p>I stormed into the living room and dug through the drawers in the secretary to locate all the funeral papers. I unzipped the pouch from the mortuary that overflowed with sympathy cards Mom couldn't bring herself to throw away, and I found the phone number.</p> <p>"You aren't serious, are you?" Hannah asked. She must have finished with the salad.</p> <p>"He was used to moving around with the army."</p> <p>"You aren't kidding."</p> <p>"Nope, I'm trying to be a good son. If moving him will make my mother happy, does it really matter where his body is?"</p> <p>"Correct me if I'm wrong," she said. "But didn't he make her promise not to ever bury him there?"</p> <p>"It's not like he's even going to know. And if it'll get my mother to stop crying and obsessing, I win."</p> <p>"I hate to tell you, Clay, but I don't think it's possible for her to stop crying and obsessing."</p> <p>"Very funny," I said.</p> <p>I dialed the number. What sort of message would I leave on the answering machine? You buried my father six years ago, and he's ready for a change of scenery. I had no doubt this would be expensive and involve more than one funeral home, two county governments, and a mountain of paper. But the move would be worth it if it helped Mom settle down. I listened to the recording providing the funeral home's viewing hours. The line must have been busy, so I'd been transferred to the automated service.</p> <p>The beep sounded, and I said the first thing that came to mind. "I want to move my dad to a different cemetery. What do I need to do? Please call me at...."</p> <p>I walked back into the kitchen, where Hannah was setting the table with our stoneware rather than Mom's off-limits dishes, and I placed the phone in its cradle.</p> <p>My wife shook her head. "If your father starts haunting you, don't say I didn't warn you."</p> <center>* * * *</center><p>You could drink a glass of milk straight from the cow, ride a dirt road in the back of an old pick-up truck, and sleep on the back porch with a hound dog for company. A visit to Grandma and Grandpa's almost always promised a great adventure on their farm. Step back in time to the heartfelt innocence of a Southern childhood, a time when the rest of the world seemed far away and life was as clear as the morning dew on a ripe tomato.</p>
351Tuscany in MindAlice Leccese Powers0<p><P>Alice Leccese Powers is the editor of the anthologies <i>Italy in Mind</i>, <i>Ireland in Mind</i>, and <i>France in Mind</i>, and coeditor of <i>The Brooklyn Reader&#58; Thirty Writers Celebrate America's Favorite Borough</i>. A freelance writer and editor, she has been published in <i>The Washington Post</i>, <i>The Baltimore Sun</i>, <i>Newsday</i>, and many other newspapers and magazines. Ms. Powers also teaches writing at the Corcoran College of Art and Design. She lives in Washington, D.C., with her husband.</p>Alice Leccese Powers (Editor), Alice Leccese Powerstuscany-in-mindalice-leccese-powers97814000767581400076757$11.42PaperbackKnopf Doubleday Publishing GroupMay 2005Northern Italy - Tuscany - Travel, Italy - Travel Essays & Descriptions, English & Irish Literature Anthologies, American Literature Anthologies4005.10 (w) x 8.00 (h) x 1.00 (d)In her fourth literary travel companion, Alice Leccese Powers explores one of the most seductive regions of the world through more than two centuries of fiction, poetry, essays, letters, and memoirs by English-speaking visitors to northern Italy.<br> The poet Shelley called Tuscany “a paradise of exiles”; it has long been a magnet for literary travelers and expatriates. Here are writers who have made their home in Tuscan villas, castles, and farmhouses, from the Shelleys, Byron, and the Brownings to Frances Mayes. Here too are Charles Dickens, Edith Wharton, Henry James, and E. M. Forster on the glories of Florence, Pisa’s leaning tower, and the enchanting Tuscan countryside, alongside the tart wit of Mark Twain, Mary McCarthy, and Erica Jong. From James Boswell’s record of his romantic dalliances to Laura Fraser’s memoir <b>An Italian Affair</b> to Sarah Dunant’s novel <b>The Birth of Venus</b>, <b>Tuscany in Mind</b> assembles a glittering mosaic portrait of an unforgettable place. <p>Kinta Beevor • James Boswell • Elizabeth Barrett Browning • Robert Browning • Lord Byron • Bruce Chatwin • Ann Cornelisen • Charles Dickens • Sarah Dunant • Lawrence Ferlinghetti • Penelope Fitzgerald • E. M. Forster • Laura Fraser • Paul Gervais • Barbara Grizzuti Harrison • Robert Hellenga • William Dean Howells • Henry James • Erica Jong • D. H. Lawrence • David Leavitt and Mark Mitchell • Robert Lowell • Frances Mayes • Mary McCarthy • H. V. Morton • Eric Newby • Iris Origo • John Ormond • Elizabeth Romer • John Ruskin • Mary Shelley • Percy Bysshe Shelley • Kate Simon • Tobias Smollett • Matthew Spender • Stephen Spender • Mark Twain • Edith Wharton</p><b>Kinta Beevor</b> <br> (1911-1995) <br> In 1916 when British-born Kinta Beevor was five, her father, the painter Aubrey Waterfield, bought a sixteenth-century castle, La Fortezza della Brunella, near the village of Aulla. Waterfield, his wife, the writer Lina Duff Gordon, and their three children moved into the imposing fortress with its improbable rooftop garden that looked like "it had been abandoned under an enchanter's spell." For the next twenty-five years they lived a bohemian life, punctuated by visits from friends like Aldous Huxley, Bernard Berenson, D. H. Lawrence, and Iris Origo. Kinta and her brothers were often left to the care of Aullan servants while her parents devoted themselves to their work and the rehabilitation of Fortezza della Brunella. Beevor wrote, "It was often said of my parents that they had all of the luxuries of life, but none of the necessities . . . they seldom had money for those things that their relations considered the basis of civilized life." <p>Their lives in Tuscany ended with World War II. Beevor's parents had a harrowing escape from Italy and relocated, unhappily, in England. Her two brothers and her husband served with the British military; her brother John was killed in combat. Aubrey Waterfield died in 1944. But the indomitable Lina Duff Gordon returned to the heavily damaged Fortezza after the war. The destruction of her husband's frescoes and the memories evoked by his rooftop garden proved too much for her and, after several years, she returned to England. Kinta Beevor's only book, A Tuscan Childhood, from which this is excerpted, was published in 1993, two years before her death. She concluded that La Fortezza was "the most beautiful and magical place in the world. But when I look back, I can easily see why friends and relatives . . . considered my parents wildly imprudent, if not mad, to settle in such a place. Thank God for imprudence."</p> <p><i>from</i> A TUSCAN CHILDHOOD In those days, just after the First World War, the kitchen was the best place in which to get to know the region. And the herbs and vegetables, still smelling of the warm volcanic earth, could start a love of Tuscan cooking that would last a lifetime. For the servants, as well as their friends and relations who dropped in on visits, the kitchen was not simply a place of work but the centre for their favourite subject of conversation. Everyone, men and women alike, compared recipes. When somebody talked of a particular dish, another might say that a cousin of theirs who had married a Piedmontese prepared it a slightly different way. They would argue the relative merits, go away and experiment, and discuss it again the next time.</p> <p>The cooking of the Lunigiana, while essentially Tuscan, reflects its geographical reality as a border region and its history of "armies, pilgrims and merchants" passing through. Surrounded by Genoese Liguria, Parma and Reggio nell'Emilia, it has borrowed what it likes: pesto with pine nuts in the Genoese style; the curing of hams and the preparation of sausage and <i>coppa</i> from Parma (the <i>pecorino</i> cheeses from up the valleys also bore a strong affinity to Parmesan); and the local favourite of <i>panigacci</i>-a form of unleavened maize bread cooked between iron dishes and eaten with <i>pesto</i>-from Emilia.</p> <p>The basis of life sixty years ago was <i>la cucina povera</i>, peasant cooking, which made the best use of home-grown raw materials-maize flour for polenta, semolina for gnocchi, onions and beans for soups, fresh vegetables from the <i>orto</i> for stuffing and tomatoes for sauces, while the wild mushrooms, herbs, nettles and particular grasses gathered from hillsides went into <i>torte</i> (flans) and even <i>tortelloni</i>. But almost every meal depended upon that ancient trinity of bread, olive oil and wine.</p> <p>Polenta, a pale golden colour from the flour of Indian corn, formed the solid staple of winter months when no fresh vegetables were available. Cut into strips, it was eaten fried in olive oil, baked with Parmesan or served with a sauce and a little meat if available, such as goat, garlic salami or <i>zampone</i>-a pig's trotter made into sausage. So central was polenta to the diet of the northern Italian that southerners used to call them <i>polentoni</i>. Tuscans were also called the bean-eaters, because the <i>fagioli</i> gathered in the summer, then dried, shelled and sacked up for the winter, provided the bulk of their protein, usually in the form of minestrone.</p> <p>Beef was almost unheard of, unless an old animal had been killed, and veal was a rare luxury. Often the tougher bits were boiled, making a consommé, then the meat was served with <i>salsa verde</i>, a green sauce made from very finely chopped parsley, onion and capers with oil and sometimes an anchovy. Any pieces of meat left over were minced, then augmented with egg, breadcrumbs, parsley and basil or other herbs in season, and used to make <i>ripieni</i>-stuffed vegetables, such as tomatoes, onion, aubergines, zucchini, or lightly boiled cabbage leaves made into a parcel.</p> <p>Most fresh meat came from chickens, pigeons and rabbits, which were cheap to raise. One of my favourite dishes, which both Mariannina and Adelina cooked superbly, was a <i>bomba di riso</i> of squabs or fledgling pigeons. For this you line a bowl with partly cooked rice mixed with egg, then fill the remaining cavity with young pigeon breasts in a mushroom sauce with chicken livers. It is a dish you do not often find today, but as soon as you mention it, people suddenly remember the taste from their youth with a reawakened longing.</p> <p>I never really liked eating rabbit, not because I thought of the animal as a cuddly pet, but because I was exasperated by Adelina-whose lack of scientific reliability was all too apparent even to us children-insisting that it contained lots of iron and so was especially good for <i>padroncini</i>, or little masters and mistresses.</p> <p>Tuscans have deeply held beliefs about the effects of food, some of which are no doubt true, while others are fanciful. Figs, they say, are bad for you at night. You will avoid illnesses of the liver if you use only the very purest olive oil. Red chilli is good for stomach trouble. A tea made from fennel seeds helps soothe a baby's colic. Eating raw garlic keeps mosquitoes away, and also, one might add, other species from vampires to Lotharios.</p> <p>Another range of sayings I remember concerned the preparation of food. Basil should be torn, not cut with metal, otherwise it loses its taste as well as its goodness. Parmesan should never be grated because the friction cooks it. And each cooking utensil-knife, cutting board or pan-should be used for one purpose only so that flavours do not mix.</p> <p>Variations in the cooking of the Lunigiana are, like in other areas, dictated by the seasons, but certain foods are clearly associated with specific feast days. For the Aullesi, one of the most important annual events, the Feast of San Severo on the first Saturday of September, is even known by the name of the dish-the <i>Festa della Capra</i>. For this celebration of that local favourite, kid and polenta, the meat is slowly brought to the boil. The water that is produced, known as the <i>selvatico</i>-the wild element-is thrown away. The purified capra, a very lean meat, is then cooked in oil with <i>soffritto</i>-lightly fried onions, celery and dry sausage with herbs-capers and <i>mortadella di Maiale</i>. Meanwhile, a sauce for the kid and the polenta is prepared consisting of tomatoes, onions, carrots, celery and white wine.</p> <p>The calendar ran roughly as follows. In Carnival, exotically stuffed <i>tortelloni</i> were popular; and a surprisingly unfestive choice at this time was boiled chickpeas. The onset of Lent was a penance that sat easier on the poor who could seldom afford to eat meat. And since fresh fish was also too expensive, the diet of peasant families changed little, except for the addition of <i>zuppa di magro</i>-or Lenten soup. It was also a time when people remembered the story of the "<i>zuppa dei poveri</i>." A poor man arrives at the door of a house and asks the wife if he could have some water for his soup. She peers into the saucepan he is holding and sees only a stone.</p> <p>"What?" she exclaims. "Soup made with just a stone and some water?"</p> <p>"Well, signora," says the man, "it is true that it would taste better with a carrot as well."</p> <p>"But soup made with just a stone and a carrot . . ."</p> <p>"Well, it would be better with a potato if you happen to have one to spare." And so on.</p> <p>Easter was a time for peasant families to kill a chicken, either to prepare <i>pollo in umido</i> or <i>pollo al cacciatore</i> served with carrots and shallots cooked whole. Chicken in those days, thoroughly free-range and fed on maize, had a deliciously gamy taste. But the paramount importance of the chicken for producing eggs was borne out of the year-round popularity of <i>frittate</i>-cold omelettes-and quiche-like <i>torte</i>. We were always given onion <i>frittate</i> in a picnic basket. And fairly often appearing on the table would be an onion tart, known as <i>la barbuta</i>, or "the bearded woman," because the fine slices of vegetables were supposed to look like hair; or a <i>torta</i> of spinach cooked in the bread oven, or even, in the spring, a <i>torta</i> made with nettles when they were still young and fresh.</p> <p>The centre-piece of Aullese Christmas fare was usually a capon, but most of the other dishes were very different to British tradition. The first course was often <i>tortelli</i> stuffed with ricotta and wild herbs or mushrooms, followed by a <i>torta di verdura</i>-a rich quiche with pumpkin, leeks, spinach, beet, onion, nettles and borage.</p> <p>The seriousness of the whole enterprise, above all when preparing for a feast day, was not to be underestimated. Tasting was not just a formality; Mariannina's expression was genuinely preoccupied until reassured both by the taste and, after a loaded silence, by the after-taste. Only then would she pronounce her work satisfactory.</p> <p>Much later, when all was eaten and the copper saucepans cleaned, polished and hung up, Mariannina would sit down in the large kitchen chair and take out her embroidery. This was the best time to beg her to tell us fairy tales. In a typically Tuscan way, most of them involved delicious food produced by magic as well as the more conventional rewards of great riches, or marriage to a prince or princess.</p> <p>MARKET THEATRE IN AULLA</p> <p>For Mariannina, as for any Tuscan, the first step in the preparation of the day's meals was seeing which vegetables were ready in the orto. Only then would she consider what produce was fresh and reasonably priced-either in the market, or available from travelling vendors. Anything not grown at home was automatically regarded with suspicion, so selection was as important as the cooking itself.</p> <p>Vendors used to turn up unannounced with frequent irregularity. Coming down to breakfast, we would often find a peasant woman seated upon the hall steps, surrounded by scrawny chickens with their legs tied together. She would pinch the poor fowls to show how fat they were while Mariannina or my mother bargained. Others arrived with sacks of chestnuts or baskets of apples, eggs or home-made cheeses.</p> <p>On one occasion, Mariannina opened the door of the <i>salone</i> and shepherded in a live turkey as if announcing a rather shy guest. The turkey stalked haughtily around the room and eventually came to a halt, contemplating the fire in fascination. Mariannina wanted my mother's agreement on the price before concluding such a major purchase. They decided to buy him. He would be quartered outside by the magazine and fed on maize and acorns in preparation for Christmas.</p> <p>Our turkey, an apparently tame and complacent creature, took on the habits of a domestic pet, wandering in through the <i>portone</i>, up the steps to the hall and even to the kitchen. His imprisonment was incomparably more civilized than that of most large birds destined for the pot. In many farmhouses the capon or cock being fattened up for Christmas was kept in a wicker cage near the kitchen fire. Yet perhaps our turkey suddenly perceived his fate on one of his perambulations, for one day this hitherto willing prisoner jumped from the outer wall into the ilex wood below, softening his fall with an energetic flapping of stubby wings.</p> <p>Ramponi, who had spotted the escape, was certain that such a slow bird could not elude him. He delayed his pursuit until he had finished what he was doing. But this proved a severe miscalculation for which Mariannina never forgave him-or indeed herself, since she had been the one who had persuaded my mother to buy the bird in the first place. She and Adelina had long discussions afterwards about whose pot the turkey had disappeared into, but their speculation on his fate only increased their frustration.</p> <p>The temptation for both travelling vendors and stallholders in the town to get the better of the English-to be <i>furbo</i>, or cunning-with stones in the bottom of the sack or other such devices, was often too great for them to resist. In those days, when the <i>lira sterlina</i> was still on the gold standard, English travellers and residents were automatically assumed to be milords and charged acordingly, which meant at least double the price demanded from Italians.</p> <p>Local friends would laugh at my mother's disappointment after a particularly nice vendor turned out to have been dishonest in a transaction. "Never trust your neighbour," they would tell her. "Your neighbour does not expect it." Life was a process of cheat and be cheated, a circle of rough justice. Peasant women who could neither read nor write were constantly tricked by shopkeepers in the town, and they in turn would get their own back from anyone they thought could afford it.</p> <p>The only weighing machine anyone trusted was the one at the railway station, and many people used to rush there to check their purchases. It was Signora Fortunata, the wife of a local merchant, who eventually mustered the courage to turn the butcher's scales upside down. She tore off the weights that were concealed on the underside and lectured him so loudly that a crowd gathered, peering in at doors and windows to watch him quiver under her magisterial tongue-lashing.</p> <p>In a small town like Aulla, shopping and social life were closely linked. The local inhabitants were of course keenly interested in the price as well as the quality of the food on offer, yet the market itself provided the main source of excitement. This meeting-place, inevitably the main centre for gossip, was above all a stage for declamatory theatre and dialogue-a public contest in which the bargaining reputation of both stallholder and housewife was at stake.</p> <p>Bargaining was an immensely serious business, a matter of state; yet for many it was also the most exciting part of the day, and a subject for endless discussion afterwards. But once the duel, however acrimonious, had run its course, it was suddenly resolved. The purchaser, extracting the money from a purse hung round the neck, maintained a watchful eye in case a different article to the one she had chosen was placed in her basket or bag, then the whole encounter was concluded with nods and smiles and mutual compliments. My mother, although a writer with no natural interest in housekeeping, was fascinated by the game that was played out there each day, but she found it very hard to follow Mariannina's advice to be constantly on guard.</p><p><P>In her fourth literary travel companion, Alice Leccese Powers explores one of the most seductive regions of the world through more than two centuries of fiction, poetry, essays, letters, and memoirs by English-speaking visitors to northern Italy.<br>The poet Shelley called Tuscany &#8220;a paradise of exiles&#8221;; it has long been a magnet for literary travelers and expatriates. Here are writers who have made their home in Tuscan villas, castles, and farmhouses, from the Shelleys, Byron, and the Brownings to Frances Mayes. Here too are Charles Dickens, Edith Wharton, Henry James, and E. M. Forster on the glories of Florence, Pisa&#8217;s leaning tower, and the enchanting Tuscan countryside, alongside the tart wit of Mark Twain, Mary McCarthy, and Erica Jong. From James Boswell&#8217;s record of his romantic dalliances to Laura Fraser&#8217;s memoir <b>An Italian Affair </b>to Sarah Dunant&#8217;s novel <b>The Birth of Venus</b>, <b>Tuscany in Mind</b><i> </i>assembles a glittering mosaic portrait of an unforgettable place.<br><br>Kinta Beevor &#8226; James Boswell &#8226; Elizabeth Barrett Browning &#8226; Robert Browning &#8226; Lord Byron &#8226; Bruce Chatwin &#8226; Ann Cornelisen &#8226; Charles Dickens &#8226; Sarah Dunant &#8226; Lawrence Ferlinghetti &#8226; Penelope Fitzgerald &#8226; E. M. Forster &#8226; Laura Fraser &#8226; Paul Gervais &#8226; Barbara Grizzuti Harrison &#8226; Robert Hellenga &#8226; William Dean Howells &#8226; Henry James &#8226; Erica Jong &#8226; D. H. Lawrence &#8226; David Leavitt and Mark Mitchell &#8226; Robert Lowell &#8226; Frances Mayes &#8226; Mary McCarthy &#8226; H. V. Morton &#8226; Eric Newby &#8226; Iris Origo &#8226; John Ormond &#8226; Elizabeth Romer &#8226; John Ruskin &#8226; Mary Shelley &#8226; Percy Bysshe Shelley &#8226; Kate Simon &#8226; Tobias Smollett &#8226; Matthew Spender &#8226; Stephen Spender &#8226; Mark Twain &#8226; Edith Wharton</p>
352Don't Squat With Yer Spurs On!: A Cowboy's Guide to LifeTexas Bix Bender0<p><p>Texas Bix Bender is the author of eighteen books, including the best-selling Don't Squat With Yer Spurs On series. He has written for television and radio shows, including Hee Haw, the Nashville Network's Tumbleweed Theater, and Riders Radio Theater. He lives in Nashville, Tennessee.<p></p>Texas Bix Benderdont-squat-with-yer-spurs-ontexas-bix-bender97808790547000879054700$7.99PaperbackSmith, Gibbs PublisherOctober 2000Fiction, Humorous<p>Says the SOUTH BEND TRIBUNE, "This book is worthy of a book rustler." In the tradition of humorist Will Rogers, it takes a look at life through the eyes of the cowboy. It is filled with quips and quotes that represent the Code of the West, like&#58; "Always drink upstream from the herd" and "The easiest way to eat crow is while it's still warm. The colder it gets, the harder it is to swallow."</p><h3>Booknews</h3><p>Cowboy humor and wisdom. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p>
353Love and Marriage in Early African AmericaFrances Smith Foster0<p><P>FRANCES SMITH FOSTER is Charles Howard Candler Professor of English and Women's Studies and Chair of the English Department at Emory University. Her previous publications include Witnessing Slavery&#58; The Development of the Ante-Bellum Slave Narrative, and Written By Herself&#58; Literary Production by African American Women Writers, 1746-1892. Professor Foster has edited or co-edited numerous volumes, including, most notably, The Norton Anthology of African American Literature and The Oxford Companion to African American Literature.</p>Frances Smith Fosterlove-and-marriage-in-early-african-americafrances-smith-foster97815555367701555536778$4.15PaperbackNortheastern University PressDecember 2007New EditionMarriage, Peoples & Cultures - American Anthologies, Family - Literary Anthologies, Literature Anthologies - General & Miscellaneous3605.90 (w) x 8.90 (h) x 1.20 (d)Love and Marriage in Early African America brings together a remarkable range of folk sayings, rhymes, songs, poems, letters, lectures, sermons, short stories, memoirs, and autobiographies. Spanning over 100 years, from the slave era to the New Negro Movement, this extraordinary collection contradicts or nuances established notions that slavery fractured families, devalued sexual morality, distorted gender roles, and set in motion forces that now produce dismal and dangerous domestic situations. A culmination of twenty years of diligent research by noted scholar Frances Smith Foster, this anthology features selections on love and courtship, marriage, marriage rituals, and family. A compelling introduction places the primary texts in their social and literary context. A bibliography offers suggestions for further reading. <p>This volume includes materials by well known writers such as Frances E. W. Harper, Charles Chesnutt, and Alice Dunbar Nelson, but the majority of works are previously unknown or difficult-to-access materials. Many provide startling contrasts to representations in canonical literature. For example, "Patrick Brown's First Love" is a radical alternative to Frederick Douglass's "The Heroic Slave," and Thomas Detter's "The Octoroon" replaces the traditionally tragic mulatto trope with a female protagonist who shocks and awes. Love and Marriage in Early African America also changes our ideas about the relationship between religion and politics in early African America by featuring texts from the Afro-Protestant press; that is, the publishing organizations, writers, and reading groups under the direct auspices of, or publicly associated with, Afro-Protestant churches.</p><p><P>An eye-opening anthology of nineteenth- and early-twentieth-century African American primary writings on love, courtship, and family</p><P>List of Illustrations Introduction&#58; By Way of an Open Letter to My Sister<P>Lyrics What's You Lookin' at Me Fer?<br>Love Is Jes a Thing o' Fancy You Loves Yo' Gal?<br>Creole Candio,<br>One Sweet Kiss On Friendship - Phillis Wheatley (1769)<br>Philis' Reply - Phillis Wheatley (1774)<br>Behave Yourself, from Freedom's Journal (1827)<br>Lines to My&#151;&#151;&#151; - George Moses Horton (1843)<br>Courting in Connecticut, from Provincial Freeman (1855)<br>To Annie, from the Pacific Appeal (1862)<br>To Miss W - A. I[slay] Walden (1873?)<br>Dedicated to a Young Lady - A. I[slay] Walden (1873)<br>A Negro Love Song - Paul Laurence Dunbar (1895)<br>Dinah Kneading Dough - Paul Laurence Dunbar (1899)<br>Show Your Love - James E. McGirt (1901)<br>The Parting Kiss - Jos. D. H. Heard (1901)<br>Jessie and I - Timothy Thomas Fortune (1905)<br>Kiss Me Again - Samuel Alfred Beadle (1912)<br>Love's Lament - Olive Ward Bush-Banks (1914)<br>Filled with You - Olive Ward Bush-Banks (1920) <P>Lyrics Does You Lak Strawberries? - Anonymous W'en I Wus a "Roustabout," - Anonymous She Hug Me - Anonymous A Letter - Anonymous You Nasty Dog! - Anonymous Pretty Liddle Pink - Anonymous Is It So? from Freedom's Journal (1827)<br>Stanzas, from Freedom's Journal (1828)<br>To Eliza - George Moses Horton (1829)<br>Forget Me Not - Ann Plato (1841)<br>Farewell to Frances - George Moses Horton (1865)<br>A Love Song - John Willis Menard (1879)<br>A Double Standard - Frances E[llen] W[atkins] Harper (1893)<br>Sence You Went Away - James Weldon Johnson (1900)<br>Regret - Olive Ward Bush-Banks (1914)<br>Violets - Alice Dunbar Nelson (1917)<br>The Heart of a Woman - Georgia Douglas Johnson (1918) <P>Fiction A Christmas Sketch - Mrs. M. B. Lambert (1882)<br>Violets - Alice Dunbar Nelson (1895)<br>"There Was One Time!" - Jessie Fauset (1917) <P>Letters From Phillis Wheatley to Obour Tanner (1773)<br>From Harriet to Freedom's Journal (1827)<br>From Amelia to Freedom's Journal (1827)<br>From Criticus to Freedom's Journal (1827)<br>From Tom Little to Freedom's Journal (1827)<br>From Henry H. Garnet to "Dear Friend" (1837)<br>From William H. Wormley to Catto (1860)<br>From Addie Brown to Rebecca Primus (1859-1867)<br>Autobiographical Accounts William Grimes, from Life of William Grimes (1855)<br>James Williams, from Life and Adventures of James Williams (1893)<br>Fannie Berry, from Federal Writers Project (ca. 1937) <P>&#151; <P>Lyrics Aurore Pradere - Anonymous W'en I Goes to Marry - Anonymous Lines, Written on hearing a beautiful Young Lady express a determination to live an Old Maid, from Freedom's Journal (1828)<br>A Young Lady's Soliloquy, from the Christian Recorder (1864)<br>The Cheerless Condition of Bachelorship, George Moses Horton (1865)<br>Report, Frances E[llen] W[atkins] Harper (1867)<br>Advice to Girls, Frances E[llen] W[atkins] Harper (1868)<br>The Young Man's Comforter, A. I[slay] Walden (1873)<br>One to Love, A. I[slay] Walden (1873) <P>Fiction A Woman and an Angel, from Provincial Freeman (1855)<br>The Two Offers, Frances Ellen Watkins [Harper] (1859) <P>Nonfiction On Marriage, from The Doctrines and Discipline of the African Methodist Episcopal Church (1817)<br>A Bachelor's Thermometer, from Freedom's Journal (1827)<br>The Old Maid's Diary, from Freedom's Journal (1827)<br>"Sic a Wife," from Freedom's Journal (1828)<br>An Unmarried Woman, from Freedom's Journal (1828)<br>A Gold Repeater, from Freedom's Journal (1828)<br>Lewis White Advertises, from Freedom's Journal (1829)<br>Two School Girls - Ann Plato (1841)<br>A Bachelor Advertises, from Provincial Freeman (1855)<br>Matrimony, from Repository of Religion and Literature (1859)<br>To Avoid a Bad Husband, from the Christian Recorder (1861)<br>The Pleasures of Single Life, from the Pacific Appeal (1864)<br>Young Ladies of To-Day, from the Christian Recorder (1864)<br>How to Make Bean Soup, from the Christian Recorder (1865)<br>Yoked Unequally, from the Christian Recorder (1876)<br>Bigamy, from Life and Adventures of James Williams (1893) <P>Lyrics Wedding Colors - Anonymous Slave Marriage - Anonymous Written in a Bride's Album - A[fred] G[ibbs] Campbell (1883)<br>Marriage - Mary Weston Fordham (1897) <P>Fiction Conversation, from Southern Workman (1895) <P>Nonfiction Miseries of an Engaged Man, from Freedom's Journal (1828)<br>Miseries of an Engaged Woman, from Freedom's Journal (1828)<br>Getting Married without Knowing How It Was to Be Done, from the Christian Recorder (1861)<br>Marriage of Rev. John Beckett to Miss Kate Campbell, from the Christian Recorder (1876) <P>Autobiographical Accounts Thomas Tompkins, from Freedom's Journal William Grimes, from Life of William Grimes Harriet Jacobs, from Incidents in the Life When Two of the Slaves, Harriett McFarlin Payne, from Rawick,<br>American Slave&#58; A Composite Autobiography (ca. 1937)<br>The War Went On, from Ophelia Settle Egypt, Unwritten History of Slavery Iffen Any of the Slaves, Aunt Virginia Bell from Rawick, American Slave&#58; A Composite Autobiography (ca. 1937)<br>I Had a Nice Weddin', Sarah Allen, from Rawick, American Slave&#58; A Composite Autobiography (ca. 1937)<br>De Way Dey Done, Jeff Calhoun, from Rawick, American Slave&#58; A Composite Autobiography (ca. 1937) <P>Lyrics Three Months Married - Anonymous To a Lady on the Death of Her Husband - Phillis Wheatley (1772)<br>To the Bride, from Freedom's Journal (1828)<br>Connubial Felicity - George Moses Horton (1845)<br>The Fugitive's Wife - Frances Ellen Watkins [Harper] (1857)<br>The Old Couple, from the Christian Recorder The Wife's Invocation - John Menard Willis (1879)<br>To Elder T. Wellington Henderson, from the Christian Recorder (1879)<br>Dearest - Robert C. O. Benjamin (1883)<br>To My Absent Wife - A[fred] G[ibbs] Campbell (1883)<br>To Mr. and Mrs. W. F. Johnson - Frances E[llen] W[atkins] Harper (1886)<br>Tired - Fenton Johnson (1919) <P>Fiction Dialogue between a Newly Married Couple, from Provincial Freeman (1855)<br>Mr. Pepper's Wife, from Provincial Freeman (1855)<br>Patrick Brown's First Love, from the Anglo-African Magazine (1859)<br>Anecdotal&#58; An Old and True Friend, from the Christian Recorder (1869)<br>Octoroon Slave of Cuba - Thomas Detter (1871)<br>The Wife of His Youth - Charles W. Chesnutt (1899)<br>Bro'r Abr'm Jimson's Wedding - Pauline E. Hopkins (1901) <P>Nonfiction Whisper to a Wife, from Colored American (1837)<br>The Intemperate Husband, from Colored American (1837)<br>Tell Your Wife, from Pacific Appeal (1862)<br>A Chapter for Young Husbands, from the Christian Recorder (1864)<br>A Tin Wedding, from the Christian Recorder (1876)<br>A Bereaved Wife, from the Christian Recorder (1880) <P>Letters From Jane Stephens to Freedom's Journal (1827)<br>From James Stephens to Freedom's Journal (1827)<br>From George Pleasant to Agnes Hobbs (1833)<br>From Marie Perkins to Husband (1852)<br>From Abream Scriven to Wife (1858)<br>From Harriet Newby to Dangerfield Newby (1859)<br>From Harriet Newby to Dangerfield Newby (1859)<br>From Ann to Husband (1864) <br>Autobiographical Accounts Jarena Lee, from Life and Religious Experience of Jarena Lee (1836)<br>Lunsford Lane, from Narrative of Lunsford Lane (1848)<br>Henry Bibb, from The Life and Adventures of Henry Bibb (1849)<br>Josiah Henson, from Father Henson's Story of His Own Life (1858)<br>Noah Davis, from A Narrative of the Life of Rev. Noah Davis (1859)<br>J. D. Green, from The Narrative of the Life of J. D. Green (1864)<br>Elizabeth Keckley, from Behind the Scenes (1868) <P>Lyrics Daughter's Inquiry - Ann Plato (1841)<br>Our Family Tree - Joseph Cephas Holly (1853)<br>My Child, from Provincial Freeman (1855)<br>Old Grimes' Son, from Life of William Grimes (1855)<br>The Home for Me, from the Christian Recorder (1872)<br>The Lonely Mother - Fenton Johnson (1916) <P>Fiction Charles and Clara Hayes - Mrs. Lucie S. Day (1853)<br>Dialogue Between a Mother and Her Children on the Precious Stones - Mrs. Sarah Douglas (1859)<br>The Voice of the Rich Pudding - Gertrude D[orsey] Browne (1907) <P>Letters From John H. Rapier to His Son John (1857)<br>From Parker Smith to "My dear Sir" (1861)<br>From Rebecca Primus to Parents and Sister (1976)<br>From Dave Waldro to Cousin (1867)<br>Information Wanted, from the Christian Recorder (1864-1893)<br>Information Wanted from the Christian Recorder, January 6, 1893 (1893) <P>Nonfiction The Dying Bed of a Mother, from Colored American (1837)<br>The Use of Grandmothers, from the Christian Recorder (1864)<br>Aunt Jennie the Old Maid, from the Christian Recorder (1873) <P>Autobiographical Accounts Samuel Ringgold Ward, from Autobiography of a Fugitive Negro (1855)<br>Williams Grimes, from Life of William Grimes (1855)<br>Thomas Jones, from Narrative of a Refugee Slave (1857)<br>James Williams, from Life and Adventures of James Williams (1893)<br>My Mother as I Recall Her, Rosetta Douglass Sprague (1900)<br>Of the Passing of the First-Born, W. E. B. DuBois (1901) <P>Suggestions for Further Reading<article> <h4>From the Publisher</h4>"These selections not only enable a new reading of the works of well-known authors . . . but they also enrich our understanding of how African American men and women, enslaved and 'free,' imagine gender roles and relations as they 'encounter the world's troubles' . . . Foster's project is a moving testament to the importance of historical recovery."--Legacy <p>"Rewarding . . . Foster's anthology, Love and Marriage in Early African America, affords readers an unprecedented view of heterosexual courtship and marriage in the African American community, and it is especially important in its contribution to our knowledge of African American writing before the Civil War."--American Literature</p> <p>"This is one of those books that readers will find difficult to put down no matter how familiar they are with the literature. General readers and scholars alike will find much to admire ponder, and even smile at . . . . A rich treasure trove." --Journal of African American History</p> <p>"Frances Smith Foster's Love and Marriage in Early African America is a stunning reply to the pre-modern discourse concerning race and the emotive black body. . . . From the perhaps surprising evidence that Phillis Wheatley 'did have a love life,' to Paul Lawrence Dunbar's passionate poems of 'lowly life,' to the. . . verse and fiction of Frances Ellen Watkins Harper and Pauline Hopkins, to the letters and 'autobiographical accounts' of slavery, resistance, and loss, Love and Marriage in Early African America is a trove of all-but-forgotten and canonical writings about how, to paraphrase Toni Morrison, black people remained whole in a world that wanted them in pieces."--African American Review</p> </article>
354Twenty One-Acts from the Twenty Years at the Humana Festival, 1975-1995Michele Volansky0Michele Volansky (Editor), Michael Dixontwenty-one-acts-from-the-twenty-years-at-the-humana-festival-1975-1995michele-volansky97818803999891880399989$16.53PaperbackSmith & Kraus, Inc.December 19951st EditionDrama Anthologies, American Drama, American Literature Anthologies4165.40 (w) x 8.49 (h) x 0.81 (d)Selected from the first twenty years of the Humana Festival of New American Plays...<p>Selected from the first twenty years of the Humana Festival of New American Plays...</p><h3>Library Journal</h3><p>The continuing success of the one-act play in American theaters is evidenced by these two books, which include a startling array of stylesexamples of realism, fantasy, farce, tragedy, and even symposium plays are presented. Fourteen eclectic pieces, half of which are by major playwrights, comprise the latest volume in Applause's long-running annual celebration of the form. The most unusual work is a recently rediscovered text by Thornton Wilder, The Wreck of the 5:25, anthologized here for the first time. This play alone casts into clear relief the adventurous nature of contemporary playwrights (though the sparsity of major women playwrights here is notable). The Humana Festival, held at the Actors' Theatre in Louisville, has long been a venue for new plays. This fat collection contains the cream of two decades' worth of work. As fewer major playwrights are represented, these plays are more risky, more adventurous, and much more political. By and large, they test the limits of the form more rigorously than those found in the Applause collection. Both texts provide a wealth of source material for theaters, actors, and academic training programs. Both are recommended for academic and larger public libraries.Thomas E. Luddy, Salem State Coll., Mass.</p><article> <h4>Library Journal</h4>The continuing success of the one-act play in American theaters is evidenced by these two books, which include a startling array of stylesexamples of realism, fantasy, farce, tragedy, and even symposium plays are presented. Fourteen eclectic pieces, half of which are by major playwrights, comprise the latest volume in Applause's long-running annual celebration of the form. The most unusual work is a recently rediscovered text by Thornton Wilder, The Wreck of the 5:25, anthologized here for the first time. This play alone casts into clear relief the adventurous nature of contemporary playwrights (though the sparsity of major women playwrights here is notable). The Humana Festival, held at the Actors' Theatre in Louisville, has long been a venue for new plays. This fat collection contains the cream of two decades' worth of work. As fewer major playwrights are represented, these plays are more risky, more adventurous, and much more political. By and large, they test the limits of the form more rigorously than those found in the Applause collection. Both texts provide a wealth of source material for theaters, actors, and academic training programs. Both are recommended for academic and larger public libraries.Thomas E. Luddy, Salem State Coll., Mass. </article>
355American Austen: The Forgotten Writing of Agnes RepplierAgnes Repplier0<p><P><b>Agnes Repplier, </b>who published for sixty-five of her ninety-five years, was the author of more than two dozen books, all of which are out of print. A native Philadelphian who never moved and never married, during her lifetime she was a popular essayist who wrote for virtually every major literary outlet in America, including the <i>Atlantic</i>, <i>Harper&rsquo;s</i>, and <i>Life</i>.<br> <br> <P><b>John Lukacs </b>is the author, most recently, of <i>Blood, Toil, Tears, and Sweat&#58; The Dire Warning&#58; Churchill&rsquo;s First Speech as Prime Minister</i>. He taught for many years at Chestnut Hill College in Philadelphia and makes his home in Chester County, Pennsylvania.</p>Agnes Repplier, John Lukacsamerican-austenagnes-repplier97819338598661933859865$24.00HardcoverISI BooksMay 20091American Literature Anthologies4506.30 (w) x 9.30 (h) x 1.20 (d)In a review of John Lukacs's 1981 book <i>Philadelphia: Patricians and Philistines</i>, the <i>New York Times</i> praised the iconoclastic historian for excavating the work of the "elegant essayist" Agnes Repplier, "the Jane Austen of the essay." Now, in <i>American Austen</i>, Lukacs has compiled a definitive and delightful reader of the best writing of this most unjustly forgotten prose stylist and commonsense philosopher. <p>In these pages, Repplier (1855-1950) emerges as perhaps the wittiest female author in the history of American letters—Dorothy Parker not excepted. Lukacs has gleaned from Repplier's work the finest essays on her hometown of Philadelphia; excerpts from her biographies of figures such as Junipero Serra; insightful reflections on Puritanism, the suburbs, and writers from Horace to Thackeray; and various other pieces brimming with Repplier's characteristically pungent commentary on American life. Agnes Repplier's engaging style, good-natured skepticism, and realistic appreciation of the genuine accomplishments of Western civilization should win for her a new and appreciative audience in the twenty-first century.</p><p><P>Anthologizes the writings of one of a once-famous&mdash;and now unjustly forgotten&mdash;great American wit and critic.</p><h3>The Washington Post - Michael Dirda</h3><p>&#8230;superb essays&#8230;Repplier interleaves personal reminiscence, striking literary and historical allusions and sharp thinking&#8230;Throughout <i>American Austen</i> one pauses over sentences worth copying into a notebook.</p><article> <h4>Michael Dirda</h4>…superb essays…Repplier interleaves personal reminiscence, striking literary and historical allusions and sharp thinking…Throughout <i>American Austen</i> one pauses over sentences worth copying into a notebook.<br> —The Washington Post </article>
356American Gothic: An Anthology 1787-1916 (Blackwell Anthologies Series)Crow0<p><P><b>Charles L. Crow</b> if Professor Emeritus of English at Bowling Green State University in Ohio. He is co-editor of <i>The Haunted Dusk&#58; American Supernatural Fiction, 1820-1920</i> and of <i>The Occult in America&#58; New Historical Perspectives,</i> and author of numerous articles on such nineteenth-century and early twentieth-century American authors as Howells, Clemens, Norris, London and Cather. He is past-president of the Frank Norris Society and is a founding member of the International Gothic Association.</p>Crow, Charles L. Crowamerican-gothiccrow97806312065210631206523$61.43PaperbackWiley, John & Sons, IncorporatedJune 19991st EditionAmerican & Canadian Literature, American Literature Anthologies, General & Miscellaneous Literature Anthologies, General & Miscellaneous Literary Criticism, Unexplained Phenomena, Literary Movements4969.61 (w) x 6.69 (h) x 1.00 (d)This collection brings together, and sets into dialogue, Gothic works by a number of authors, men and women, black and white, which illuminate many of the deepest concerns and fears of nineteenth-century America.. "Among the themes in this conversation are the horror at illness and bodily decay, in an age with many incurable infectious diseases: the mutual mistrust of men and women, as gender roles shifted radically; the relationship of humans and machines: the horror that may lurk within outwardly normal families: and inescapably, the tragedy of race relations in America.. "The collection contains short stories, novellas, and poems by some of America's best-known authors (Cooper, Hawthorne, Melville, Dickinson, Mark Twain), and others who are obscure or recently rediscovered, e.g. John Neal, Henry Clay Lewis, Alice Cary, Lafcadio Hearn. Writers long associated with the uncanny or supernatural appear, such as Charles Brockden Brown, Edgar Allan Poe, and Ambrose Bierce, as well as authors not usually placed within this tradition (Stephen Crane, Sarah Orne Jewett, and Frank Norris, for example). There is a strong representation of female Gothic, and African-American writers such as Charles Chesnutt brilliantly anticipate the Gothic fiction of race in our own time.<p><P>This collection brings together, and sets into dialogue, Gothic works by a number of authors, men and women, black and white, which illuminate many of the deepest concerns and fears of nineteenth-century America.</p><P>Acknowledgments.<P>Introduction.<P>"Abraham Panther"&#58; <i>An Account of a Beautiful Young Lady.</i><P>Charles Brockden Brown (1771-1810)&#58; <i>Somnambulism.</i><P>Washington Irving (1783-1859)&#58; <i>Rip Van Winkle.</i><P>John Neal (1793-1876)&#58; <i>Idiosyncrasies</i>.<P>George Lippard (1822-54)&#58; from <i>The Quaker City&#58; or, The Monks of Monk Hall.</i><P>Henry Wadsworth Longfellow (1807-82) <i>The Skeleton in Armor</i>.<P>James Fenimore Cooper (1789-1851)&#58; from <i>The Prairie</i>.<P>Henry Clay Lewis (1825-1850)&#58; <i>A Struggle for Life</i>.<P>Edgar Allan Poe (1809-1849)&#58; <i>Hop Frog, The Cask of Amontillado, The Facts in the Case of M. Valdemar, The Fall of the House of Usher, The Raven, The City in the Sea, Ulalume, Annabel Lee, Dream-Land,</i>.<P>Nathaniel Hawthorne (1804-64)&#58; <i>Alice Doane's Appeal, Young Goodman Brown</i>.<P>Herman Melville (1819-1891)&#58; <i>The Bell Tower.</i><P>Alice Cary (1820-1871)&#58; <i>The Wildermings.</i><P>Louisa May Alcott (1832-1888)&#58; <i>Behind a Mask&#58; or, A Woman's Power</i>.<P>Harriet Prescott Spofford (1835-1921)&#58; <i>The Amber Gods.</i><P>Emily Dickinson (1830-86) <i>9 Through lane it lay -through bramble, 281 Tis so appalling -it exhilarates, 414 Twas like a Maelstrom, with a notch, 512 The Soul Has Bandaged Moments, 590 Did you ever stand in a Cavern's Mouth, 670 One need not be a Chamber - to be Haunted, 1400 What mystery pervades a well!,1670 In Winter in my Room</i>.<P>Samuel L. Clemens (Mark Twain) (1835-1910)&#58; from <i>Life on the Mississippi.</i><P>Sarah Orne Jewett (1849-1909)&#58; <i>The Foreigner.</i><P>Mary E. Wilkins Freeman (1852-1930)&#58; <i>Old Woman Magoun, LuellaMiller.</i><P>Henry James (1843-1916)&#58; <i>The Turn of the Screw.</i><P>Kate Chopin (1851-1904)&#58; <i>D&#233;sir&#233;e's Baby.</i><P>Charles W. Chesnutt (1858-1932)&#58; <i>Po' Sandy, The Sheriff's Children.</i><P>George Washington Cable (1844-1925)&#58; <i>Jean-Ah Poquelin.</i><P>Stephen Crane (1871-1900)&#58; <i>The Monster.</i><P>Ambrose Bierce (1842-1914?)&#58; <i>The Death of Halpin Frayser.</i><P>Frank Norris (1870-1902)&#58; <i>Lauth.</i><P>Charlotte Perkins Gilman (1860-1935)&#58; <i>The Giant Wisteria. </i>.<P>Paul Laurence Dunbar (1872-1906)&#58; from <i>The Sport of the Gods</i>.<P>Edwin Arlington Robinson (1868-1935)&#58; <i>Luke Havergal, Lisette and Eileen, The Mill, Souvenir, Why He Was There.</i><P>Lafcadio Hearn (1850-1904)&#58; <i>The Ghostly Kiss.</i><P>Edith Wharton (1862-1937)&#58; <i>The Eyes.</i><P>Jack London (1876-1916)&#58; <i>Samuel.</i><P>Bibliography.<P>Index of Authors, Titles and First Lines.
357The Best American Poetry 2009David Wagoner0<p><P><b>David Lehman</b> is the editor of <i>The Oxford Book of American Poetry</i> and the author of seven books of poetry, including <i>When a Woman Loves a Man.</i> He lives in New York City.<P></p>David Wagoner (Editor), David Lehmanthe-best-american-poetry-2009david-wagoner97807432997630743299760$35.00HardcoverSimon & Schuster Adult Publishing GroupSeptember 2009Poetry, Anthologies (multiple authors)<p><P>David Wagoner writes about regular lives with plain grace and transcendent humanity, and the seventy-five poems he has chosen for the 2009 edition of <i>The Best American Poetry</i> grapple with life, celebrate freedom, and teem with imaginative energy. With engaging notes from the poets, Wagoner's superb introductory essay, series editor David Lehman's astute foreword about the current state of poetry and criticism, and cover art from the beloved poet John Ashbery, <i>The Best American Poetry 2009</i> is a memorable and delightful addition to a series dedicated to showcasing the work of poets at their best.<br></p><h3>Publishers Weekly</h3><p>From the moment series editor David Lehman invokes the myth of Jacob wrestling the Angel in his introduction, the gloves are off in this year's installment of this popular annual anthology. Lehman devotes much of his introduction to throwing jabs at longtime sparring partner and professional poetry grump William Logan, whom Lehman calls &ldquo;wounded&rdquo; and &ldquo;thin skinned.&rdquo; Guest editor Wagoner chooses to abstain from the scuffle, but there's no denying the aesthetic character amassed by the poems he's selected&#58; American poets not only want to talk about their country this year, they want to talk violence in (and toward) their country. &ldquo;They came to blow up America,&rdquo; writes John Ashbery, followed hard on his heels by Mark Bibbins, who warns our fifth state, &ldquo;Connecticut! we're sawing you in half.&rdquo; Denise Duhamel envisions &ldquo;How It Will End&rdquo; (&ldquo;We look around, but no one is watching us&rdquo;) and Rob Cook, in his bold and incantatory &ldquo;Song of America,&rdquo; tells us, &ldquo;I'm raising my child to drown and drop dead and to carry buildings on his back.&rdquo; It appears our poets are at last ready to confront the hysteria and violence of the past eight years, and who can say there's a better year than 2009 to begin. (Sept.)</p>
358Bold Words: A Century of Asian American WritingRajini Srikanth0Rajini Srikanth (Editor), Esther Yae Iwanagabold-wordsrajini-srikanth97808135296600813529662$27.37PaperbackRutgers University PressJanuary 20011st EditionAmerican Literature Anthologies, United States Studies, Asians & Asian Americans - Biography, Ethnic & Minority Studies - United States, Asian American Studies4807.00 (w) x 10.00 (h) x 0.94 (d)A century of Asian American writing has generated a forceful cascade of "bold words." This anthology covers writings by Asian Americans in all genres, from the early twentieth century to the present. Some sixty authors of Chinese, Filipino, Japanese, Korean, South Asian, and Southeast Asian American origin are represented, with an equal split between male and female writers. The collection is divided into four sections-memoir, fiction, poetry, and drama-prefaced by an introductory essay from a well-known practitioner of that genre: Meena Alexander on memoir, Gary Pak on fiction, Eileen Tabios on poetry, and Roberta Uno on drama. <p>The selections depict the complex realities and wide range of experiences of Asians in the United States. They illuminate the writers' creative responses to issues as diverse as resistance, aesthetics, biculturalism, sexuality, gender relations, racism, war, diaspora, and family.</p> <p>Rajini Srikanth teaches at the University of Massachusetts, Boston. She is the coeditor of the award-winning anthology Contours of the Heart: South Asians Map North America and the collection A Part, Yet Apart: South Asians in Asian America. Esther Y. Iwanaga teaches Asian American literature and literature-based writing courses at Wellesley College and the University of Massachusetts, Boston.</p><p>A century of Asian American writing has generated a forceful cascade of "bold words." This anthology covers writings by Asian Americans in all genres, from the early twentieth century to the present. Some sixty authors of Chinese, Filipino, Japanese, Korean, South Asian, and Southeast Asian American origin are represented, with an equal split between male and female writers. The collection is divided into four sections-memoir, fiction, poetry, and drama-prefaced by an introductory essay from a well-known practitioner of that genre&#58; Meena Alexander on memoir, Gary Pak on fiction, Eileen Tabios on poetry, and Roberta Uno on drama. <p>The selections depict the complex realities and wide range of experiences of Asians in the United States. They illuminate the writers' creative responses to issues as diverse as resistance, aesthetics, biculturalism, sexuality, gender relations, racism, war, diaspora, and family. <p>Rajini Srikanth teaches at the University of Massachusetts, Boston. She is the coeditor of the award-winning anthology Contours of the Heart&#58; South Asians Map North America and the collection A Part, Yet Apart&#58; South Asians in Asian America. Esther Y. Iwanaga teaches Asian American literature and literature-based writing courses at Wellesley College and the University of Massachusetts, Boston.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">Pt. 1</TD><TD WIDTH="70%">Memoir</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: The Voice That Passes through Me, An Interview with Meena Alexander</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How My Stories Were Written</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Grandfather of the Sierra Nevada Mountains</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Faintest Echo of Our Language</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Among the White Moon Faces: An Asian American Memoir of Homelands</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From My Own Country: A Doctor's Story of a Town and Its People in the Age of AIDS</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Where the Body Meets Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Ono Ono Girl's Hula</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pa</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%">Pt. 2</TD><TD WIDTH="70%">Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Absorbing and Being Absorbed by Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Filling the Gap</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thirty Years Under</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cincinnati</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Smokey's Getting Old</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Recipe</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why Is Preparing Fish a Political Act?</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yellow Light</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gift</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Urban Love Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Chocolatier</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strawberries</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This Room and Everything in It</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "In Search of Evanescence"</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Andy Warhol Speaks to His Two Filipino Maids</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Not Much Art</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ceylon</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Floral Apron</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kala Gave Me Anykine Advice Especially about Filipinos When I Moved to Pahala</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conservative View</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Founding of Yuba City</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prints</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reading the Poem about the Yew Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">News of the World</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Young of Tiananmen</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">They Don't Think Much about Us in America</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Walls</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beetle on a String</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ch'onmun Hak</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Zenith</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bitterness of Bodies We Bear</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dead</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sister Play</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Redshifting Web</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Projections</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%">Pt. 3</TD><TD WIDTH="70%">Fiction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: In That Valley Beautiful Beyond</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Land of the Free</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Story of a Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Who Has the Laughing Face</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seventeen Syllables</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From No-No Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Clay Walls</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Melpomene Tragedy</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Railroad Standard Time</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Batista and Tania Aparecida Djapan</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Valley of the Dead Air</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rated-L</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Our Lady of Kalihi</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A New Beginning</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kim</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seeds</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fredo Avila</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Difference of Background</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elvis of Manila</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Monkey King</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Cab Called Reliable</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Goddess of Sleep</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Necessary Hunger</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Western Music</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chagrin</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Foreign Student</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Show and Tell</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mrs. Sen's</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Shylocks</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%">Pt. 4</TD><TD WIDTH="70%">Drama</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Asian American Theater Awake at the Millennium</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Eye of the Coconut</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Assimilation</TD><TD WIDTH="10%" ALIGN="RIGHT">340</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mask Dance</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Mua He Do Lual Red Fiery Summer</TD><TD WIDTH="10%" ALIGN="RIGHT">387</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Three Lives</TD><TD WIDTH="10%" ALIGN="RIGHT">395</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Texas</TD><TD WIDTH="10%" ALIGN="RIGHT">398</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">App. 1: Themes and Topics</TD><TD WIDTH="10%" ALIGN="RIGHT">419</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">App. 2: Ethnicity of Authors</TD><TD WIDTH="10%" ALIGN="RIGHT">423</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glossary</TD><TD WIDTH="10%" ALIGN="RIGHT">425</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">427</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Editors</TD><TD WIDTH="10%" ALIGN="RIGHT">435</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Copyrights and Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">437</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Authors and Titles</TD><TD WIDTH="10%" ALIGN="RIGHT">441</TD></TABLE>
359Another Way to Dance: Contemporqary Asian Poetry from Canada and the United StatesCyril Dabydeen0<p><P>Including poetry by&#58;<br> Meena Alexander, Agha Shahid Ali, Himani Bannerji, Mei-Mei Berssenbrugge, Sadhu Binning, Marilyn Chin, Madeline Coopsammy, Rienzi Crusz, Cyril Dabydeen, Chitra Banerjee Divakaruni, Ramabai Espinet, Lakshmi Gill, Kimiko Hahn, Garrett Hongo, Kevin Irie, Sally Ito, May Seung Jew, Surjeet Kalsey, Joy Kogawa, Mina Kumar, Carolyn Lei-Lanilau, Wing Tek Lum, Bhargavi Mandava, David Mura, Suniti Namjoshi, Michael Ondaatje, S Padmanab, Uma Parameswaran, Sasenarine Persaud, Ian Iqbal Rashid, Carol Roh-Spaulding, Gerry Shikatani, Cathy Song, Krisantha Sri Bhaggiyadatta, Suwanda Sugunasiri, Arthur Sze, Nguyen Chi Thien, Asoka Weerasinghe, Rita Wong, Jim Wong-Chu <P> Edited by Cyril Dabydeen</p>Cyril Dabydeenanother-way-to-dancecyril-dabydeen97809206615980920661599$19.95PaperbackT S A R PublicationsJanuary 1996Poetry, American Literature Anthologies, Anthologies2725.77 (w) x 8.76 (h) x 0.64 (d)<p>This anthology includes selected works of some of the most active and dynamic contemporary poets writing in North America. Reflecting to varying degrees sensibilities based on ancestral Asian homelands and on lives in Canada and the United States, the poetry reproduced here is of a wide-ranging appeal and refreshing modernity, depicting a shifting, kaleidoscopic landscape of cultural and spiritual heterogeneity and individual interpretations.</p> <p>Including poetry by:<br> Meena Alexander, Agha Shahid Ali, Himani Bannerji, Mei-Mei Berssenbrugge, Sadhu Binning, Marilyn Chin, Madeline Coopsammy, Rienzi Crusz, Cyril Dabydeen, Chitra Banerjee Divakaruni, Ramabai Espinet, Lakshmi Gill, Kimiko Hahn, Garrett Hongo, Kevin Irie, Sally Ito, May Seung Jew, Surjeet Kalsey, Joy Kogawa, Mina Kumar, Carolyn Lei-Lanilau, Wing Tek Lum, Bhargavi Mandava, David Mura, Suniti Namjoshi, Michael Ondaatje, S Padmanab, Uma Parameswaran, Sasenarine Persaud, Ian Iqbal Rashid, Carol Roh-Spaulding, Gerry Shikatani, Cathy Song, Krisantha Sri Bhaggiyadatta, Suwanda Sugunasiri, Arthur Sze, Nguyen Chi Thien, Asoka Weerasinghe, Rita Wong, Jim Wong-Chu</p><p><P>This anthology includes selected works of some of the most active and dynamic contemporary poets writing in North America. Reflecting to varying degrees sensibilities based on ancestral Asian homelands and on lives in Canada and the United States, the poetry reproduced here is of a wide-ranging appeal and refreshing modernity, depicting a shifting, kaleidoscopic landscape of cultural and spiritual heterogeneity and individual interpretations. <P> Including poetry by&#58;<br> Meena Alexander, Agha Shahid Ali, Himani Bannerji, Mei-Mei Berssenbrugge, Sadhu Binning, Marilyn Chin, Madeline Coopsammy, Rienzi Crusz, Cyril Dabydeen, Chitra Banerjee Divakaruni, Ramabai Espinet, Lakshmi Gill, Kimiko Hahn, Garrett Hongo, Kevin Irie, Sally Ito, May Seung Jew, Surjeet Kalsey, Joy Kogawa, Mina Kumar, Carolyn Lei-Lanilau, Wing Tek Lum, Bhargavi Mandava, David Mura, Suniti Namjoshi, Michael Ondaatje, S Padmanab, Uma Parameswaran, Sasenarine Persaud, Ian Iqbal Rashid, Carol Roh-Spaulding, Gerry Shikatani, Cathy Song, Krisantha Sri Bhaggiyadatta, Suwanda Sugunasiri, Arthur Sze, Nguyen Chi Thien, Asoka Weerasinghe, Rita Wong, Jim Wong-Chu</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brown Skin, What Mask?</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Passion</TD><TD WIDTH="10%" ALIGN="RIGHT">2</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elephants in Heat</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">News of the World</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Art of Pariahs</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dacca Gauzes</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Dream of Glass Bangles</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snowmen</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I See Kashmir from New Delhi at Midnight</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Voyage</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In This Fugitive Time</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">End Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blue Taj</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chinese Space</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tan Tien</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Texas</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Tale</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">River Relations</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">That Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rebellious Sita</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tiananmen, the Aftermath</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beijing Spring</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy for Chloe Nguyen</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gruel</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Turtle Soup</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Hot Dog</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Naomi: Lost Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roots</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Second Migration</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conversations with God about my Present Whereabouts</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Adam First Touched God</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy for the Sun-Man's Father</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rain Doesn't Know Me Any More</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After the Snowfall</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Columbus</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Declaration</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mother</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Horses in the Dark</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Sundry Life</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Making Samosas</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Indigo</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Brides Come to Yuba City</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I, Manju</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Makers of Chili Paste</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hosay Night</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Month of the Sturgeon Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marronnage</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Liz</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Man with a Mission</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Time Expired</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Just This</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Turn</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Crab</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fan</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Circle of Lanterns</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Unbearable Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Instead of Speech</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ministry: Homage to Kilauea</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronology</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Immigrant's Son Visits the Homeland</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Flight: An Immigrant's Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Camps: Burning the Dead</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hearts</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chanson</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Haecceitas</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seahorse</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Poor</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman in the Room</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snow</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When I Get</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Song from a Young Lady to an Older Gentleman</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Voices of the Dead</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Against the Wave</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Eclipse</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Missing Basis</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For a Blank Book</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">She Has Been Here for Three Months</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stations of Angels</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Minerals from Stone</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Road Building by Pick Axe</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mira Awaits Krishna in Riverside Park</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sandhana</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The House was Dank and Deep</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leaving</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Death of Gu Cheng</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Parable</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hangzhou Never So Good in Oakland</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Structure of Bill Blake Within Me</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Harry's China</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On M Butterfly</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Image of the Good Times</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Devout Christian</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hearing Tongues</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Indian Fever</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Absence</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moonsweets</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Desert Haiku</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Young Asian Women</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Words on My Tongue</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD></table>
360The Best American Poetry 2003Yusef Komunyakaa0<p><B>Yusef Komunyakaa</B>'s eleven books of poems include <I>Talking Dirty to the Gods</I> (FSG, 2000) and <I>Neon Vernacular&#58; New and Selected Poems</I>, for which he received the Pulitzer Prize. He teaches at Princeton University.</p>Yusef Komunyakaa (Editor), David Lehmanthe-best-american-poetry-2003yusef-komunyakaa97807432038830743203887$15.05PaperbackSimon & Schuster Adult Publishing GroupAugust 2003Poetry Anthologies, American Poetry, American Literature Anthologies2565.50 (w) x 8.44 (h) x 0.74 (d)<p>"Poetry encourages us to have dialogue through the observed, the felt, and the imaginary," writes editor Yusef Komunyakaa in his thought-provoking introduction to <i>The Best American Poetry 2003.</i> As a black child of the American South and a decorated veteran of the Vietnam War, Komunyakaa brings his singular vision to this outstanding volume. Included here is a diverse mix of senior masters, crowd-pleasing bards, rising stars, and the fresh voices of an emerging generation. With comments from the poets elucidating their work and series editor David Lehman's eloquent foreword assessing the state of the art, The Best American Poetry 2003 is a must-have for readers of contemporary poetry.</p> <p> Jonathan Aaron • Beth Anderson • Nin Andrews • Wendell Berry • Frank Bidart • Diann Blakely • Bruce Bond • Catherine Bowman • Rosemary Catacalos • Joshua Clover • Billy Collins • Michael S. Collins • Carl Dennis • Susan Dickman • Rita Dove • Stephen Dunn • Stuart Dybek • Charles Fort • James Galvin • Amy Gerstler • Louise Glück • Michael Goldman • Ray Gonzalez • Linda Gregg • Mark Halliday • Michael S. Harper • Matthea Harvey • George Higgins • Edward Hirsch • Tony Hoagland • Richard Howard • Rodney Jones • Joy Katz • Brigit Pegeen Kelly • Galway Kinnell • Carolyn Kizer • Jennifer L. Knox • Kenneth Koch • John Koethe • Ted Kooser • Philip Levine • J. D. McClatchy • W. S. Merwin • Heather Moss • Stanley Moss • Paul Muldoon • Peggy Munson • Marilyn Nelson • Daniel Nester • Naomi Shihab Nye • Ishle Yi Park • Robert Pinsky • Kevin Prufer • Ed Roberson • Vijay Seshadri • Alan Shapiro • Myra Shapiro • Bruce Smith • Charlie Smith • Maura Stanton • Ruth Stone • James Tate • William Tremblay • Natasha Trethewey • David Wagoner • Ronald Wallace • Lewis Warsh • Susan Wheeler • Richard Wilbur • C. K. Williams • Terence Winch • David Wojahn Robert Wrigley • Anna Ziegler • Ahmos Zu-Bolton II</p><br> <b>Foreword</b> <p>by David Lehman</p> <p>On being named the official state poet of Vermont in 1961, Robert Frost acknowledged the honor in epigrammatic verse. "Breathes there a bard who isn't moved, / When he finds his verse is understood," he wrote, declaring himself happy to have won the approval of his old "neighborhood." Twenty-five years later, the position that had dowdily been called Poetry Consultant to the Library of Congress -- a position that Frost had held when Dwight Eisenhower was president -- received a major upgrade in title. It was to be the same nondescript job (give a reading, give a speech, answer the mail) but henceforth the person would be called U. S. Poet Laureate. The change of name proved prophetic, for the post soon acquired a high prestige. Joseph Brodsky kicked off his tenure in 1992 with a memorable speech proposing that poetry books be sold at checkout counters and provided in hotel rooms beside the Bibles and phone directories. Robert Pinsky, who served three one-year terms as laureate, became a familiar face reading poems on the <i>PBS</i> evening news, and he remains a cultural celebrity. (In 2002, he turned up in Jane Leavy's acclaimed biography of Dodger southpaw Sandy Koufax and in an episode of <i>The Simpsons,</i> where he gives a reading at a campus coffee shop surrounded by frat boys who have the name of Japanese haiku poet Basho -- mentioned in the opening lines of Pinsky's poem "Impossible to Tell" -- painted on their bare chests.) Billy Collins, the current poet laureate, addressed a special joint session of Congress in Lower Manhattan a day before the first anniversary of September 11, 2001. "The Names," the fifty-four-line elegy he read, appeared in its entirety in the <i>New York Times.</i> When Collins, whose books are best-sellers, paid a recent visit to a grade school, one awestruck pupil inquired about the presidential line of succession: "How many people have to die before you can become president?"</p> <p>It now seems that most of the states, many cities, and even a number of boroughs have or want to have their own official laureates. The appointments have proliferated. Though with Whitman and Mark Twain as our mainstays we may remain a little leery of titles, ranks, dukes, and airs, we also seem to revel in some of these things, and we put a value on the ceremonial and public uses of poetry that come with the territory. Not all the appointees rise to the occasion with the laconic wit and grace of Robert Frost, but neither had anyone done harm or caused a furor until last year. Within a month of being named the poet laureate of New Jersey, Amiri Baraka took part in the wildly popular Geraldine R. Dodge Poetry Festival in Stanhope, New Jersey. The observances surrounding the first year anniversary of September 11 were still fresh in people's minds when Baraka -- the former LeRoi Jones -- read "Somebody Blew Up America," a poem he had written about that atrocious day. These lines made listeners gasp: "Who knew the World Trade Center was gonna get bombed / Who told 4,000 Israeli workers at the twin towers / To stay at home that day / Why did Sharon stay away?" An avid Internet user, Baraka had given credence to a paranoid conspiracy theory that had spread with the speed of electronic spam. In actuality, seven Israelis died in the attacks, two on a hijacked plane and the rest in the Twin Towers, in addition to the many American Jews that perished on September 11. But Baraka had not subjected his poem to a fact-checking test. In interviews he thumbed his nose in doggerel and puns: "It's not a bad thing to be attacked by your enemies. It shows, obviously, that you don't need an enema yet."</p> <p>As only the second poet laureate in New Jersey history, Baraka benefited from a quirk in the legislation that created the position but failed to specify how a laureate may be discharged or removed. Since Governor James McGreevey couldn't fire him and since he wouldn't resign, the New Jersey state legislature moved to abolish the post of poet laureate altogether. Never did a bill pass through committee so swiftly. Did this demonstrate that poetry is the first casualty of any controversy involving it? Or did it show up Baraka as an aging ego-tripper, who would opt to see the laureateship abolished -- and other poets thereby punished -- sooner than withdraw his anti-Semitic smear? The satirical newspaper <i>The Onion</i> refused to lose its sense of humor. A headline in the October 17-23, 2002, issue declared "Nantucket Poet Laureate Refuses to Apologize for Controversial Limerick." That the headline referred the reader to page 3C, where there was no story, seemed part of the point. Satirical wit involves not the letting loose of calumny but the telling of truths that liars deny, euphemisms hide, and platitudes obscure. In a subsequent issue <i>The Onion</i> displayed the kind of fearless humor that makes for a badly needed corrective to sentimentality and "correctness" (always a version of sentimentality) in the reception of poetry. The story of a wheelchair-bound author of best-selling inspirational verse ran under the heartless headline "Nation Afraid to Admit 9-Year-Old Disabled Poet Really Bad."</p> <p>The widespread notice of an incendiary or scandalous poem -- and more than one such surfaced last year -- made for intense conversation. Liam Rector, in his column in <i>American Poetry Review,</i> asked whether we should regard poems as "works of fiction protected from accountable, verifiable reality by their imaginative basis" or as "works of nonfiction, which abide by an infinitely different set of expectations, rules, and accountability"? Good question. And there are others that poets are debating. What are the author's responsibilities? When does poetic speech become public speech that is subject to a truth-telling standard? Just how does one write about a world historical event on the order of 9/11? While there is no set answer to any of these questions, there are honorable ways to respond to the last of them. Several were chosen for <i>The Best American Poetry 2003.</i> A number of other poems in this volume bravely address issues of urgent immediacy. It could be that the inflection of this urgency, whether the subject matter be frighteningly near (terrorism in ghastly deed and threat) or merely eternal (the effect of death on the living, the image of a man running), is what distinguishes this year's edition of the anthology. The press of reality affects poets in diverse ways, and for some, the urge to write about events of great moment amounts to a moral imperative. This impulse is as understandable as it is difficult to resist and, when done with intelligence and skill, admirable. It seems to me, however, that something should also be said for the opposite impulse: the reluctance to speak hastily, the refusal to address a subject, any subject, that the writer himself or herself does not wish to address, or feel able to address. Isn't this a dimension of poetic license? The poets' freedom in regard to subject matter includes the freedom of reticence, whether it originates in the belief that the subordination of poetry to politics proves injurious to the former while leaving the latter unscathed, or whether it follows from the conviction that "the deepest feeling always shows itself in silence" (Marianne Moore). Declining an editor's summons for newly minted verse a few weeks after September 11, Richard Wilbur sent this terse response: "The only thing I can say right now is this. There is no excuse for the cold inhumanity of 11 September, and there is no excuse for those Americans, whether of the left or the religious right, who say that we had it coming to us."</p> <p>Many poets have rediscovered, with exhilaration, a sense of political purpose in the past year. During the feverish days in February 2003 when the United States prepared its military for war with Iraq, thousands of protesting poets registered their indignation in verse. The emergence of poets and artists "trying to recapture their place as catalysts for public debate and dissent" became itself a part of the media story, though by no means as hotly controversial as the phenomenon of "celebrity activists" such as Martin Sheen or Janeane Garofalo. When Laura Bush invited hundreds of American poets to the White House for a symposium on Whitman, Dickinson, and Langston Hughes, a protest initiated by Sam Hamill, the poet and publisher of Copper Canyon Press, made the First Lady think twice, and the event was canceled. (Here was proof, one scribe sourly noted, that "the most effective poetry reading is the one that never happens.") The anti-war poem, a genre moribund since the last helicopter lifted off a Saigon rooftop in 1975, gained a new currency. Thousands of protest poems were produced, published, or posted. Whether the work had any merit seemed to be beside the point, and that is an oddity of the phenomenon. Self-styled poems of conscience make the peculiar demand that we suspend our faculty of critical discrimination. In February 2003 a seven-line poem entitled "The Bombs" by the British dramatist Harold Pinter -- who has written superb plays and screenplays -- was printed on page one of London's Independent. Here is the poem complete: "There are no more words to be said / All we have left are the bombs / Which burst out of our head / All that is left are the bombs / Which suck out the last of our blood / All we have left are the bombs / Which polish the skulls of the dead." Tired language, mixed metaphors, incoherent imagery: whatever it may have done to rally or reflect public opinion in Britain, this is a really terrible piece of writing. It is a melancholy truth that -- as Harvey Shapiro's smart new anthology, <i>Poets of World War II,</i> reminds us -- both the best war poems and the best anti-war poems generally come from the ranks of the soldiers who do the fighting and the reporters who cover them. That said, it is noteworthy and bears repetition that at a time of intense crisis and color-coded alerts, so many of us turn instinctively to poetry not only for inspiration and consolation but as a form of action and for a sense of community.</p> <p>Poets and poetry couldn't stay out of the news last year. A poet was nominated and confirmed as the new chairman of the National Endowment for the Arts: the choice of Dana Gioia garnered rare acclaim on all fronts at a divisive time. "This is a moment of marvelous possibility," Gioia told a New Hampshire gathering of state poets shortly after assuming his new post. "You poets laureate may be working on little or no budget, with few or no resources. What you have at your disposal may be merely symbolic. But we poets are masters of using symbols." Gioia launched a major Shakespeare initiative that will subsidize productions of the Bard's works nationwide. The Pentagon chipped in some extra cash to extend the tour to include military bases. Gioia also disclosed plans for a Shakespeare recitation contest, which he hopes will lead to a national competition encouraging the memorization of great poems. The career of a serious poet is evidently not inconsistent with the administrative and strategic demands of running an important government agency or, for that matter, a treasured cultural foundation. Edward Hirsch, whose poem "The Desire Manuscripts" was selected by Yusef Komunyakaa for this year's anthology, took over the presidency of the Guggenheim Foundation in January 2003. At a poetry forum at the New School University, Hirsch was asked to name a formative experience in his becoming a poet. Like others asked this question, Hirsch replied by naming an unsung heroine, in his case Professor Carol Parsons at Grinnell College, who "taught me in my freshman year that poetry is an art of making, and not just of self-expression."</p> <p>"I am all for poets invading all walks of American life," Billy Collins declared, and the invasion shows no signs of letting up. The world of high stakes poker is the latest field to be conquered. James McManus, whose work appeared in the 1991 (Strand) and 1994 (Ammons) volumes in this series, made more than a quarter million dollars playing championship poker a few years ago. McManus commented on "poker lit" and added significantly to it with his new book <i>Positively Fifth Street.</i> It speaks to the enhanced celebrity of the poet in American society that you can collect "poet cards" featuring portraits of Donald Hall, Carolyn Kizer, Adrienne Rich, and worthy others (Mille Grazie Press, Santa Barbara, California) or that Tebot Bach, a nonprofit organization in Huntington, California, is producing a Southern California poets swimsuit calendar with Carol Muske-Dukes, David St. John, Charles Harper Webb, and Suzanne Lummis among the pinups: "You've admired their words, now marvel at the sheer beauty of their bodies!"</p> <p>Christmas came early to <i>Poetry</i> magazine with the November 2002 announcement that Ruth Lilly, the heiress of the Lilly pharmaceutical fortune, had left more than $100 million -- by some estimates close to $150 million -- to the Chicago-based monthly that Harriet Monroe founded in 1912. It was the single biggest bequest ever given to a poetry organization. As a young woman many years ago, Lilly had submitted her poems to the magazine, but the editors had never accepted any, a fact that spurred wags to quip that rejecting her was the best thing <i>Poetry</i> ever did -- well, maybe second best after publishing "The Love Song of J. Alfred Prufrock" back in 1915. Proving that poetry -- the work itself rather than all the stuff around it -- is the news that stays new, T. S. Eliot's great poem continues to cast its spell on English majors and creative people across the arts. A television series (<i>Push, Nevada</i>) featuring an IRS agent named Prufrock wowed the critics last year, while director Michael Petroni's new movie with Guy Pearce and Helena Bonham <i>Carter</i> derives not only its title (Till Human Voices Wake Us) but its imagery (water) and action (a drowning) from the conclusion of "Prufrock," which the movie quotes reverently. Another allusion to Eliot's poem occurs in a recent episode of <i>Law and Order.</i> "I have measured out my life with coffee spoons," a perjurous defense attorney says. "For once in my life I dared to eat the peach," he adds, peach in this context serving as shorthand for a sexual tryst with a homicidal femme fatale. Not to be outdone in the homage-to-Eliot sweepstakes, HBO's hit series <i>Six Feet Under</i> gives us an amorous couple in bed sharing poetry. The man says the original title of the poem is "He Do the Police in Different Voices," and the woman says she likes that title more than the one the poet settled on: "The Waste Land."</p> <p>In an age that looks at ostentatious controversy as the next best thing after celebrity, some poets avoid controversy, some court it, and some have it thrust upon them. The newly appointed poet laureate of Canada created a stir when he denounced "slam" poetry as "crude" and "revolting." The poet laureate of California resigned after admitting he had falsified his résumé. Justice J. Michael Eakin of the Pennsylvania Supreme Court, nicknamed the "poetic justice of Pennsylvania," was rebuked for writing a dissenting opinion in seven quatrains and a footnote. The case hinged on whether a lie about the value of an engagement ring invalidated a prenuptial agreement. ("He has also," the <i>New York Times'</i>s Adam Liptak, reported, "ruled in rhyme in cases involving animals and car repair companies.") Nothing will stop a book columnist from building a piece on the demonstrably false premise that only poets read poetry and therefore the poets might as well make themselves useful in other ways. At the same time, poetry remains the journalist's honorific of choice when the subject is rock'n'roll, political oratory, the grace of Kobe Bryant driving to the basket, or almost anything other than poetry itself. "Like every muscle car before it, SUVs are big, dangerous and superfluous, but they're also poetry made of metal," writes the <i>Wall Street Journal'</i>s David Brooks.</p> <p>Vaclav Havel stepped down as president of the Czech Republic, but the tradition of the poet as international diplomat continues. Dominique de Villepin, the French foreign minister who fenced with Colin Powell at the U. N. Security Council last February, is working on a poetry manuscript. In at least one respect, he is like his American counterparts. Asked to recite a poem, he obliges by reading three. In what almost sounds like a paraphrase of an early poem by the late Kenneth Koch ("You Were Wearing"), the young fashion designer Behnaz Sarafpour tells of wanting her fall line to reflect the poetry she is reading: there is an Emily Dickinson suit ("about hope"), a Herman Melville long blue dress ("about creation of art"), and a couple of Lord Byron dresses with poems embroidered on the hems. A perhaps more unexpected lover of verse is William J. Lennox, Jr., the superintendent in charge of the military academy at West Point, a three-star general who earned a doctorate in English from Princeton with a dissertation on American war poets. Speaking to a reporter, the general made a point of stressing the educative importance of a poem of bitter disillusionment, such as Wilfred Owen's "Dulce et Decorum Est," written from the Western Front in World War I. "Most cadets romanticize war," he said. "They need these images from war to help them understand. Confronting this romanticism is what education is about."</p> <p>Yusef Komunyakaa, who has made unforgettable poetry out of his experiences in Vietnam, has brought to the editing of this volume -- the seventeenth in the Best American Poetry series -- an acute sensitivity to the moral temper of the times and a strong attraction to works of seriousness and ambition. He has written that he chose to write poetry "because of the conciseness, the precision, the imagery, and the music in the lines," qualities that he prizes in the works of others. "I like the idea that the meaning of my poetry is not always on the surface and that people may return to the work," he says. "Sometimes I may not like a poem in the first reading, but, when I go back and read it again, there is a growth that has happened within me, and I become a participant rather than just a reader." We hope the poems gathered here reward multiple readings and hasten a similar transformation of the reader into a sort of participant by proxy. Nor are the subjects limited to "World History," "Jihad," and "After Your Death," to cite three titles. There are poems on blues and jazz (a Komunyakaa enthusiasm I share), poems of wit and invention, a prose poem honoring Max Jacob and a verse poem "After Horace." There are poems in unusual forms, poems on themes ranging from film noir and the conventions of the murder mystery to bread, asparagus, and the restaurant business, as well as poems that take big, important concepts -- "Beauty," "Success," "The Music of Time," "A History of Color" -- and render them in compelling terms and true. Many names familiar to followers of contemporary poetry are here, but it is the newcomers that may most excite the book's editors and readers. In <i>The Best American Poetry 2003</i> two poets are represented with their first published poems: George Higgins (born 1956) and Heather Moss (born 1973). One reason this pleases me especially is that it shows there is a democracy at work even during the very nonegalitarian processes of exercising judgments and making critical discriminations. The oldest poet in this year's edition is Ruth Stone (born 1915, and still going strong, coming off a year when she won the National Book Award). The youngest is Anna Ziegler (born 1979, and thus nine years old when this series commenced). Poems were selected from more than forty magazines; many more were consulted and read with pleasure. Every year of working on this series has renewed my appreciation of the work that magazine editors do, usually without much fanfare but with extraordinary generosity of spirit.</p> <p>In 2003 occurred the centenary of an event that happened almost invisibly at the Statue of Liberty: the presentation of a bronze plaque with Emma Lazarus's immortal words on it to the War Department post commander on Bedloe's Island in May 1903. Lazarus had written her sonnet "The New Colossus" for a fund-raising auction in 1883. It was not recited, nor was Lazarus present, at the ceremony dedicating the Bartholdi statue in New York harbor. Largely forgotten, the poem went unmentioned in the obituaries when Lazarus died a year later, in 1887. At the time people thought of the woman with the torch in her hand as a monument to fraternal Franco-American relations going back to George Washington and the Marquis de Lafayette. The statue honored liberty, the glow of enlightenment, but the full significance of the site and the statue was not realized until Emma Lazarus's lines were engraved in the public memory, and that did not happen overnight, for poetry can take a long time to achieve its full effect. The plaque hung obscurely on an interior wall of the statue's pedestal from 1903 until a popular effort in the 1930s succeeded in making that great symbol synonymous with the "Mother of Exiles," a welcoming refuge for "the wretched refuse" of Europe. The statue in the harbor was there, a lovely sight, but it remained for a poet to articulate its true significance: "Give me your tired, your poor, / Your huddled masses yearning to breathe free." For many of us who fondly recall climbing the stairs of the Statue with a beloved parent or with a busload of grade school chums, the famous peroration is so familiar that we may be blinded from noticing its literary excellence. But "The New Colossus" is not as familiar as it once was, and it deserves close study, perhaps in conjunction with another great sonnet occasioned by statuary, such as Shelley's "Ozymandias." At a moment of global anxiety it is good to consider this vital part of the American Dream as Emma Lazarus expressed it in a poem that made something happen -- something as nearly sublime as the promise of liberty and a fair shake to people who had known only despotism and terror and danger and despair.</p> <p>Copyright © 2003 by David Lehman</p> <p>Foreword copyright © 2003 by David Lehman</p> <p> Introduction copyright © 2001 by Yusef Komunyakaa</p><p><P>"Poetry encourages us to have dialogue through the observed, the felt, and the imaginary," writes editor Yusef Komunyakaa in his thought-provoking introduction to <i>The Best American Poetry 2003.</i> As a black child of the American South and a decorated veteran of the Vietnam War, Komunyakaa brings his singular vision to this outstanding volume. Included here is a diverse mix of senior masters, crowd-pleasing bards, rising stars, and the fresh voices of an emerging generation. With comments from the poets elucidating their work and series editor David Lehman's eloquent foreword assessing the state of the art, The Best American Poetry 2003 is a must-have for readers of contemporary poetry. <P> Jonathan Aaron &#149; Beth Anderson &#149; Nin Andrews &#149; Wendell Berry &#149; Frank Bidart &#149; Diann Blakely &#149; Bruce Bond &#149; Catherine Bowman &#149; Rosemary Catacalos &#149; Joshua Clover &#149; Billy Collins &#149; Michael S. Collins &#149; Carl Dennis &#149; Susan Dickman &#149; Rita Dove &#149; Stephen Dunn &#149; Stuart Dybek &#149; Charles Fort &#149; James Galvin &#149; Amy Gerstler &#149; Louise Gl&Uuml;ck &#149; Michael Goldman &#149; Ray Gonzalez &#149; Linda Gregg &#149; Mark Halliday &#149; Michael S. Harper &#149; Matthea Harvey &#149; George Higgins &#149; Edward Hirsch &#149; Tony Hoagland &#149; Richard Howard &#149; Rodney Jones &#149; Joy Katz &#149; Brigit Pegeen Kelly &#149; Galway Kinnell &#149; Carolyn Kizer &#149; Jennifer L. Knox &#149; Kenneth Koch &#149; John Koethe &#149; Ted Kooser &#149; Philip Levine &#149; J. D. McClatchy &#149; W. S. Merwin &#149; Heather Moss &#149; Stanley Moss &#149; Paul Muldoon &#149; Peggy Munson &#149; Marilyn Nelson &#149; Daniel Nester &#149; Naomi Shihab Nye &#149; Ishle Yi Park &#149; Robert Pinsky &#149; Kevin Prufer &#149; Ed Roberson &#149; Vijay Seshadri &#149; Alan Shapiro &#149; Myra Shapiro &#149; Bruce Smith &#149; Charlie Smith &#149; Maura Stanton &#149; Ruth Stone &#149; James Tate &#149; William Tremblay &#149; Natasha Trethewey &#149; David Wagoner &#149; Ronald Wallace &#149; Lewis Warsh &#149; Susan Wheeler &#149; Richard Wilbur &#149; C. K. Williams &#149; Terence Winch &#149; David Wojahn Robert Wrigley &#149; Anna Ziegler &#149; Ahmos Zu-Bolton II</p><h3>Publishers Weekly</h3><p>By now readers are able to peruse these volumes with the sort of familiar affection given to the beloved family nuisance. This year, series editor David Lehman's temperature-taking preface reminds us of Ruth Lilly's colossal $100 million bequest to Poetry Magazine, and notes that you can now collect poet cards and purchase poet swimsuit calendars. The contributors' notes at the back of the book eat up more available pages than usual as they recount what particular works of art or jazz tracks made the authors write their "best" poems, while a modest voice indicates that this marks their 8th or 10th appearance in the series. Guest editor Komunyakaa (Neon Vernacular, 1994) argues that the avant-garde, which he terms the "exploratory" movement, exists as "a poetry that borders on cultivated solecism and begs theorists to decipher it" and that it is "death in language"; by contrast, the poetry he has chosen "has content." Finally, the poems themselves appear; here are fresh gems from Richard Howard, W. S. Merwin, Galway Kinnell (a spectacular threnody on the fall of New York's World Trade Center towers), Carolyn Kizer, Rita Dove, Richard Wilbur, James Tate, Louise Gleck, Philip Levine, C.K. Williams, and the three most recent Pulitzer Prize winners, Stephen Dunn, Carl Dennis and Paul Muldoon. Two other poets stand out-Amy Gerstler contributes an amusing Gilda Radner-like piece about misreading a mailer that wants to send her "Beethoven's Greatest Symphonies," while Ruth Stone (b. 1915) gives the proceedings a suitably youthful air with her speculative "Lines": "Voice, perhaps you are the universe;/ the hum of spiders." Nowhere near as lively as last year's Robert Creeley-edited compilation, the 16th edition of this annual has pleasures of its own. (Oct.) Copyright 2003 Reed Business Information.</p><P><FONT SIZE="+1"><B>Contents</B></FONT> <P> Foreword by David Lehman <P> Introduction by Yusef Komunyakaa <P> Jonathan Aaron, "The End of Out of the Past " <P> Beth Anderson, from "A Locked Room" <P> Nin Andrews, "Dedicated to the One I Love" <P> Wendell Berry, "Some Further Words" <P> Frank Bidart, "Curse" <P> Diann Blakely, "Rambling on My Mind" <P> Bruce Bond, "Art Tatum" <P> Catherine Bowman, from "1000 Lines" <P> Rosemary Catacalos, "Perfect Attendance&#58; Short Subjects Made from the Staring Photos of Strangers" <P> Joshua Clover, "Aeon Flux&#58; June" <P> Billy Collins, "Litany" <P> Michael S. Collins, "Six Sketches&#58; When a Soul Breaks" <P> Carl Dennis, "World History" <P> Susan Dickman, "Skin" <P> Rita Dove, "Fox Trot Fridays" <P> Stephen Dunn, "Open Door Blues" <P> Stuart Dybek, "Journal" <P> Charles Fort, "The Vagrant Hours" <P> James Galvin, "Ponderosa" <P> Amy Gerstler, "An Offer Received in This Morning's Mail&#58;" <P> Louise Gl&#252;ck, "Landscape" <P> Michael Goldman, "Report on Human Beings" <P> Ray Gonzalez, "Max Jacob's Shoes" <P> Linda Gregg, "Beauty" <P> Mark Halliday, "The Opaque" <P> Michael S. Harper, "Rhythmic Arrangements (on prosody)" <P> Matthea Harvey, "Sad Little Breathing Machine" <P> George Higgins, "Villanelle" <P> Edward Hirsch, "The Desire Manuscripts" <P> Tony Hoagland, "Summer Night" <P> Richard Howard, "Success" <P> Rodney Jones, "Ten Sighs from a Sabbatical" <P> Joy Katz, "Some Rain" <P> Brigit Pegeen Kelly, "The Dragon" <P> Galway Kinnell, "When the Towers Fell" <P> Carolyn Kizer, "After Horace" <P> Jennifer L. Knox, "Love Blooms at Chimsbury After the War" <P> Kenneth Koch, "Proverb" <P> John Koethe, "Y2K (1933)" <P> Ted Kooser, "In the Hall of Bones" <P> Philip Levine, "The Music of Time" <P> J. D. McClatchy, "Jihad" <P> W. S. Merwin, "To Zbigniew Herbert's Bicycle" <P> Heather Moss, "Dear Alter Ego" <P> Stanley Moss, "A History of Color" <P> Paul Muldoon, "The Loaf" <P> Peggy Munson, "Four Deaths That Happened Daily" <P> Marilyn Nelson, "Asparagus" <P> Daniel Nester, "Poem for the Novelist Whom I Forced to Write a Poem" <P> Naomi Shihab Nye, "What Happened to Everybody" <P> Ishle Yi Park, "Queen Min Bi" <P> Robert Pinsky, "Anniversary" <P> Kevin Prufer, "What the Paymaster Said" <P> Ed Roberson, "Sequoia sempervirens" <P> Vijay Seshadri, "The Disappearances" <P> Alan Shapiro, "Sleet" <P> Myra Shapiro, "For Nazim Hikmet in the Old Prison, Now a Four Seasons Hotel" <P> Bruce Smith, "Song with a Child's Pacifier in It" <P> Charlie Smith, "There's Trouble Everywhere" <P> Maura Stanton, "Translating" <P> Ruth Stone, "Lines" <P> James Tate, "The Restaurant Business" <P> William Tremblay, "The Lost Boy" <P> Natasha Trethewey, "After Your Death" <P> David Wagoner, "On Being Asked to Discuss Poetic Theory" <P> Ronald Wallace, "In a Rut" <P> Lewis Warsh, "Premonition" <P> Susan Wheeler, "In Sky" <P> Richard Wilbur, "Man Running" <P> C. K. Williams, "The World" <P> Terence Winch, "My Work" <P> David Wojahn, "Scrabble with Matthews" <P> Robert Wrigley, "Clemency" <P> Anna Ziegler, "After the Opening, 1932" <P> Ahmos Zu-Bolton II, "Reading the Bones&#58; a Blackjack Moses nightmare" <P> Contributors' Notes and Comments <P> Magazines Where the Poems Were First Published <P> Acknowledgments<article> <h4>Publishers Weekly</h4>By now readers are able to peruse these volumes with the sort of familiar affection given to the beloved family nuisance. This year, series editor David Lehman's temperature-taking preface reminds us of Ruth Lilly's colossal $100 million bequest to Poetry Magazine, and notes that you can now collect poet cards and purchase poet swimsuit calendars. The contributors' notes at the back of the book eat up more available pages than usual as they recount what particular works of art or jazz tracks made the authors write their "best" poems, while a modest voice indicates that this marks their 8th or 10th appearance in the series. Guest editor Komunyakaa (Neon Vernacular, 1994) argues that the avant-garde, which he terms the "exploratory" movement, exists as "a poetry that borders on cultivated solecism and begs theorists to decipher it" and that it is "death in language"; by contrast, the poetry he has chosen "has content." Finally, the poems themselves appear; here are fresh gems from Richard Howard, W. S. Merwin, Galway Kinnell (a spectacular threnody on the fall of New York's World Trade Center towers), Carolyn Kizer, Rita Dove, Richard Wilbur, James Tate, Louise Gleck, Philip Levine, C.K. Williams, and the three most recent Pulitzer Prize winners, Stephen Dunn, Carl Dennis and Paul Muldoon. Two other poets stand out-Amy Gerstler contributes an amusing Gilda Radner-like piece about misreading a mailer that wants to send her "Beethoven's Greatest Symphonies," while Ruth Stone (b. 1915) gives the proceedings a suitably youthful air with her speculative "Lines": "Voice, perhaps you are the universe;/ the hum of spiders." Nowhere near as lively as last year's Robert Creeley-edited compilation, the 16th edition of this annual has pleasures of its own. (Oct.) Copyright 2003 Reed Business Information. </article>
361Plays and Playwrights 2002Martin Denton0Martin Denton, Marc Spitz, Matthew Freeman, Curtiss I. Cook, Marc Chunplays-and-playwrights-2002martin-denton97809670234340967023432$15.00PaperbackNew York Theatre Experience, Incorporated, TheJanuary 2002Drama Anthologies, American Drama, American Literature Anthologies3505.54 (w) x 8.24 (h) x 0.78 (d)<DIV><SPAN class=046254618-07032004>This book includes:&nbsp; </SPAN></DIV> <DIV><SPAN class=046254618-07032004></SPAN>&nbsp;</DIV> <DIV><SPAN class=046254618-07032004> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">The Death of King Arthur</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> by Matthew Freeman<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></SPAN></B></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">The classic legend brought to the stage with a contemporary sensibility in an epic verse drama of adventure, romance, and ambiguous nobility. Originally produced by Gorilla Repertory Theatre in </SPAN><?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Central Park</SPAN></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> in October 2001.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><B style="mso-bidi-font-weight: normal">Matthew Freeman</B> is an actor, director, and playwright. He has appeared in numerous plays for Gorilla Repertory Theatre. He directed several of the one-acts comprising <I style="mso-bidi-font-style: normal">Washington Square Dreams</I>, which was published in <I style="mso-bidi-font-style: normal">Plays and Playwrights 2001</I>.<o:p></o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>&nbsp;</o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Match</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> by Marc Chun<o:p></o:p></SPAN></B></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">In this exquisite one act play, random chance brings five ordinary people together on a bright blue May afternoon, with extraordinary results. Produced at the Cherry Lane Alternative in July 2001, and as part of the Vital Signs festival of new works at the Vital Theatre in November 2001.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><B style="mso-bidi-font-weight: normal">Marc Chun</B> is a native of the </SPAN><st1:place><st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">San Francisco</SPAN></st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> </SPAN><st1:PlaceType><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Bay</SPAN></st1:PlaceType></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> area. <I>Match</I> is his first play.<o:p></o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>&nbsp;</o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Woman Killer</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> by Chiori Miyagawa<BR></SPAN></B><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Two </SPAN><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Brooklyn</SPAN></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> families are torn apart in this startling&nbsp;new drama about the nature and origin of evil, inspired by a 1721 Bunraku puppet play from </SPAN><st1:country-region><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Japan</SPAN></st1:place></st1:country-region><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">. Premiered at HERE in a production by </SPAN><st1:Street><st1:address><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Crossing Jamaica Avenue</SPAN></st1:address></st1:Street><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">, in September 2001. <B style="mso-bidi-font-weight: normal">Chiori Miyagawa</B> was born in </SPAN><st1:country-region><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Japan</SPAN></st1:place></st1:country-region><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">. She is the author of several plays, including <I style="mso-bidi-font-style: normal">Awakening </I>and </SPAN><st1:Street><st1:address><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Jamaica Avenue</SPAN></I></st1:address></st1:Street><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">. She divides her time between managing the Playwriting Fellowship program for New York Theatre Workshop, teaching at Bard College (where she manages the undergraduate playwriting program), and directing the theatre company Crossing Jamaica Avenue.</SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p></o:p></SPAN>&nbsp;</P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">The Wild Ass’s Skin</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> by J. Scott Reynolds<o:p></o:p></SPAN></B></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">A spare, elegant, intensely theatrical realization of Balzac’s novel about a destitute young man and the magic animal skin that may bring him his heart’s desires. Originally produced by Handcart Ensemble at the American Theatre of Actors in August 2000.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><B style="mso-bidi-font-weight: normal">J. Scott Reynolds</B> is originally from </SPAN><st1:place><st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Washington</SPAN></st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> </SPAN><st1:PlaceType><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">State</SPAN></st1:PlaceType></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">. He is the co-founder and artistic director of Handcart Ensemble, where he directed his own translation of </SPAN><st1:City><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Racine</SPAN></st1:place></st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">’s <I style="mso-bidi-font-style: normal">Andromaque</I>, Goldoni’s <I style="mso-bidi-font-style: normal">The Mistress of the Inn</I> (also acted), and his most recent work, <I style="mso-bidi-font-style: normal">David and Bathsheba</I>.<o:p></o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>&nbsp;</o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Halo</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> by Ken Urban<o:p></o:p></SPAN></B></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Tales of life and love squandered in late twentieth century New Jersey are intertwined in this provocative and challenging dramatic pageant. Premiered at the 2001 New York International Fringe Festival at The Present Company Theatorium, produced by Screaming Venus.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><B style="mso-bidi-font-weight: normal">Ken Urban</B> teaches English at </SPAN><st1:place><st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Rutgers</SPAN></st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> </SPAN><st1:PlaceType><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">University</SPAN></st1:PlaceType></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">. His other plays include <I style="mso-bidi-font-style: normal">I </I></SPAN><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt"><FONT face="Times New Roman">?</FONT></SPAN></I><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> KANT</SPAN></I><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">, <I style="mso-bidi-font-style: normal">Bodies Are Floors</I>, and <I style="mso-bidi-font-style: normal">Burners</I>, which have been presented by theatres in </SPAN><st1:place><st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">New York</SPAN></st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">, </SPAN><st1:State><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">New Jersey</SPAN></st1:State></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">, and </SPAN><st1:State><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">California</SPAN></st1:place></st1:State><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">. He also writes scholarly articles on theatre for journals such as <I style="mso-bidi-font-style: normal">PAJ</I>, and he frequently reviews theatre for nytheatre.com.<o:p></o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>&nbsp;</o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Shyness Is Nice</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> by Marc Spitz<o:p></o:p></SPAN></B></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">A hilarious and profane farce about two 30-year-old virgins, their supposedly cool heroin-addicted pal, an Australian prostitute, and her pimp. Originally produced in May 2001 at </SPAN><st1:place><st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Westbeth</SPAN></st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> </SPAN><st1:PlaceType><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Theatre</SPAN></st1:PlaceType><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> </SPAN><st1:PlaceType><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Center</SPAN></st1:PlaceType></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><B style="mso-bidi-font-weight: normal">Marc Spitz</B> is the author of several plays, including <I style="mso-bidi-font-style: normal">I Wanna Be Adored</I>, <I style="mso-bidi-font-style: normal">Retail Sluts</I>, and <I style="mso-bidi-font-style: normal">“…Worry, Baby.” </I><SPAN style="mso-spacerun: yes">&nbsp;</SPAN>He is the co-author of <I style="mso-bidi-font-style: normal">We Got the Neutron Bomb: An Oral History of Los Angeles Punk Rock</I> (Three Rivers Press, 2001). He is a Senior Contributing Writer at <I style="mso-bidi-font-style: normal">Spin Magazine</I>.<o:p></o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>&nbsp;</o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Reality</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> by Curtiss I’ Cook <o:p></o:p></SPAN></B></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">A thought-provoking comedy/murder mystery set in a world where not even the playwright can be sure of getting out alive. Originally presented by Tupu Kweli Theatre Company at the Grove Street Playhouse in March 2001.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><B style="mso-bidi-font-weight: normal">Curtiss I’ Cook, </B><SPAN style="mso-spacerun: yes">&nbsp;</SPAN>is an actor, director, and playwright. He has appeared on Broadway in <I style="mso-bidi-font-style: normal">Miss Saigon</I> and is currently featured as Banzai the Hyena in <I style="mso-bidi-font-style: normal">The Lion King</I>. His most recent play was </SPAN><st1:City><st1:place><I><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Greenwood</SPAN></I></st1:place></st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">, which he directed at The Present Company in </SPAN><st1:City><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">New York City</SPAN></st1:place></st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p></o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>&nbsp;</o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">The Resurrectionist</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><SPAN style="mso-spacerun: yes">&nbsp;&nbsp;&nbsp;&nbsp; </SPAN>Kate Chell<o:p></o:p></SPAN></B></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">An exciting drama of seventeenth century </SPAN><st1:country-region><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">England</SPAN></st1:place></st1:country-region><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> about a strong-willed young woman caught up in a web of grave robbing and murder. Originally produced by </SPAN><st1:place><st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Yazoo</SPAN></st1:PlaceName><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> </SPAN><st1:PlaceType><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">City</SPAN></st1:PlaceType></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> at The Gershwin Hotel in June 2001.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><B style="mso-bidi-font-weight: normal">Kate Chell</B> is originally from </SPAN><st1:place><st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Annapolis</SPAN></st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">, </SPAN><st1:State><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Maryland</SPAN></st1:State></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">. <I style="mso-bidi-font-style: normal">The Resurrectionist</I> is her first play.<o:p></o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>&nbsp;</o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Bunny’s Last Night in Limbo</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> by Peter S. Petralia<o:p></o:p></SPAN></B></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">A boy discovers his sexuality in this quirky and innovative one act: coming of age in suburbia has never been quite like this. The original production was by proto-type at HERE in March 2001.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><o:p></o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Peter S. Petralia</SPAN></B><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> has been involved in virtually all facets of the theatre during the past eight years, as a writer, performer, director, designer, and administrator.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN>He is a co-founder of proto-type, which will produce his upcoming play <I style="mso-bidi-font-style: normal">Cheap Thrills</I> in April 2002.<o:p></o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>&nbsp;</o:p></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><B style="mso-bidi-font-weight: normal"><I style="mso-bidi-font-style: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Summerland</SPAN></I></B><B style="mso-bidi-font-weight: normal"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> by Brian Thorstenson<o:p></o:p></SPAN></B></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; TEXT-ALIGN: justify"><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">A lonely young man and his mother search for happiness, and for their destinies, in this stunning play about an </SPAN><st1:country-region><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">America</SPAN></st1:place></st1:country-region><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> where everything still seems possible. Premiered in </SPAN><st1:City><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">San Francisco</SPAN></st1:place></st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> in 2000 and in </SPAN><st1:City><st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">New York City</SPAN></st1:place></st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> at Wings Theatre in January 2001.<SPAN style="mso-spacerun: yes">&nbsp; </SPAN><B style="mso-bidi-font-weight: normal">Brian Thorstenson</B> is an actor, poet, and playwright who lives in </SPAN><st1:place><st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">San Francisco</SPAN></st1:City><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">, </SPAN><st1:State><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">California</SPAN></st1:State></st1:place><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">. His previous plays include <I style="mso-bidi-font-style: normal">The Trick</I>, <I style="mso-bidi-font-style: normal">Cul-de-Sac</I>, and <I style="mso-bidi-font-style: normal">Heading South</I>.<o:p></o:p></SPAN></P></SPAN></DIV> <DIV>&nbsp;</DIV><p>Ten new plays from New York theatre: A romantic verse epic about King Arthur and an intimate verse drama based on a novel by Balzac; a suspenseful tale of grave robbers and anatomists set in 17th century England and a tale from Japan about good and evil recast in contemporary Brooklyn. There are experimental and innovative works that stretch and re-imagine our expectations about theatre. There's a hilarious and profane comedy that looks danger squarely in the eye and spits at it; a wise and touching piece composed of five interlocking monologues that gradually reveal profound truths; and a moving and insightful drama that points hopefully and heroically toward a renewed faith in the principles on which our country was founded.</p><h3>Community News Publications of Delaware - Paula Shulak</h3><p>There are two verse plays included which is unusual in and of itself, but the excellence of their poetry also is astounding. The Death of King Arthur by Matthew Freeman is a masterful rewriting of the familiar Camelot story which depicts in a totally new way the psyches of the characters we know so well. ...Equally well done is J. Scott Reynolds' poetic version of another classic, this time a novel by Balzac. The Wild Ass s Skin is easy to read, thought provoking and contains some of the cleverest comic verse that I have read. A morality play of the highest order, we learn a lesson as we laugh. ...I thoroughly enjoyed The Resurrectionist by Kate Chell and Summerland by Brian Thorstenson. The former takes place in 17th Century England when it was commonplace for grave robbers to sell bodies to doctors for the study of the new science of anatomy. This fascinating topic is the background for the coming of age tale of a strong young woman whose plight unfolds before us. (Incidentally this script reads very well which is not always the case since plays are written to be performed.) Summerland is also about coming of age, but in the entirely different modern setting of rugged South Dakota. It presents a young man learning about his manhood with the firm guidance of his pioneer great grandmother in the background. ... <P> Match by Marc Chun should really be seen to be fully appreciated but the ability of its author shines through even on paper. It is a brilliant juxtaposition of four subplots with an ingenious interweaving of lines from the four stories going on simultaneously. It is almost too difficult to describe but onstage it must be nothing short of miraculous I am sure. What an impact this show must have! Add to that the fact that the play deals beautifully with the questioning of life and death, especially after September 11, and you have a recipe for sure success. Finally, the play entitled Reality by Curtiss I Cook is my favorite. An all black cast adds to the impact of this fascinating look at the question of what is real? The internal twists and turns of the plot keep the audience (or the reader) on their toes as we delve back and forth between two or three kinds of reality and replay the same scenes two or three times until they are right . There is a strong message here which is worth waiting for and you are engrossed in the action from beginning to end. </p><article> <h4>Mario Fratti</h4>Most people all over the world know some plays by the great American playwrights Lillian Hellman, Maxwell Anderson, Clifford Odets, Eugene O’Neill, Arthur Miller, Tennessee Williams, Edward Albee, David Mamet, Sam Shepard, Terrence McNally. What about the other one hundred young playwrights who write with passion and hope and present their plays in small theaters Off Off? <p>As a drama critic I see many of them. Some have value, validity, promise. I write names and titles in my diary and hope to see their work again, somewhere. Unfortunately some of them disappear forever in the fog of obscurity.</p> <p>There is fortunately another drama critic, the young Martin Denton, a colleague of mine, who has done something about it. He started collections of the best plays off off. He has already published three elegant volumes. Well, they contain thirty five new plays. The best off off. And finally 35 new names are on the theatre map of New York. The writers will feel encouraged and will persist in their activity as dedicated lovers of new dramas, new visions of the world. All this thanks to Martin Denton and his collaborators Rochelle Denton and Nita Congress.</p> <p>I have read these plays carefully. They are all interesting. I find sixteen of them exceptionally good. Which ones? Buy the books.<br> — <i>Italian Weeklies</i></p> </article> <article> <h4>Paula Shulak</h4>There are two verse plays included which is unusual in and of itself, but the excellence of their poetry also is astounding. “The Death of King Arthur” by Matthew Freeman is a masterful rewriting of the familiar Camelot story which depicts in a totally new way the psyches of the characters we know so well. ...Equally well done is J. Scott Reynolds' poetic version of another classic, this time a novel by Balzac. “The Wild Ass’s Skin” is easy to read, thought provoking and contains some of the cleverest comic verse that I have read. A morality play of the highest order, we learn a lesson as we laugh. ...I thoroughly enjoyed “The Resurrectionist” by Kate Chell and “Summerland” by Brian Thorstenson. The former takes place in 17th Century England when it was commonplace for grave robbers to sell bodies to doctors for the study of the new science of anatomy. This fascinating topic is the background for the coming of age tale of a strong young woman whose plight unfolds before us. (Incidentally this script “reads” very well which is not always the case since plays are written to be performed.) “Summerland” is also about coming of age, but in the entirely different modern setting of rugged South Dakota. It presents a young man learning about his manhood with the firm guidance of his pioneer great grandmother in the background. ... <p>“Match” by Marc Chun should really be seen to be fully appreciated but the ability of its author shines through even on paper. It is a brilliant juxtaposition of four subplots with an ingenious interweaving of lines from the four stories going on simultaneously. It is almost too difficult to describe but onstage it must be nothing short of miraculous I am sure. What an impact this show must have! Add to that the fact that the play deals beautifully with the questioning of life and death, especially after September 11, and you have a recipe for sure success. Finally, the play entitled “Reality” by Curtiss I’Cook is my favorite. An all black cast adds to the impact of this fascinating look at the question of what is real? The internal twists and turns of the plot keep the audience (or the reader) on their toes as we delve back and forth between two or three kinds of reality and replay the same scenes two or three times until they are “right”. There is a strong message here which is worth waiting for and you are engrossed in the action from beginning to end.<br> — <i>Community News Publications of Delaware</i></p> </article>
362Why Freedom Matters: The Spirit of the Declaration of Independence in Prose, Poetry, and Song from 1776 to the PresentDaniel Katz0<p><P></p>Daniel Katz (Editor), Katzwhy-freedom-mattersdaniel-katz97807611316560761131655$14.35PaperbackWorkman Publishing Company, Inc.September 2003American Poetry, U.S. Politics & Government - 1607 - 1811, Scores & Songbooks - General & Miscellaneous, American Revolution - Politics & Government, United States History - General & Miscellaneous, American Literature Anthologies, U.S. Politics & Governm4006.00 (w) x 9.00 (h) x 1.09 (d)<br> Freedom. It's an idea worth pledging a life for, in the words of Thomas Jefferson. A gift outright to the poet Robert Frost. A difficult responsibility, writes Frederick Douglass. Defiant and enduring, for Maya Angelou. Quarrelsome, to Kurt Vonnegut. Open-armed and welcoming-Emma Lazarus. <p>Why Freedom Matters celebrates freedom in over 100 speeches, letters, essays, poems, and songs, all infused with the spirit of democracy. Here are the voices of presidents and slaves, founding fathers and hip-hop artists, suffragettes, civil rights workers, preachers, labor leaders, and baseball players. Inspired by the Declaration of Independence, the book is published in conjunction with The Declaration of Independence Road Trip, a 31/2-year cross-country educational tour of an extremely rare, original hand-printed copy of the Declaration, bought at auction by Norman Lear. The DOI Road Trip's mission is to energize Americans by bringing our founding document to towns small and large across the country; in 2003, for example, the Declaration and its accompanying exhibit will visit 27 cities from Birmingham to Billings, New Orleans to New York. Like the document itself, this compelling anthology reveals America's soul as it wrestles with questions of life, liberty, and the pursuit of happiness, and strives to fulfill the ideals of Thomas Jefferson's words.</p><p>This reader contains speeches, poems, song lyrics, essays, political documents, and other material that "reflect the values first articulated in the [U.S.] Declaration of Independence." Editor Katz (a co-founder of the Rainforest Alliance) has selected material reflecting a diversity of views, from Ronald Reagan and William Safire to Sojourner Truth and Woody Guthrie. Annotation &copy;2004 Book News, Inc., Portland, OR</p>
363The Best American Short Plays 2006-2007Barbara Parisi0Barbara Parisithe-best-american-short-plays-2006-2007barbara-parisi97815578374791557837473$34.99HardcoverApplause Theatre Book PublishersJune 2010Performing Arts, Reference<p><P>Applause is proud to continue the series that for over 60 years has been the standard of excellence for one-act plays in America. Our editor Barbara Parisi has selected the following 16 plays&#58; DEBOOM&#58; WHO GIVES THIS WOMAN?, by Mark Medoff; And Then, by Amelia Arenas; The Cleaning, by Zilvinas Jonusas; Breakfast and Bed, by Amy Fox; The News from St. Petersburg, by Rich Orloff; Double Murder, by Scott Klavan; Running in Circles Screaming, by Jeni Mahoney; Witness, by Peter Maloney; Asteroid Belt, by Lauren Feldman; The Trash Bag Tourist, by Samuel Brett Williams; Glass Knives, by Liliana Almendarez; Hearts and Minds, by Adam Kraar; In Conclusive Woman, by Julie (Pratt) Mollenkamp; Mixed MeSSages, by Mike Pasternack; The Date, by Joan Lipkin; and The Birth of Theater, by Jules Tasca.</p><P>Foreword Mark Medoff ix<P>Introduction Barbara Parisi xiii<P>DeBoom&#58; Who Gives This Woman Mark Medoff 1<P>And Then Amelia Arenas 55<P>The Cleaning Zilvinas Jonusas 89<P>Breakfast and Bed Amy Fox 105<P>The News from St. Petersburg Rich Orloff 123<P>Double Murder Scott Klavan 145<P>Running in Circles Screaming Jeni Mahoney 157<P>Witness Peter Maloney 171<P>Asteroid Belt Lauren Feldman 185<P>Glass Knives Liliana Almendarez 195<P>Hearts and Minds Adam Kraar 239<P>In Conclusive Woman Julie Rae (Pratt) Mollenkamp 261<P>Mixed MeSSages Mike Pasternack 293<P>Amouresque and Arabesque Victor Gluck 321<P>The Birth of Theater Jules Tasca 357
364Forced Passages: Imprisoned Radical Intellectuals and the U.S. Prison RegimeDylan Rodriguez0Dylan Rodriguezforced-passagesdylan-rodriguez97808166456190816645612$22.50PaperbackUniversity of Minnesota PressJanuary 20061Penology & Correctional Studies - General & Miscellaneous, Political Activism & Social Action, Prisons & Prison Life, Radical Thought, American Literature Anthologies2885.88 (w) x 9.00 (h) x 0.80 (d)<p>More than two million people are currently imprisoned in the United States, and the nation’s incarceration rate is now the highest in the world. The dramatic rise and consolidation of America’s prison system has devastated lives and communities. But it has also transformed prisons into primary sites of radical political discourse and resistance as they have become home to a growing number of writers, activists, poets, educators, and other intellectuals who offer radical critiques of American society both within and beyond the prison walls.&nbsp;</p> <p>In <i>Forced Passages</i>, Dylan Rodríguez argues that the cultural production of such imprisoned intellectuals as Mumia Abu-Jamal, Angela Davis, Leonard Peltier, George Jackson, José Solis Jordan, Ramsey Muniz, Viet Mike Ngo, and Marilyn Buck should be understood as a social and intellectual movement in and of itself, unique in context and substance. Rodríguez engages with a wide range of texts, including correspondence, memoirs, essays, poetry, communiqués, visual art, and legal writing, drawing on published works by widely recognized figures and by individuals outside the public’s field of political vision or concern. Throughout, Rodríguez focuses on the conditions under which imprisoned intellectuals live and work, and he explores how incarceration shapes the ways in which insurgent knowledge is created, disseminated, and received.&nbsp;</p> <p>More than a series of close readings of prison literature, <i>Forced Passages</i> identifies and traces the discrete lineage of radical prison thought since the 1970s, one formed by the logic of state violence and by the endemic racism of the criminal justice system.&nbsp;</p> <p>Dylan Rodríguez is assistant professor of ethnic studies at the University of California, Riverside.</p><p><P>More than two million people are currently imprisoned in the United States, and the nation&#8217;s incarceration rate is now the highest in the world. The dramatic rise and consolidation of America&#8217;s prison system has devastated lives and communities. But it has also transformed prisons into primary sites of radical political discourse and resistance as they have become home to a growing number of writers, activists, poets, educators, and other intellectuals who offer radical critiques of American society both within and beyond the prison walls.&nbsp;<br><br>In <i>Forced Passages</i>, Dylan Rodr&#237;guez argues that the cultural production of such imprisoned intellectuals as Mumia Abu-Jamal, Angela Davis, Leonard Peltier, George Jackson, Jos&#233; Solis Jordan, Ramsey Muniz, Viet Mike Ngo, and Marilyn Buck should be understood as a social and intellectual movement in and of itself, unique in context and substance. Rodr&#237;guez engages with a wide range of texts, including correspondence, memoirs, essays, poetry, communiqu&#233;s, visual art, and legal writing, drawing on published works by widely recognized figures and by individuals outside the public&#8217;s field of political vision or concern. Throughout, Rodr&#237;guez focuses on the conditions under which imprisoned intellectuals live and work, and he explores how incarceration shapes the ways in which insurgent knowledge is created, disseminated, and received.&nbsp;<br><br>More than a series of close readings of prison literature, <i>Forced Passages</i> identifies and traces the discrete lineage of radical prison thought since the 1970s, one formed by the logic of state violence and by the endemic racism of thecriminal justice system.&nbsp;<br><br>Dylan Rodr&#237;guez is assistant professor of ethnic studies at the University of California, Riverside.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction : American apocalypse</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Domestic war zones and the extremities of power : conceptualizing the U.S. prison regime</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">"You be all the prison writer you wish" : the context of radical prison praxis</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Radical lineages : George Jackson, Angela Davis, and the fascism problematic</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Articulating war(s) : punitive incarceration and state terror amid "no middle ground"</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">"My role is to dig or be dug out" : prison standoffs and the logic of death</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">Forced passages : the routes and precedents of (prison) slavery</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD></TABLE>
365Selected WorksRalph Waldo Emerson0<p><P>I live in Newport Beach, California, in central Orange County, about forty-five miles south of Los Angeles and seventy-five miles north of San Diego. I teach American literature and culture at the University of California, Irvine. In my teaching and writing, I am trying to broaden the scope of American literature in terms of works and issues. A multicultural society needs a multicultural literature.This volume on Ralph Waldo Emerson and Margaret Fuller will be the first anthology to combine Emerson's and Fuller's writings, thereby making certain that teachers and students using this book will be aware of men's and women's contributions to American Transcendentalism. In this same way, the volume focuses on the debates and conflicts among the Transcendentalists about such political questions as abolition, women's rights, westward expansion, and industrialization. This volume will represent effectively the struggles of Emerson and Fuller to change their philosophical views in response to the political crises of their times.<P>Paul Lauter is the Smith Professor of Literature at Trinity College. He has served as president of the American Studies Association and is a major figure in the revision of the American literary canon.</p>Ralph Waldo Emerson, Margaret Fuller, John Carlos Roweselected-worksralph-waldo-emerson97803959807500395980755$26.01PaperbackCengage LearningApril 20021st EditionAmerican Essays, Women Authors - American (U.S.) - Literary Criticism, Feminism - History, 19th Century American Literature - Literary Criticism, American Literature Anthologies5045.58 (w) x 8.20 (h) x 0.73 (d)<p>The first book of its kind to pair the writings of Emerson and Fuller, this text plays a major role in illuminating the contributions of both men and women to American Transcendentalism. In addition to a generous selection of Emerson's essays, the complete text of Margaret Fuller's Woman in the Nineteenth Century, and a selection of Fuller's dispatches from Europe, the volume contains copious contextualizing footnotes and an excellent introduction. Readers also explore the struggles of both writers to change their views in response to political changes of the times.</p><p><P>The first book of its kind to pair the writings of Emerson and Fuller, this text plays a major role in illuminating the contributions of both men and women to American Transcendentalism. In addition to a generous selection of Emerson's essays, the complete text of Margaret Fuller's Woman in the Nineteenth Century, and a selection of Fuller's dispatches from Europe, the volume contains copious contextualizing footnotes and an excellent introduction. Readers also explore the struggles of both writers to change their views in response to political changes of the times.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About This Series</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Note on the Texts</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%">Pt. 1</TD><TD WIDTH="70%">Selected Essays</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nature (1836)</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The American Scholar" (1837)</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Letter to Martin Van Buren" (April 23, 1838)</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"An Address Delivered before the Senior Class in Divinity College" (July 15, 1838)</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Self-Reliance" (1841)</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Circles" (1841)</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Man the Reformer" (January 25, 1841)</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Transcendentalist" (January, 1842)</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Politics" (1844)</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Experience" (1844)</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Poet" (1844)</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"An Address ... on ... the Emancipation of the Negroes in the British West Indies" (August 1, 1844)</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Fugitive Slave Law" (March 7, 1854)</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Woman" (September 20, 1855)</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"American Civilization" (January 1, 1862)</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Thoreau" (1862)</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%">Pt. 2</TD><TD WIDTH="70%">Selected Poems</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Each and All" (1834/1839)</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Concord Hymn" (1837)</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Ode, Inscribed to W. H. Channing" (1846/1847)</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Waldeinsamkeit" (1857/1858)</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Boston Hymn" (1863)</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Voluntaries" (1863)</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%">Pt. 3</TD><TD WIDTH="70%">Woman in the Nineteenth Century and Selected Dispatches from Europe, 1846-1850</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman in the Nineteenth Century (1845)</TD><TD WIDTH="10%" ALIGN="RIGHT">298</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Selected Dispatches from Europe, 1846-1850</TD><TD WIDTH="10%" ALIGN="RIGHT">440</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Works Cited</TD><TD WIDTH="10%" ALIGN="RIGHT">497</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Further Reading</TD><TD WIDTH="10%" ALIGN="RIGHT">501</TD></TABLE>
366Getting Home AliveAurora Levins Morales0Aurora Levins Morales, Rosario Moralesgetting-home-aliveaurora-levins-morales97809323791910932379192$1.99PaperbackFirebrand BooksDecember 1986Puerto Ricans - General & Miscellaneous, Women Authors - Literature Anthologies, Puerto Ricans - Life in America, Peoples & Cultures - American Anthologies, Feminism & Feminist Theory, Literature Anthologies - General & Miscellaneous, Jewish Literature An2135.50 (w) x 8.40 (h) x 0.60 (d)The authors are mother and daughter, feminists, radicals, Puerto Rican and American, Jewish. In this collection of essays, poems, and stories, they write about their search for identity, about growing up Jewish in a Catholic world, about their response to the Israeli invasion of Lebanon, and other subjects.<p>The authors are mother and daughter, feminists, radicals, Puerto Rican and American, Jewish. In this collection of essays, poems, and stories, they write about their search for identity, about growing up Jewish in a Catholic world, about their response to the Israeli invasion of Lebanon, and other subjects.</p><h3>Publishers Weekly</h3><p>A mother and daughter of Puerto Rican and Jewish ancestry, the Moraleses express their radical and feminist views in diary-like poetry and prose that echo the rhetoric of the '60s. Yet the mixed origins of this pair lend an international, even universal feeling to the sentiments. They seem to speak for many women of many places and times. Titles of their pieces include ``Concepts of Pollution,'' ``Distress Signals,'' ``Getting Out Alive,'' ``Class Poem'' and ``I Am the Reasonable One.'' Both authors are literary, serious, socially concerned and passionate, and their anger is about injustices that plague them and other people. There is much vivid imagery and heartfelt emotion, and the reader may well long for causes that stir them as these women are stirred. (December)</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>A mother and daughter of Puerto Rican and Jewish ancestry, the Moraleses express their radical and feminist views in diary-like poetry and prose that echo the rhetoric of the '60s. Yet the mixed origins of this pair lend an international, even universal feeling to the sentiments. They seem to speak for many women of many places and times. Titles of their pieces include ``Concepts of Pollution,'' ``Distress Signals,'' ``Getting Out Alive,'' ``Class Poem'' and ``I Am the Reasonable One.'' Both authors are literary, serious, socially concerned and passionate, and their anger is about injustices that plague them and other people. There is much vivid imagery and heartfelt emotion, and the reader may well long for causes that stir them as these women are stirred. (December) </article>
367Twentieth-Century American PoetryDana Gioia0<p><P>Born in Los Angeles in 1950, Dana Gioia attended Stanford University and did graduate work at Harvard, where he studied with Elizabeth Bishop and Robert Fitzgerald. He left Harvard to attend Stanford Business School. For fifteen years he worked in New York for general Foods (eventually becoming a Vice President) while writing nights and weekends, In 1992 he became a full-time writer. Currently he lives in California.<P>Gioia has published three books of poems, Daily Horoscope (1986), The Gods of Winter (1991), and Interrogations at Noon (2001), which won the American Book Award. He is also the author of Can Poetry Matter? (1992; reprinted 2002). He has edited a dozen anthologies of poetry and fiction. A prolific critic and reviewer, he is also a frequent commentator on American culture for BBC Radio. He recently completed Nosferatu (2001), an opera libretto for composer Alva Henderson.<P>David Mason was born and raised in Bellingham, Washington, and received degrees from The Colorado College and the University of Rochester. He spent most of his twenties traveling and working as a manual laborer, with a brief stint working for a film company. He has taught at Minnesota State University, Moorhead, and is now on the faculty of The Colorado College. He lives in the mountains outside Colorado Springs.<P>Mason&#8217;s two prize-winning books of poems are The Buried Houses (1991) and The Country I Remember (1996). With Mark Jarman he co-edited Rebel Angels&#58; 25 Poets of the New Formalism (1996; reprinted 1998) and with the late John Frederick Nims Western Wind&#58; An Introduction to Poetry (2000). His collection of literary essays, The Poetry of Life and the Life of Poetry, appeared in 2000. Mason is also a memoirist, fiction writer and frequent book reviewer.<P>Meg Schoerke was raised in the Philadelphia and Chicago areas. She did undergraduate work at Northwestern University and earned M.A. M. F. A. and Ph. D. degrees from Washington University in St. Louis. Her poems and reviews have appeared in journals such as The American Scholar, TriQuarterly, and The Hudson Review. She has also published a poetry chapbook, Beyond Mourning, and contributed essays to a variety of books on twentieth century American poetry. She lives in San Francisco, where she works as an Associate Professor of English at San Francisco State University.</p>Dana Gioia, Meg Schoerke, David Mason, Meg Schoerke, David Masontwentieth-century-american-poetrydana-gioia97800724001990072400196$107.95PaperbackMcGraw-Hill Companies, TheDecember 20031st EditionLiterary Criticism, Poetry<p><P>With the end of the 1900s, the time has come for a thorough assessment of one hundred years of poetry - from the widely acclaimed to the subtly influential - and with an eye to the importance and meaning of poetry in America.<P>Compiled by three poets and poetry scholars - including 2002 American Book Award Winner Dana Gioia - this anthology presents American poetry across the twentieth century from Stephen Crane to Kevin Young. The collected works are arranged according to the major movements in American poetry, offering a valuable teaching resource for American Literature and Poetry courses.</p><P>Preface<br>REALISM AND NATURALISM </p>HISTORICAL AND CRITICAL OVERVIEW</p>Stephen Crane (1871-1900) </p>Black riders came from the sea</p>In the desert</p>I stood upon a high place</p>I saw a man pursuing the horizon</p>I met a seer</p>On the horizon the peaks assembled</p>I walked in a desert</p>A man feared that he might find an assassin</p>Do not weep, maiden, for war is kind</p>The wayfarer</p>A man said to the universe</p>My cross!</p>A man adrift on a slim spar</p>Edwin Markham (1852-1940) </p>The Man with the Hoe</p>Outwitted</p>Charlotte Perkins Gilman (1860-1935) </p>An Obstacle </p>Whatever Is</p>Edgar Lee Masters (1868-1950) </p>from Spoon River Anthology</p>The Hill</p>Anne Rutledge</p>Editor Whedon</p>Knowlt Hoheimer</p>Lucinda Matlock</p>Petit, the Poet</p>Edwin Arlington Robinson (1869-1935) </p>The Clerks</p>George Crabbe</p>The House on the Hill</p>Luke Havergal</p>Richard Cory</p>Reuben Bright</p>How Annandale Went Out</p>Miniver Cheevy</p>Another Dark Lady</p>Bewick Finzer</p>Eros Turannos</p>The Mill</p>Mr. Flood's Party</p>New England</p>The Sheaves</p>James Weldon Johnson (1871-1938) </p>O Black and Unknown Bards</p>The Creation</p>Paul Laurence Dunbar (1872-1906) </p>We Wear the Mask</p>Sympathy</p>The Debt</p>The Poet</p>To a Captious Critic</p>Trumbull Stickney (1874-1904) </p>Mnemosyne</p>Near Helikon</p>Sir, say no more </p>Robert Frost (1874-1963) </p>Mowing</p>My November Guest</p>Storm Fear</p>The Tuft of Flowers</p>After Apple-Picking</p>The Death of the Hired Man</p>Home Burial</p>Mending Wall</p>The Wood-Pile</p>Birches</p>"Out, Out&#8212;"</p>The Oven Bird</p>The Road Not Taken</p>Fire and Ice</p>The Need of Being Versed in Country Things</p>Nothing Gold Can Stay</p>Stopping by Woods on a Snowy Evening</p>To Earthward</p>The Witch of Co&#353;s</p>Acquainted With the Night</p>Once by the Pacific</p>Desert Places</p>Design</p>Neither Out Far Nor in Deep</p>Provide Provide</p>Come In</p>The Gift Outright</p>The Silken Tent</p>Directive</p>Sara Cleghorn (1876-1959) </p>The Golf Links</p>The Survival of the Fittest</p>Alan Seeger (1888-1916) </p>I Have a Rendezvous with Death</p>John Allan Wyeth Jr. (1894-1980) </p>The Train from Brest</p>Corbie to Sailly-Le-Sec</p>War in Heaven <br>EARLY MODERNISM: FROM IMAGISM TO HIGH MODERNISM </p>HISTORICAL AND CRITICAL OVERVIEW</p>Amy Lowell (1874-1925) </p>Patterns</p>A Decade</p>A Lover</p>The Pond</p>1 Opal</p>Gertrude Stein (1874-1946) </p>from Tender Buttons </p>A Blue Coat </p>A Piano </p>A Purse </p>A Mounted Umbrella </p>A Time to Eat </p>A Fire </p>A Handkerchief </p>Red Roses</p>Yone Noguchi (1875-1947) </p>I Hear You Call, Pine Tree</p>from Japanese Hokkus</p>Adelaide Crapsey (1878-1914) </p>November Night</p>Triad</p>The Warning</p>Carl Sandburg (1878-1967) </p>Chicago</p>Fog</p>Limited</p>Window</p>Cool Tombs</p>Grass</p>Cahoots</p>Vachel Lindsay (1879-1931) </p>General William Booth Enters into Heaven</p>Factory Windows Are Always Broken</p>The Voyage</p>Wallace Stevens (1879-1955) </p>The Snow Man</p>Nuances of a Theme by Williams </p>A High-Toned Old Christian Woman</p>The Emperor of Ice-Cream</p>Tea at the Palaz of Hoon </p>Disillusionment of Ten O'Clock</p>Sunday Morning</p>Bantams in Pine-Woods</p>Anecdote of the Jar </p>To the One of Fictive Music</p>Peter Quince at the Clavier </p>Thirteen Ways of Looking at a Blackbird</p>To the Roaring Wind </p>The Man Whose Pharynx Was Bad</p>Evening Without Angels</p>The Idea of Order at Key West</p>A Postcard from the Volcano</p>from Notes Toward a Supreme Fiction</p>The Course of a Particular</p>Final Soliloquy of the Interior Paramour</p>Of Modern Poetry</p>The Plain Sense of Things</p>Of Mere Being</p>William Carlos Williams (1883-1963) </p>Aux Imagistes</p>Danse Russe</p>Dedication for a Plot of Ground</p>El Hombre</p>Tract</p>Portrait of a Lady</p>The Great Figure</p>Queen-Anne's-Lace</p>To Waken An Old Lady</p>The Widow's Lament in Springtime</p>Spring and All</p>The Right of Way</p>To Elsie</p>The Red Wheelbarrow</p>The Last Words of My English Grandmother</p>This is Just to Say</p>Flowers by the Sea</p>The Yachts</p>The Dance</p>The Descent</p>from Asphodel, That Greeny Flower </p>Ezra Pound (1885-1972) </p>Sestina: Altaforte</p>Portrait D'une Femme</p>The Return</p>Alba</p>Coda</p>The Coming of War: Acton</p>The Garden</p>The Garret</p>Papyrus</p>In a Station of the Metro</p>The Jewel Stairs' Grievance</p>Lament of the Frontier Guard</p>The Rest</p>The River-Merchant's Wife: a Letter</p>Salutation</p>A Pact</p>from Homage to Sextus Propertius</p>Hugh Selwyn Mauberley</p>from The Cantos</p>Canto I ("And then went down to the ship")</p>Canto XLV ("With Usura")</p>Canto LXXXI (Libretto: "Yet / Ere the season died a-cold")</p>H. D. (1886-1961) </p>Oread</p>Garden</p>Pear Tree</p>The Pool</p>Sea Rose</p>Sea Violet</p>Storm</p>Eurydice</p>At Baia</p>Helen</p>from The Walls Do Not Fall</p>I ("An incident here and there")</p>II ("Evil was active in the land")</p>from The Flowering of the Rod</p>6 ("So I would rather drown, remembering") </p>Robinson Jeffers (1887-1962) </p>To the Stone-Cutters</p>Boats in a Fog</p>Shine, Perishing Republic</p>Fawn's Foster-Mother</p>Hurt Hawks</p>Hands</p>Shane O'Neill's Cairn</p>New Mexican Mountain</p>November Surf </p>Ave Caesar</p>Love the Wild Swan</p>Rock and Hawk</p>The Purse-Seine</p>Carmel Point</p>Marianne Moore (1887-1972) </p>The Fish </p>Poetry </p>Poetry (Revised Version)</p>Those Various Scalpels</p>To a Steam Roller</p>Marriage</p>An Egyptian Pulled Glass Bottle in the Shape of a Fish</p>A Graveyard </p>New York </p>The Steeple-Jack</p>What Are Years?</p>In Distrust of Merits</p>The Mind Is an Enchanting Thing</p>T. S. Eliot (1888-1965) </p>The Love Song of J. Alfred Prufrock</p>Preludes</p>The Boston Evening Transcript</p>Hysteria</p>La Figlia che Piange</p>Sweeney Among the Nightingales</p>The Waste Land</p>The Hollow Men</p>Journey of the Magi</p>Ash-Wednesday</p>from Four Quartets</p>Burnt Norton </p>e. e. cummings (1894-1962) </p>in Just- </p>Buffalo Bill 's </p>the Cambridge ladies who live in furnished souls </p>next to of course god america i</p>i sing of Olaf glad and big</p>somewhere i have never travelled, gladly beyond</p>may i feel said he</p>r-p-o-p-h-e-s-s-a-g-r</p>you shall above all things be glad and young</p>anyone lived in a pretty how town</p>my father moved through dooms of love</p>pity this busy monster,manunkind</p>o purple finch</p>Witter Bynner (1881-1968) and Arthur Davison Ficke (1883-1945)</p>The Spectra Hoax</p>Opus 181 (Anne Knish)</p>Opus 104 (Emanuel Morgan)</p>Opus 40 (Emanuel Morgan)</p>Opus 15 (Emanuel Morgan) <br>THE HARLEM RENAISSANCE </p>HISTORICAL AND CRITICAL OVERVIEW</p>Angelina Weld Grimk&#233; (1880-1958) </p>The Black Finger</p>Tenebris</p>A Mona Lisa</p>Fragment</p>Claude McKay (1889-1948) </p>If We Must Die</p>The Lynching</p>America</p>My Mother</p>The White City</p>Outcast</p>Jean Toomer (1894-1967) </p>Seventh Street</p>November Cotton Flower</p>Georgia Dusk</p>Reapers</p>Sterling A. Brown (1901-1989) </p>Memphis Blues</p>Mose </p>Slim Greer</p>Slim in Atlanta</p>Gwendolyn Bennett (1902-1981) </p>Hatred</p>To a Dark Girl </p>Langston Hughes (1902-1967) </p>The Negro Speaks of Rivers</p>I, Too</p>Negro </p>Cross</p>The Weary Blues</p>Dream Variations</p>Song for a Dark Girl</p>Mother to Son</p>Park Bench</p>50&#8212;50</p>Ku Klux</p>Morning After</p>Madam's Past History</p>Madam and the Census Man</p>Island</p>Harlem [Dream Deferred]</p>Theme for English B</p>Homecoming</p>Dinner Guest: Me</p>Countee Cullen (1903-1946) </p>For a Lady I Know</p>For Paul Laurence Dunbar</p>Heritage</p>Incident</p>Yet Do I Marvel</p>From the Dark Tower</p>To Certain Critics <br>MODERNIST ALTERNATIVES: ROMANTICS AND NEO-CLASSICISTS</p>HISTORICAL AND CRITICAL OVERVIEW</p>Sara Teasdale (1884-1933) </p>Over the Roofs</p>There Will Come Soft Rains</p>Since There Is No Escape</p>Water Lilies</p>In a Darkening Garden</p>Elinor Wylie (1885-1928) </p>The Eagle and the Mole</p>Wild Peaches</p>From the Wall</p>Let No Charitable Hope</p>Prophecy</p>John Crowe Ransom (1888-1974) </p>Bells for John Whiteside's Daughter</p>Winter Remembered </p>Blue Girls</p>Dead Boy</p>Piazza Piece</p>Conrad Aiken (1889-1978) </p>from Senlin: A Biography</p>Morning Song of Senlin</p>from Priapus and the Pool</p>"When trout swim down Great Ormond Street"</p>John Peale Bishop (1892-1944) </p>Perspectives are Precipices</p>My Grandfather Kept Peacocks</p>Archibald MacLeish (1892-1982) </p>Ars Poetica</p>The End of the World</p>The Silent Slain</p>You, Andrew Marvell </p>Edna St. Vincent Millay (1892-1950) </p>Time Does Not Bring Relief: You All Have Lied</p>First Fig</p>Second Fig</p>I Shall Forget You Presently, My Dear</p>Recuerdo</p>Passer Mortuus Est</p>What Lips My Lips Have Kissed</p>Love Is Not All</p>Hearing Your Words, and Not a Word Among Them</p>Dorothy Parker (1893-1967) </p>Comment</p>One Perfect Rose</p>R&#233;sum&#233;</p>Unfortunate Coincidence</p>Sanctuary</p>Louise Bogan (1897-1970) </p>The Alchemist </p>The Crows</p>Medusa </p>Memory </p>Women</p>Knowledge </p>Cassandra</p>Henceforth, from the Mind</p>The Sleeping Fury</p>Spirit's Song</p>Song for the Last Act</p>The Dream</p>Night</p>Stephen Vincent Ben&#233;t (1898-1943) </p>American Names</p>1936</p>Melvin B. Tolson (1898-1966) </p>from A Gallery of Harlem Portraits</p>Sootie Joe</p>An Ex-Judge at the Bar</p>Dark Symphony</p>Hart Crane (1899-1932) </p>Praise for an Urn </p>Garden Abstract </p>At Melville's Tomb</p>Black Tambourine </p>Chaplinesque </p>My Grandmother's Love Letters </p>Voyages</p>The Wine Menagerie </p>from The Bridge</p>To Brooklyn Bridge</p>Royal Palm</p>The Broken Tower</p>Allen Tate (1899-1979) </p>Ode to the Confederate Dead</p>The Subway</p>Robert Francis (1901-1987)</p>Hallelujah: A Sestina</p>Catch</p>Yes, What?</p>Richard Eberhart (b. 1904) </p>The Fury of Aerial Bombardment</p>Robert Penn Warren (1905-1989) </p>Bearded Oaks</p>Evening Hawk</p>What Voice at Moth-Hour <br>MID-CENTURY POETS</p>HISTORICAL AND CRITICAL OVERVIEW</p>Theodore Roethke (1908-1963) </p>Cuttings </p>Cuttings (later version)</p>Root Cellar</p>Dolor</p>My Papa's Waltz</p>Elegy for Jane</p>The Waking</p>I Knew a Woman</p>In a Dark Time</p>from North American Sequence:</p>The Longing</p>Journey to the Interior</p>The Far Field</p>Elizabeth Bishop (1911-1979) </p>The Fish</p>The Map</p>At the Fishhouses</p>The Armadillo</p>Filling Station</p>Questions of Travel</p>Visits to St. Elizabeths</p>In the Waiting Room</p>The Moose</p>One Art</p>J. V. Cunningham (1911-1985) </p>For My Contemporaries</p>In the Thirtieth Year</p>To My Wife</p>To What Strangers, What Welcome</p>Epigrams</p>Josephine Miles (1911-1985) </p>Reason</p>Riddle</p>Conception</p>Album</p>Robert Hayden (1913-1980) </p>The Ballad of Sue Ellen Westerfield</p>Frederick Douglass</p>Middle Passage</p>Night, Death, Mississippi</p>Those Winter Sundays</p>The Whipping</p>A Plague of Starlings</p>John Frederick Nims (1913-1999) </p>Dedication: Love Poem</p>Epigrams</p>Muriel Rukeyser (1913-1980) </p>Effort at Speech Between Two People</p>To Be a Jew in the Twentieth Century</p>Double Dialogue</p>The Poem as Mask</p>Poem</p>John Berryman (1914-1972) </p>Desires of Men and Women</p>from The Dream Songs</p>Huffy Henry hid the day (1)</p>Life, friends, is boring. We must not say so (14)</p>I am the little man who smokes & smokes (22)</p>There sat down, once, a thing on Henry's heart (29)</p>The marker slants, flowerless, day's almost done (384)</p>Randall Jarrell (1914-1965) </p>Losses</p>The Death of the Ball Turret Gunner</p>90 North</p>The Woman at the Washington Zoo</p>Next Day</p>Weldon Kees (1914-1955) </p>For My Daughter</p>Crime Club</p>River Song</p>Robinson</p>Aspects of Robinson</p>1926</p>Round</p>Dudley Randall (1914-2000) </p>Ballad of Birmingham</p>Booker T. and W. E. B.</p>A Different Image </p>William Stafford (1914-1993) </p>The Farm on the Great Plains</p>Traveling through the Dark</p>Ask Me</p>At the Un-National Monument along the Canadian Border</p>Our Kind</p>Thomas Merton (1915-1968) </p>For my Brother: Reported Missing in Action, 1943</p>The Reader</p>Margaret Walker (1915-1998) </p>For Malcolm X</p>John Ciardi (1916-1986) </p>Most Like an Arch This Marriage</p>Firsts</p>Thomas McGrath (1916-1990) </p>Ars Poetica: or: Who Lives in the Ivory Tower?</p>Jig Tune: Not for Love</p>The Buffalo Coat</p>Remembering the Children of Auschwitz</p>Gwendolyn Brooks (1917-2000) </p>The Mother</p>Sadie and Maud</p>Southeast Corner</p>But Can See Better There, and Laughing There</p>The Rites for Cousin Vit</p>The Bean Eaters</p>We Real Cool</p>The Blackstone Rangers</p>The Coora Flower</p>Robert Lowell (1917-1977) </p>Concord</p>The Quaker Graveyard in Nantucket</p>Memories of West Street and Lepke</p>Skunk Hour</p>For the Union Dead</p>Waking Early Sunday Morning</p>History</p>Epilogue</p>William Jay Smith (b. 1918) </p>A Note on the Vanity Dresser</p>Galileo Galilei</p>American Primitive</p>May Swenson (1919-1989) </p>Question</p>Four-Word Lines</p>Strawberrying <br>OPEN FORM: OBJECTIVISTS, BEATS, BLACK MOUNTAIN POETS</p>HISTORICAL AND CRITICAL OVERVIEW</p>Laura Riding (1901-1991)</p>Helen's Burning</p>The Map of Places</p>The World and I</p>Kenneth Fearing (1902-1961)</p>Dirge</p>1938 </p>Lorine Niedecker (1903-1970) </p>The Element Mother</p>Sorrow moves in wide waves </p>Poet's work</p>I knew a clean man</p>Autumn Sequence</p>Autumn</p>Last night the trash barrel</p>The boy tossed the news</p>Popcorn-can cover</p>Truth</p>Lights, lifts</p>O late fall </p>He lived&#8212;childhood summers</p>Louis Zukofsky (1904-1978) </p>Non Ti Fidar</p>A Song for the Year's End</p>Starglow</p>Kenneth Rexroth (1905-1982) </p>A Very Early Morning Exercise</p>Andree Rexroth</p>Vitamins and Roughage</p>The Signature of All Things</p>George Oppen (1908-1984) </p>from Discrete Series:</p>The knowledge not of sorrow, you were</p>Leviathan</p>The Bicycles and the Apex</p>The Building of the Skyscraper</p>Psalm</p>from Of Being Numerous</p>Strange that the youngest people I know</p>Charles Olson (1910-1970) </p>Maximus, to himself</p>La Chute</p>William Everson / Brother Antoninus (1912-1944) </p>These Are the Ravens</p>Advent</p>The Making of the Cross</p>Robert Duncan (1919-1988) </p>The Temple of the Animals</p>Poetry, a Natural Thing</p>This Place Rumored to Have Been Sodom</p>Roots and Branches</p>The Torso (Passages 18)</p>Lawrence Ferlinghetti (b. 1919) </p>In Goya's Greatest Scenes</p>Denise Levertov (1923-1997) </p>" . . . Else a great Prince in prison lies"</p>The Ache of Marriage</p>Hypocrite Women</p>O Taste and See</p>Our Bodies</p>Prisoners</p>Samuel Menashe (b. 1925) </p>O Many Named Beloved</p>The Shrine Whose Shape I Am</p>Self Employed</p>At a Standstill</p>Curriculum Vitae</p>Jack Spicer (1925-1965) </p>Conspiracy</p>A Book of Music</p>A. R. Ammons (1926-2001) </p>Gravelly Run</p>The Constant</p>The City Limits</p>Cut the Grass</p>Viable</p>Robert Creeley (b. 1926) </p>I Know a Man</p>Heroes</p>Oh No</p>For Love</p>The Rain</p> "I Keep to Myself Such Measures . . ."</p>Allen Ginsberg (1926-1997) </p>America</p>Howl</p>A Supermarket in California</p>Gary Snyder (b. 1930) </p>Mid-August at Sourdough Mountain Lookout</p>Riprap</p>Water</p>Why Log Truck Drivers Rise Earlier Than Students of Zen</p>Axe Handles <br>POST-WAR FORMALISM AND ITS DISCONTENTS: FROM FORMALISM TO FEMINISM AND THE CONFESSIONAL MODE</p>HISTORICAL AND CRITICAL OVERVIEW</p>Howard Nemerov (1920-1991)</p>A Primer of the Daily Round</p>The Blue Swallows</p>The Western Approaches</p>Because You Asked about the Line between Prose and Poetry</p>The Makers</p>The War in the Air</p>Mona Van Duyn (b. 1921)</p>Earth Tremors Felt in Missouri</p>Causes</p>Richard Wilbur (b. 1921)</p>The Beautiful Changes</p>The Pardon</p>Love Calls Us to Things of This World</p>Cottage Street, 1953</p>Piccola Commedia</p>To the Etruscan Poets</p>The Writer</p>Hamlen Brook</p>The Ride</p>Howard Moss (1922-1987)</p>The Pruned Tree</p>Tourists</p>James Dickey (1923-1997)</p>The Performance</p>The Heaven of Animals</p>The Lifeguard</p>The Sheep Child</p>Anthony Hecht (b. 1923) </p>Adam</p>The Dover Bitch</p>A Hill</p>The Book of Yolek</p>The Mysteries of Caesar</p>Sarabande on Attaining the Age of Seventy-seven</p>Richard Hugo (1923-1982)</p>Degrees of Gray in Philipsburg</p>Driving Montana</p>Louis Simpson (b. 1923)</p>Early in the Morning</p>The Man Who Married Magdalene</p>To the Western World</p>American Poetry</p>My Father in the Night Commanding No</p>The Unwritten Poem</p>A Clearing</p>Donald Justice (b. 1925)</p>Counting the Mad</p>n Bertram's Garden</p>On the Death of Friends in Childhood</p>But That Is Another Story</p>Men at Forty</p>Variations on a Text by Vallejo</p>Psalm and Lament</p>Carolyn Kizer (b. 1925)</p>from Pro Femina:</p>I. From Sappho to myself, consider the fate of women</p>II. I take as my theme "The Independent Woman"</p>III. I will speak about women of letters, for I'm in the racket</p>Bitch</p>Maxine Kumin (b. 1925)</p>At the End of the Affair</p>How It Is</p>The Retrieval System</p>Noted in The New York Times</p>W. D. Snodgrass (b. 1926)</p>April Inventory</p>Leaving the Motel</p>Disposal</p>James Merrill (1926-1995)</p>The Broken Home</p>The Mad Scene</p>Last Words</p>Casual Wear</p>Donald Hall (b. 1928)</p>My Son My Executioner</p>Names of Horses</p>Ox Cart Man</p>Anne Sexton (1928-1974) </p>Her Kind</p>The Abortion</p>The Truth the Dead Know</p>Wanting to Die</p>X. J. Kennedy (b. 1929)</p>In a Prominent Bar in Secaucus One Day</p>Little Elegy</p>Loose Woman</p>The Waterbury Cross</p>Adrienne Rich (b. 1929) </p>Aunt Jennifer's Tigers</p>The Diamond Cutters</p>Living in Sin</p>Peeling Onions</p>Diving into the Wreck</p>From a Survivor</p>Rape</p>Power</p>from An Atlas of the Difficult World</p>Dedications</p>Tattered Kaddish</p>Sylvia Plath (1932-1963)</p>The Colossus</p>Metaphors</p>Blackberrying</p>Mirror</p>Daddy</p>Morning Song</p>Lady Lazarus</p>Edge</p>Anne Stevenson (b. 1933)</p>The Victory</p>Generations</p>The Marriage</p>Making Poetry</p>Alas <br>AMERICAN INTERNATIONALISM: SURREALISM, DEEP IMAGE, AND NEW YORK SCHOOL</p>HISTORICAL AND CRITICAL OVERVIEW</p>Barbara Guest (b. 1920)</p>Green Revolutions</p>Poem</p>Edward Field (b. 1924)</p>Curse of the Cat Woman</p>Roaches</p>John Haines (b. 1924)</p>Winter News</p>The Flight</p>Night</p>The Ghost Towns</p>Robert Bly (b. 1926) </p>Waking from Sleep </p>The Busy Man Speaks</p>Counting Small-Boned Bodies</p>Johnson's Cabinet Watched by Ants</p>Romans Angry About the Inner World</p>Frank O'Hara (1926-1966)</p>Today</p>Poem ("The eager note on my door said 'call me'")</p>To the Harbormaster</p>The Day Lady Died</p>Autobiographia Literaria</p>Homosexuality</p>Why I Am Not a Painter</p>John Ashbery (b. 1927)</p>Some Trees</p>My Erotic Double</p>Paradoxes and Oxymorons</p>At North Farm</p>Just Walking Around</p>W. S. Merwin (b. 1927)</p>Air</p>The Animals</p>For a Coming Extinction</p>For the Anniversary of My Death</p>The Last One</p>Some Last Questions</p>Rain Travel</p>James Wright (1927-1980) </p>Complaint</p>Saint Judas</p>Autumn Begins in Martins Ferry, Ohio</p>A Blessing</p>Lying in a Hammock at William Duffy's Farm in Pine Island, Minnesota</p>Twilights</p>The Life</p>Philip Levine (b. 1928)</p>On the Edge</p>Animals are Passing from Our Lives</p>To a Child Trapped in a Barber Shop</p>They Feed They Lion</p>You Can Have it</p>Mark Strand (b. 1934)</p>Keeping Things Whole</p>Eating Poetry</p>Charles Wright (b. 1935)</p>The New Poem</p>Clear Night</p>Stone Canyon Nocturne</p>California Dreaming</p>Charles Simic (b. 1938) </p>Fear</p>My Shoes</p>Fork</p>Eyes Fastened with Pins</p>Classic Ballroom Dances</p>James Tate (b. 1942)</p>The Lost Pilot</p>Teaching the Ape to Write Poems</p>The Chaste Stranger <br>RETURN TO REALISM: REGIONALISM AND CULTURAL IDENTITY</p>HISTORICAL AND CRITICAL OVERVIEW</p>Miller Williams (b. 1930)</p>On a Photograph of my Mother at Seventeen</p>Ruby Tells All</p>Etheridge Knight (1931-1991) </p>Haiku</p>Hard Rock Returns to Prison from the Hospital for the Criminal Insane</p>The Idea of Ancestry</p>The Warden Said to Me the Other Day</p>A Poem for Myself </p>Rhina Espaillat (b. 1932)</p>Agua</p>Bilingual / Biling&#252;e</p>1 Bra</p>Linda Pastan (b. 1932)</p>Journey's End</p>Ethics </p>1932-</p>Amiri Baraka (b. 1934) </p>Preface to a Twenty Volume Suicide Note</p>Legacy</p>Black Bourgeoisie</p>Audre Lorde (1934-1992)</p>Coal</p>Father Son and Holy Ghost</p>October</p>N. Scott Momaday (b. 1934)</p>Simile</p>Carriers of the Dream Wheel</p>The Delight Song of Tsoai-talee</p>The Eagle-Feather Fan</p>Headwaters</p>Fred Chappell (b. 1936)</p>Narcissus and Echo</p>Epigrams</p>Lucille Clifton (b. 1936) </p>Good Times</p>Homage to my hips</p>to my last period</p>C. K. Williams (b. 1936)</p>Hood</p>From My Window</p>Elms</p>Bernice Zamora (b. 1938) </p>Penitents</p>Ishmael Reed (b. 1938)</p>I am a cowboy in the boat of Ra</p>Oakland Blues</p>Jared Carter (b. 1939)</p>Work, for the Night Is Coming</p>The Gleaning</p>Stephen Dunn (b. 1939)</p>Beautiful Women</p>Decorum</p>Ted Kooser (b. 1939)</p>Abandoned Farmhouse</p>The Blind Always Come as Such a Surprise</p>Tom Ball's Barn</p>Spring Plowing</p>Carrie<br>CONTEMPORARY VOICES</p>HISTORICAL AND CRITICAL OVERVIEW</p>Robert Pinsky (b. 1940)</p>Shirt</p>2000 </p>Billy Collins (b. 1941)</p>Embrace</p>Lowell, Mass.</p>The Dead</p>Robert Hass (b. 1941)</p>Black Mountain, Los Altos</p>Heroic Simile</p>Meditation at Lagunitas</p>Lyn Hejinian (b. 1942)</p>from My Life</p>from Redo, 1-5</p>Nostalgia is the elixir drained</p>Charles Martin (b. 1942)</p>Taken Up</p>E. S. L.</p>Metaphor of Grass in California</p>Sharon Olds (b. 1942)</p>The Language of the Brag</p>The One Girl at the Boys' Party</p>Rites of Passage</p>Sex Without Love</p>Louise Gl&#252;ck (b. 1943) </p>The School Children</p>The Gift</p>Elms </p>Mock Orange</p>The Gold Lily</p>Circe's Power</p>Michael Palmer (b. 1943)</p>All those words we once used . . . </p>Of this cloth doll which</p>Autobiography</p>Mary Kinzie (b. 1944)</p>The Tattooer</p>The Same Love</p>Shirley Geok-Lin Lim (b. 1944)</p>To Li Po</p>My Father's Sadness</p>Learning to love America</p>B. H. Fairchild (b. 1945)</p>The Death of a Small Town</p>A Starlit Night</p>Kay Ryan (b. 1945)</p>Paired Things</p>Turtle</p>Bestiary</p>Chemise</p>Don't Look Back</p>Mockingbird</p>Adrian C. Louis (b. 1946)</p>Without Words</p>Looking for Judas</p>Marilyn Nelson (b. 1946)</p>1990 The Ballad of Aunt Geneva</p>1990 How I Discovered Poetry</p>1990 Thus Far by Faith</p>Ron Silliman (b. 1946)</p>from The Chinese Notebook, Sections 1-25</p>AI (b. 1947)</p>Child Beater</p>Yusef Komunyakaa (b. 1947) </p>Facing It</p>Starlight Scope Myopia</p>Tu Do Street</p>Banking Potatoes</p>Amy Uyematsu (b. 1947)</p>Deliberate</p>The Ten Million Flames of Los Angeles</p>R. S. Gwynn (b. 1948)</p>Untitled</p>Body Bags</p>1-800</p>David Lehman (b. 1948)</p>Rejection Slip</p>First Lines</p>Heather McHugh (b. 1948)</p>The Trouble with "In"</p>Earthmoving Malediction</p>Timothy Steele (b. 1948)</p>Sapphics Against Anger</p>The Sheets</p>Summer</p>Wendy Rose (b. 1948)</p>Vanishing Point: Urban Indian</p>For the White Poets Who Would Be Indian</p>Carolyn Forch&#233; (b. 1950)</p>The Morning Baking</p>The Colonel</p>Dana Gioia (b. 1950)</p>The Next Poem</p>Planting a Sequoia</p>William Logan (b. 1950)</p>After a Line by F. Scott Fitzgerald</p>Small Bad Town</p>Jorie Graham (b. 1951)</p>Mind</p>Over and Over Stitch</p>Erosion</p>Joy Harjo (b. 1951)</p>She Had Some Horses</p>Song for the Deer and Myself to Return On</p>Andrew Hudgins (b. 1951)</p>The Hereafter</p>Dead Christ</p>Elegy for My Father, Who is Not Dead</p>Judith Ortiz Cofer (b. 1952)</p>Quincea&#8212;era</p>The Lesson of the Sugarcane</p>Rita Dove (b. 1952)</p>Adolescence- I</p>Adolescence- II</p>Adolescence - III</p>Daystar</p>Alice Fulton (b. 1952)</p>What I Like</p>The Expense Of Spirit</p>Mark Jarman (b. 1952)</p>Ground Swell</p>from Unholy Sonnets:</p>Hands Folded</p>After the Praying</p>Naomi Shihab Nye (b. 1952)</p>Famous</p>The Traveling Onion</p>Mark Doty (b. 1953)</p>Fog</p>Homo Will Not Inherit</p>Gjertrud Schnackenberg (b. 1953)</p>The Paperweight</p>Supernatural Love</p>Kim Addonizio (b. 1954)</p>First Poem for You</p>Stolen Moments</p>Francisco X. Alarc&#243;n (b. 1954)</p>The X in my Name</p>Border</p>David Mason (b. 1954)</p>Spooning</p>Song of the Powers</p>Benjamin Alire S&#225;enz (b. 1954)</p>Resurrections</p>To the Desert</p>Mary Jo Salter (b. 1954)</p>Welcome to Hiroshima</p>The Age of Reason</p>Cathy Song (b. 1955)</p>Beauty and Sadness</p>Stamp Collecting</p>Jacqueline Osherow (b. 1956)</p>Song for the Music in the Warsaw Ghetto</p>Ghazal: Comet</p>H. L. Hix (b. 1960)</p>No Less Than Twenty-Six Distinct Necronyms</p>Reasons</p>Rafael Campo (b. 1964)</p>My Childhood in Another Part of the World</p>What the Body Told</p>Sherman Alexie (b. 1966)</p>Indian Boy Love Song (#2)</p>from The Native American Broadcasting System:</p>I am the essence of powwow, I am</p>The Powwow at the End of the World</p>Marisa de los Santos (b. 1966)</p>Perfect Dress</p>Christian Wiman (b. 1966)</p>What I Know</p>Larissa Szporluk (b. 1967) </p>Vertigo</p>Diane Thiel (b. 1967) </p>Memento Mori in Middle School</p>Kevin Young (b. 1970)</p>Quivira City Limits</p>Acknowledgments</p>Index of Authors and Titles
368Plays and Playwrights 2009Martin Denton0Martin Denton (Editor), Michael Laurence, Tim Collins, Lenora Champagne, Carlos Lacamaraplays-and-playwrights-2009martin-denton97809794852200979485223$26.75PaperbackNew York Theatre Experience, Incorporated, TheFebruary 2009Drama Anthologies, American Drama, American Literature Anthologies3845.40 (w) x 8.20 (h) x 0.90 (d)<i>Plays and Playwrights 2009</i> is the tenth volume in our yearly series of anthologies of new plays by emerging playwrights. This volume contains the complete script of 11 plays, author bios, permission information, author notes, and a detailed Introduction by the editor, Martin Denton. Included are: <p>HOSPITAL 2008 by Randy Sharp and Axis Company<br> A four-part serial play that explores the unconscious memories of a man in a coma.</p> <p>LINUS &amp; ALORA by Andrew Irons<br> A whimsical and poetical exploration of the powers of imagination: a lot can happen in nine months.</p> <p>SISTER CITIES by Colette Freedman<br> Four sisters reunite following their mother's alleged suicide in this surprising and incisive comedy.</p> <p>S/HE by Nanna Nick Mwaluko<br> The journey from Samantha to Sam: a young African American biological female struggles with gender and becomes a man.</p> <p>DEATH AT FILM FORUM by Eric Bland<br> Aspiring filmmaker/auteurs compete a la <i>Project Runway</i> in this very funny mixed media satirical drama.</p> <p>TRACES/fades by Lenora Champagne<br> A meditation on Alzheimer's and our national inability to remember history.</p> <p>NOWHERE ON THE BORDER by Carlos Lacamara<br> A timely drama about a Mexican father searching the Arizona desert for his missing daughter, and the American Minuteman who detains him.</p> <p>AMERICAN BADASS, OR 12 CHARACTERS IN SEARCH OF A NATIONAL IDENTITY by Chris Harcum<br> In a dozen monologues, a look at who we are in 2008 and how we may have gotten that way.</p> <p>A FIRE AS BRIGHT AS HEAVEN by Tim Collins<br> An epic solo tour de force chronicling the past seven years of American upheaval.</p> <p>CONVERSATION STORM by Rick Burkhardt<br> A mind-blowing exercise in thejustification of torture, in a taut, concise, single act.</p> <p>KRAPP, 39 by Michael Laurence<br> Haunted by Beckett's Krapp, a 39-year-old actor throws himself a birthday party in this deeply personal solo play about the last moments of youth.</p><p><I>Plays and Playwrights 2009</I> is the tenth volume in our yearly series of anthologies of new plays by emerging playwrights. This volume contains the complete script of 11 plays, author bios, permission information, author notes, and a detailed Introduction by the editor, Martin Denton. Included are: <P> HOSPITAL 2008 by Randy Sharp and Axis Company<br>A four-part serial play that explores the unconscious memories of a man in a coma. <P>LINUS & ALORA by Andrew Irons <br>A whimsical and poetical exploration of the powers of imagination: a lot can happen in nine months. <P>SISTER CITIES by Colette Freedman <br>Four sisters reunite following their mother's alleged suicide in this surprising and incisive comedy. <P>S/HE by Nanna Nick Mwaluko <br>The journey from Samantha to Sam: a young African American biological female struggles with gender and becomes a man. <P> DEATH AT FILM FORUM by Eric Bland <br>Aspiring filmmaker/auteurs compete a la <I>Project Runway</I> in this very funny mixed media satirical drama. <P>TRACES/fades by Lenora Champagne <br>A meditation on Alzheimer's and our national inability to remember history. <P>NOWHERE ON THE BORDER by Carlos Lacamara <br>A timely drama about a Mexican father searching the Arizona desert for his missing daughter, and the American Minuteman who detains him. <P>AMERICAN BADASS, OR 12 CHARACTERS IN SEARCH OF A NATIONAL IDENTITY by Chris Harcum <br> In a dozen monologues, a look at who we are in 2008 and how we may have gotten that way. <P>A FIRE AS BRIGHT AS HEAVEN by Tim Collins <br>An epic solo tour de force chronicling the past seven years of American upheaval. <P>CONVERSATION STORM by Rick Burkhardt <br>A mind-blowing exercise in thejustification of torture, in a taut, concise, single act. <P>KRAPP, 39 by Michael Laurence <br>Haunted by Beckett's Krapp, a 39-year-old actor throws himself a birthday party in this deeply personal solo play about the last moments of youth.</p>
369Through the Eye of the Deer: An Anthology of Native American Women WritersCarolyn Dunn0Carolyn Dunn (Editor), Carol Comfortthrough-the-eye-of-the-deercarolyn-dunn97818799605891879960583$19.95PaperbackAunt Lute BooksSeptember 19991st EditionAmerican Literature Anthologies, General & Miscellaneous Literature Anthologies, Native American Folklore & Mythology, Anthologies, Native North American People2846.00 (w) x 9.00 (h) x 0.60 (d)By bringing together the voices of Native American women writers across time, regions, and tribes, this collection makes visible a dynamic tradition of women's wisdom and storytelling. From early legends to present-day fiction and poetry, this tradition emphasizes women's spiritual connection to the natural world and their contributions to tribal and familial community. Central to women's strength is the role of animal figures-Coyote, Owl, Beaver and Bear-who act as guides, helpers, and personal totems, appearing unexpectedly in the modern urban landscape as well as being a constant presence in nature. <p>The work of more than forty authors appears in this volume, representing tribes and regions extending over most of the U.S. and parts of Canada. Among the authors included are Louise Erdrich, Joy Harjo, Leslie Marmon Silko, Paula Gunn Allen, Linda Hogan and Beth Brant, along with writers whose work appears here for the first time.</p><p>The editors are both scholars and both are of Native American descent. They present a general introduction as well as brief introductions to each selection in this anthology of poetry, essays, and stories. The strength and range of voices heard here will intrigue and enlighten a wide audience. Annotation c. Book News, Inc., Portland, OR</p><h3>Publishers Weekly</h3><p>Editors Dunn and Comfort (Breaking Boundaries) bring together more than 50 pieces by almost as many authors and poets in this useful but somewhat frustrating anthology of work by Native women from the U.S. and Canada. Selections span time (the earliest pieces are from Mourning Dove and Ella Cara Deloria from the 1920s and 1930s) and numerous tribal traditions throughout North America. Centering on women's experiences, the first section concerns images of birth and creation; subsequent chapters deal with marriage and family, and women's powers and mysteries. Among works from well-known women writers are the prologue from Paula Gunn Allen's The Woman Who Owned the Shadows, and poems by Joy Harjo ("Deer Dancer" and "Wolf Warrior"), Luci Tapahonso ("Above the Canyon Floor") and Ines Hernandez-Avila ("Grandpa's Song for Little Bear"). Louise Erdrich is represented (in a selection from her novel Tracks), and so are Beth Brant ("Coyote Learns a New Trick") and Leslie Silko (material from Storyteller). Such new and emerging voices as Shaunna McCovey, Cheryl Savageau and Deborah Miranda are each accorded two selections. The collection, however, seems unbalanced. Many of the pieces, particularly those from the more noted writers, have appeared elsewhere, and most of these writers are represented by one brief entry, while lesser figures are granted more space. There are also curious omissions: there is nothing by E. Pauline Johnson, whom Beth Brant has described as the mother of Native women's literature. But despite its idiosyncrasies, there is enough material here to interest those already familiar with Native American literature, and to entice the uninitiated. (Jan.) Copyright 1999 Cahners Business Information.</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Editors Dunn and Comfort (Breaking Boundaries) bring together more than 50 pieces by almost as many authors and poets in this useful but somewhat frustrating anthology of work by Native women from the U.S. and Canada. Selections span time (the earliest pieces are from Mourning Dove and Ella Cara Deloria from the 1920s and 1930s) and numerous tribal traditions throughout North America. Centering on women's experiences, the first section concerns images of birth and creation; subsequent chapters deal with marriage and family, and women's powers and mysteries. Among works from well-known women writers are the prologue from Paula Gunn Allen's The Woman Who Owned the Shadows, and poems by Joy Harjo ("Deer Dancer" and "Wolf Warrior"), Luci Tapahonso ("Above the Canyon Floor") and Ines Hernandez-Avila ("Grandpa's Song for Little Bear"). Louise Erdrich is represented (in a selection from her novel Tracks), and so are Beth Brant ("Coyote Learns a New Trick") and Leslie Silko (material from Storyteller). Such new and emerging voices as Shaunna McCovey, Cheryl Savageau and Deborah Miranda are each accorded two selections. The collection, however, seems unbalanced. Many of the pieces, particularly those from the more noted writers, have appeared elsewhere, and most of these writers are represented by one brief entry, while lesser figures are granted more space. There are also curious omissions: there is nothing by E. Pauline Johnson, whom Beth Brant has described as the mother of Native women's literature. But despite its idiosyncrasies, there is enough material here to interest those already familiar with Native American literature, and to entice the uninitiated. (Jan.) Copyright 1999 Cahners Business Information. </article>
370Asian American Studies: A ReaderJean Yu-wen Shen Wu0<p>Jean Yu-Wen Shen Wu is senior lecturer in the American Studies program at Tufts University. She is also the program and education director of the Tufts Arts and Sciences Offices of Diversity Education and Development. Min Song is an assistant professor of Ethnic American Literature at Boston College.</p>Jean Yu-wen Shen Wu (Editor), Min Songasian-american-studiesjean-yu-wen-shen-wu97808135272600813527260$26.95PaperbackRutgers University PressMay 20001st EditionAsian American Studies - General & Miscellaneous, Peoples & Cultures - American Anthologies, United States History - Ethnic Histories6006.99 (w) x 9.94 (h) x 1.35 (d)<p>This anthology is the perfect introduction to Asian American studies, as it both defines the field across disciplines and illuminates the centrality of the experience of Americans of South Asian, East Asian, Southeast Asian, and Filipino ancestry to the study of American culture, history, politics, and society.</p> <p>The reader is organized into two parts: "The Documented Past" and "Social Issues and Literature." Within these broad divisions, the subjects covered include Chinatown stories, nativist reactions, exclusionism, citizenship, immigration, community growth, Asia American ethnicities, racial discourse and the Civil Rights movement, transnationalism, gender, refugees, anti-Asian American violence, legal battles, class polarization, and many more.</p> <p>Among the contributors are such noted scholars as Gary Okihiro, Michael Omi, Yen Le Espiritu, Lisa Lowe, and Ronald Takaki; writers such as Sui Sin Far, Bienvenido Santos, Sigrid Nunez, and R. Zamora Linmark, as well as younger, emerging scholars in the field.</p><p>This anthology is the perfect introduction to Asian American studies, as it defines the field across disciplines and illuminates the centrality of the experience of Americans of South Asian, East Asian, Southeast Asian, and Filipino ancestry to the study of American culture, history, politics, and society.The reader is organized into two parts&#58; "The Documented Past" and "Social Issues and Literature." Within these broad divisions, the subjects covered include Chinatown stories, nativist reactions, exclusionism, citizenship, immigration, community growth, Asian American ethnicities, racial discourse and the Civil Rights movement, transnationalism, gender, refugees, anti-Asian American violence, legal battles, class polarization, and many more. Among the contributors are such noted scholars as Gary Okihiro, Michael Omi, Yen Le Espiritu, Lisa Lowe, and Ronald Takaki; writers such as Sui Sin Far, Bienvenido Santos, Sigrid Nunuz, and R. Zamora Linmark, as well as emerging scholars in the field. <p>Author Bio&#58; Jean Yu-Wen Shen Wu is senior lecturer in the American Studies program at Tufts University. She is also the program and education director of the Tufts Arts and Sciences Offices of Diversity Education and Development. Min Song is an assistant professor of Ethnic American Literature at Boston College.</p>
371Latinos in Lotusland: An Anthology of Contemporary Southern California LiteratureDaniel A. Olivas0Daniel A. Olivaslatinos-in-lotuslanddaniel-a-olivas97819310104741931010471$20.00PaperbackBilingual Review/PressApril 20081st EditionLiterary Collections, General<p>Latinos in Lotusland brings to life Latino denizens of the Los Angeles area resulting in a complex and diverse group of characters: young and old, gay and straight, rich and poor, the newly arrived and the well established. We meet aggressive journalists, cement pourers, disaffected lovers, drunken folklorico dancers, successful curanderos, teenage slackers, aging artists, wrestling saints, aimless druggies, people made of paper, college students, and even a private detective in search of a presumed-dead gonzo writer. Setting for these stories range from East L.A. to Malibu, Hollywood to the San Fernando Valley, Venice Beach to El Sereno. This anthology brings together established and newer writers who provide beautiful, powerful, and eloquent tales.<p></p><P>Preface 1<P>Kid Zopilote Mario Suarez Suarez, Mario 5<P>from the novel The Miraculous Day of Amalia Gomez John Rechy Rechy, John 12<P>The White Girl Luis Alberto Urrea Urrea, Luis Alberto 21<P>Tears on My Pillow Helena Maria Viramontes Viramontes, Helena Maria 24<P>Pitch 2506 Jorge Saralegui Saralegui, Jorge 29<P>Do You Know the Way to the Monkey House? Kathleen Alcala Alcala, Kathleen 43<P>A Long Story Cut Short Frederick Luis Aldama Aldama, Frederick Luis 48<P>The Stravinsky Riots Daniel Chacon Chacon, Daniel 51<P>Dodger Dog Jennifer Silva Redmond Redmond, Jennifer Silva 60<P>Dia de las Madres Rigoberto Gonzalez Gonzalez, Rigoberto 73<P>from the novel The People of Paper Salvador Plascencia Plascencia, Salvador 77<P>The True Story Kathleen De Azevedo De Azevedo, Kathleen 89<P>Driven Alex Espinoza Espinoza, Alex 98<P>Lana Turner Slept Here Sandra Ramos Ubriant Ubriant, Sandra Ramos 112<P>Clownpants Molina Stephen D. Gutierrez Gutierrez, Stephen D. 117<P>The 405 is Locked Down Manuel Ramos Ramos, Manuel 121<P>Act of Faith Estella Gonzalez Gonzalez, Estella 130<P>Gina and Max Michael Jaime-Becerra Jaime-Becerra, Michael 141<P>De Colores Melanie Gonzalez Gonzalez, Melanie 157<P>Ghetto Man Danny Romero Romero, Danny 160<P>The Last Time Melinda Palacio Palacio, Melinda 172<P>Daylight Dreams Victorio Barragan Barragan, Victorio 175<P>Cement God Conrad Romo Romo, Conrad 183<P>from the novel Drift Manuel Luis Martinez Martinez, Manuel Luis 186<P>Just Seven Minutes Wayne Rapp Rapp, Wayne 200<P>The Comeuppance of Lupe Rivera Manuel Munoz Munoz, Manuel 210<P>Los Dos Smileys Alvaro Huerta Huerta, Alvaro 218<P>Miss East L.A. Luis J. Rodidguez Rodidguez, Luis J. 222<P>from the novel Barrio on the EdgeAlejandro Morales Morales, Alejandro 242<P>Bender Daniel A. Olnas Olnas, Daniel A. 247<P>Sweet Time Lisa Alvarez Alvarez, Lisa 252<P>LAX Confidential Rudy Ch. Garcia Garcia, Rudy Ch. 268<P>Adriana Reyna Grande Grande, Reyna 277<P>from the novel Chicano Richard Vasquez Vasquez, Richard 286<P>Permissions and Source Acknowledgments 309
372Daughters Of DecadenceElaine Showalter0Elaine Showalterdaughters-of-decadenceelaine-showalter97808135201860813520185$27.95PaperbackRutgers University PressAugust 1993American Literature Anthologies, Anthologies, Literary Movements3525.00 (w) x 8.00 (h) x 0.78 (d)At the turn of the century, short stories by--and often about--"New Women" flooded the pages English and American magazines such as the Atlantic Monthly, Harpers, and the Yellow Book. This daring new fiction, often innovative in form and courageous in its candid representations of female sexuality, marital discontent, and feminist protest, shocked Victorian critics, who denounced the authors as "literary degenerates" or "erotomaniacs." <p>This collection brings together twenty of the most original and important stories from this period. The writers included in this highly readable volume are Kate Chopin, Victoria Cross, George Egerton, Julia Constance Fletcher, Charlotte Perkins Gilman, Sarah Grand, Vernon Lee, Ada Leverson, Charlotte Mew, Olive Schreiner, Edith Wharton, Constance Fenimore Woolson, and Mabel E. Wotton.</p> <p>As Elaine Showalter shows in her introduction, the short fiction of the Fin-de-Siecle is the missing link between the Golden Age of Victorian women writers and the new era of feminist modernism.</p> <p>Elaine Showalter is a professor of English at Princeton University. She is the author of A Literature of Their Own, The Female Malady, and other books, and editor of Alternative Alcott, a volume in the American Women Writers Series (Rutgers University Press).</p><p>At the turn of the century, short stories by--and often about--"New Women" flooded the pages English and American magazines such as the Atlantic Monthly, Harpers, and the Yellow Book. This daring new fiction, often innovative in form and courageous in its candid representations of female sexuality, marital discontent, and feminist protest, shocked Victorian critics, who denounced the authors as "literary degenerates" or "erotomaniacs."<br><br>This collection brings together twenty of the most original and important stories from this period. The writers included in this highly readable volume are Kate Chopin, Victoria Cross, George Egerton, Julia Constance Fletcher, Charlotte Perkins Gilman, Sarah Grand, Vernon Lee, Ada Leverson, Charlotte Mew, Olive Schreiner, Edith Wharton, Constance Fenimore Woolson, and Mabel E. Wotton.<br><br>As Elaine Showalter shows in her introduction, the short fiction of the Fin-de-Siecle is the missing link between the Golden Age of Victorian women writers and the new era of feminist modernism.<br><br>Elaine Showalter is a professor of English at Princeton University. She is the author of A Literature of Their Own, The Female Malady, and other books, and editor of Alternative Alcott, a volume in the American Women Writers Series (Rutgers University Press).</p><h3>Publishers Weekly</h3><p>Wexelblatt ( Life in the Temperate Zone and Other Stories ) constructs rich stories that make heavy subjects dance weightlessly before the reader's eyes. In one tale, a writer who believes that under repressive regimes ``art becomes . . . political against its will'' gets a chance to live out the plot of a story he sketched when he suddenly becomes president of the republic. The nature of historical truth is considered when a professor replies to a graduate student who is trying to ``cope'' with history: he interprets the story of ``The Savior, Ishl Teitelbaum,'' a Jew in a concentration camp who listens to a rabbi and a political ideologue debate the meaning of the Holocaust-- and is then gassed. A 92-year-old nursing home resident reflects on his days as a member of an artists' collaborative that challenged accepted notions of individuality and creativity. Even tales that at first seem conventional become luminescent and unsettling, as in the story of a writer who recalls a Saturday afternoon of games with friends when he was 10; the narrative is interrupted by a dialogue between the author and an inquisitor that explores memory, truth and the knowledge of death. (Jan.)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgements</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'An Egyptian Cigarette'</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Theodora: A Fragment'</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Suggestion'</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'A Cross Line'</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'She-Notes'</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'By Accident'</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'The Buddhist Priest's Wife'</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'The Yellow Wallpaper'</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'A White Night'</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'The Fifth Edition'</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Miss Grief'</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Lady Tal'</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'The Undefinable: A Fantasia'</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'The Muse's Tragedy'</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Emancipation: A Life Fable'</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Three Dreams in a Desert'</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Life's Gifts'</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'The Valley of Childish Things'</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Biographical Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD></table><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Wexelblatt ( Life in the Temperate Zone and Other Stories ) constructs rich stories that make heavy subjects dance weightlessly before the reader's eyes. In one tale, a writer who believes that under repressive regimes ``art becomes . . . political against its will'' gets a chance to live out the plot of a story he sketched when he suddenly becomes president of the republic. The nature of historical truth is considered when a professor replies to a graduate student who is trying to ``cope'' with history: he interprets the story of ``The Savior, Ishl Teitelbaum,'' a Jew in a concentration camp who listens to a rabbi and a political ideologue debate the meaning of the Holocaust-- and is then gassed. A 92-year-old nursing home resident reflects on his days as a member of an artists' collaborative that challenged accepted notions of individuality and creativity. Even tales that at first seem conventional become luminescent and unsettling, as in the story of a writer who recalls a Saturday afternoon of games with friends when he was 10; the narrative is interrupted by a dialogue between the author and an inquisitor that explores memory, truth and the knowledge of death. (Jan.) </article>
373American Tradition in Literature : With American Ariel, Vol. 2George Perkins0George Perkinsamerican-tradition-in-literaturegeorge-perkins97800732215330073221538$105.80HardcoverMcGraw-Hill Companies, TheOctober 200611st EditionAmerican Literature Anthologies6.10 (w) x 9.10 (h) x 2.00 (d)
374Best American Nonrequired Reading 2005Dave Eggers0<p><p>Dave Eggers is the editor of McSweeney's and a cofounder of 826 National, a network of nonprofit writing and tutoring centers for youth, located in seven cities across the United States. He is the author of four books, including What Is the What and How We Are Hungry.<p></p>Dave Eggers (Editor), Beckbest-american-nonrequired-reading-2005dave-eggers97806185704850618570489$30.95PaperbackHoughton Mifflin HarcourtOctober 2005NoneShort Story Anthologies, American Literature Anthologies3705.50 (w) x 8.50 (h) x 0.82 (d)<p>The Best American Series First, Best, and Best-Selling</p> <p>The Best American series has been the premier annual showcase for the country's finest short fiction and nonfiction since 1915. For each volume, the very best pieces are selected by a leading writer in the field, making the Best American series the most respected—and most popular—of its kind.</p> <p>The Best American Nonrequired Reading 2005 includes</p> <p>Daniel Alarcón • Aimee Bender • Dan Chaon • Daniel Clowes • Tish Durkin • Stephen Elliott • Al Franken • Jhumpa Lahiri • Rattawut Lapcharoensap • Anders Nilsen • Georges Saunders • William T. Vollmann • and others</p> <p>Dave Eggers, editor, is the author of A Heartbreaking Work of Staggering Genius, You Shall Know Our Velocity!, and How We Are Hungry, and the editor of McSweeney's. He is the founder of 826 Valencia, a San Francisco writing lab for young people.</p> <p>Beck, guest introducer, whose single "Loser" was instantly labeled an anthem for the slacker generation, is also known for his Grammy Award-winning albums Odelay and Mutations.</p><p>INTRODUCTION</p> <p>Burly tomes bulge from shelves and barely know I’m there.<br> Someday I plan to read the classics. Someday I plan to traverse their pages and see for myself what raw weight they wield. Actually, I have read a handful of them—Dickens, Dostoevsky, Twain, Fitzgerald, Voltaire—but in a haphazard, zigzagging fashion. No chronology, historical context, or classroom guidance.<br> I dropped out of school early and started work at a young age, but I spent a lot of time hanging around LACC, an inner-city community college a few miles from my mother’s house. I made friends with some of the professors. One of them lived with the poet Wanda Coleman, and I was invited to hang out at their place behind the campus. I got to sit in and hear their discussions on writers and writing. That was where I first realized that there were myriad subtexts to a given piece of writing, and that writers seemed to be able to tap into the profundities of daily existence.<br> I kind of knew these themes and patterns were always there in books and stories, but these people seemed to have some key, some tool to unlock the densest texts or find some illuminating insight into a mundane occurrence. It was mysterious to me how they pulled these observations out of their hats. Was it education, experience, divination—an innate sense of the world?<br> I started picking up books from thrift stores and spent a lot of time hanging out at the library. The books I came upon were pretty random, a patchwork more than a definitive list. James Baldwin, H. G. Wells’s history of the world, Sam Shepard’s plays. The library became my other home. I didn’t have a bedroom in my mom’s house, so the library was one of the only places I could go and be alone. When that downtown library burned down, it was a big blow to me. I remember watching the five o’clock news—big black plumes billowing out of the windows, and all those books burning.<br> Later, I tried some of the smaller neighborhood libraries, but they were disappointing. A bunch of romance novels, ancient how-to intructionals, and some worn-out kids’ books.</p> <p>I made friends with this kid from Laos who worked in a cool little bookshop in the then-uncool East Hollywood neighborhood of Los Feliz. Books were not always available and became somewhat of a commodity, so I’d go up there and we’d hang around, talk about writers, and he’d show me the new books they’d gotten in. He was into obscure stuff, like a German poet named Georg Trakl or St.- John Perse. We’d sit around on long summer afternoons reading magazines and bits from various books. In a way, it was kind of our own nonrequired reading. We were picking up various writings and mashing them up into some kind of piecemeal perspective. Not having any academic structure about us, everything we gravitated to probably had the weight of something discovered on one’s own, like we’d uncovered some secret thing nobody else knew. Which is kind of an adolescent thrill, or pomposity, but I’m still guilty of it.<br> There was an old art house movie theater next door. We were friendly with the assistant manager, and he would let us in for free. The Wim Wenders film Wings of Desire played for six or seven months and we must have seen it thirty times. We’d hang out in the projection booth sometimes, already having memorized all the scenes. I remember that it started out in a library, with an angel listening in on people’s thoughts. We knew there was something going on in this movie and we’d learned what that was from reading.<br> We were also listening to Sonic Youth’s Evol, Einstürzende Neubauten, and old Delta blues. It seemed like we’d found what was relevant to us. The required world seemed a little gray and uninspired maybe. We were digging into the nonrequired past (which I think was the thing to do at the time). I remember Georges Bataille being very cool at the time. Also an old hobo account from the 1930s by Jack Black (the hobo, not the movie star) called You Can’t Win had recently been rediscovered and reissued. Even quasi-sci-fi writers like Philip K. Dick were being reassessed and held in high regard. There wasn’t much talk of the classics. It was more about the stuff that had gotten missed in between the major “important” works. It was like there was a questioning and a mistrust that were manifested in this stream of curiosities forming a new forgotten canon. But trends change and perspective shifts. Works sometimes speak to a moment or fill a need at the time. And the classics still stand unmoved.</p> <p>When I came upon this series a few years back, it immediately made sense to me. It was what I was always doing: reading things here and there in airports, in waiting rooms, and on tour busess. There are always those bits from some article—a weird fact, an anecdote, an image even—you pick up somewhere that become lodged in youuuuur brain, just as deeply as anything would from a great novel or film. Sometimes those things crop up outside of the great canon of literature and only breathe into our awareness for a minute. If literature moves slow and we live in dog years, this book may come in handy. I’ve found the mix-tape aesthetic works for me. The humor and the humane, the hugeness and the miniature. It coheres into some other kind of implied story or novel that we’re still living out. This is something we’re figuring out together and apart, like it or not.<br> And if you want some advice you’ll get only in this book: don’t fall asleep riding a bicycle like my friend Brian did. You might wake up bleeding in a rent-a-cop car.</p> <p>Beck Los Angeles, 2005</p> <p>Copyright © 2005 by Houghton Mifflin Company. Introduction copyright © 2005 by Beck. Reprinted by permission of Houghton Mifflin Company.</p><p><p>The Best American Series First, Best, and Best-Selling<p>The Best American series has been the premier annual showcase for the country's finest short fiction and nonfiction since 1915. For each volume, the very best pieces are selected by a leading writer in the field, making the Best American series the most respected--and most popular--of its kind. <p>The Best American Nonrequired Reading 2005 includes <p>Daniel Alarc&#243;n &#149; Aimee Bender &#149; Dan Chaon &#149; Daniel Clowes &#149; Tish Durkin &#149; Stephen Elliott &#149; Al Franken &#149; Jhumpa Lahiri &#149; Rattawut Lapcharoensap &#149; Anders Nilsen &#149; Georges Saunders &#149; William T. Vollmann &#149; and others<p>Dave Eggers, editor, is the author of A Heartbreaking Work of Staggering Genius, You Shall Know Our Velocity!, and How We Are Hungry, and the editor of McSweeney's. He is the founder of 826 Valencia, a San Francisco writing lab for young people.<p>Beck, guest introducer, whose single "Loser" was instantly labeled an anthem for the slacker generation, is also known for his Grammy Award-winning albums Odelay and Mutations.<p></p><h3>Library Journal</h3><p>Short stories are not meant for short attention spans; the best are as dense and nuanced as a good chocolate truffle. Selected by writer Eggers and his 826 Valencia workshop students, many of the 24 stories in this fourth volume of the "Best American Nonrequired Reading" series are delights. In the best short story tradition, they provoke interest quickly and linger in the memory long after. Cartoon, nonfiction, and quirky short pieces are included among the predominantly traditional short stories, and there's a nice mix of established and lesser-known writers whose offerings range from the mordant wit of Douglas Trevor's "Girls I Know" to Jhumpa Lahiri's beautifully crafted "Hell-Heaven" to Amber Dermont's moving and funny "Lyndon." George Saunders's and Molly McNett's pieces also stand out. Noteworthy among the nonfiction pieces is William Vollmann's "They Came Out Like Ants," about Chinese immigrants living in Mexacali tunnels. The eclectic mix in this anthology shares some recurring motifs: troubled childhoods, a feeling for the woes of American outsiders, and a sort of melancholic irony about the world. A representative and worthwhile holding for public and academic libraries.-Laurie Sullivan, Sage Group Int'l., Nashville Copyright 2005 Reed Business Information.</p><p>CONTENTS<p>Foreword by Dave Eggers xi Introduction by Beck xxx<p>Joe Sayers. Passing Periods xii, xv from Passing Periods<p>Anders Nilsen. The Mediocrity Principle xiii&#150;xiv from Blood Orange<p>Daniel Alarc&#243;n. Florida 1 from Swink<p>Jessica Anthony. The Death of Mustango Salvaje 15 from McSweeney&#8217;s<p>Aimee Bender. Tiger Mending 39 from BlackBook<p>Ryan Boudinot. Free Burgers for Life 48 from Monkeybicycle<p>Dan Chaon. Five Forgotten Instincts 68 from Other Voices<p>Amber Dermont. Lyndon 78 from Zoetrope<p>Stephanie Dickinson. A Lynching in Stereoscope 96 from African-American Review<p>Tish Durkin. Heavy Metal Mercenary 112 from Rolling Stone<p>Stephen Elliott. My Little Brother Ruined My Life 123 from Maisonneuve<p>Al Franken. Tearaway Burkas and Tinplate Menorahs 134 from Mother Jones<p>Jeff Gordinier. The Lost Boys 148 from Details<p>Kate Krautkramer. Roadkill 164 from Creative Nonfiction<p>Jhumpa Lahiri. Hell-Heaven 175 from The New Yorker<p>Rattawut Lapcharoensap. At the Caf&#233; Lovely 196 from Zoetrope<p>Molly McNett. Catalogue Sales 217 from New England Review<p>George Saunders. Bohemians 237 from The New Yorker<p>George Saunders. Manifesto 247 from Slate<p>J. David Stevens. The Joke 250 from Mid-American Review<p>Jonathan Tel. The Myth of the Frequent Flier 257 from Open City<p>Douglas Trevor. Girls I Know 263 from Epoch<p>William T. Vollmann. They Came Out Like Ants! 281 from Harper&#8217;s Magazine<p>Lauren Weedman. Diary of a Journal Reader 313 from Swivel<p>Contributors&#8217; Notes 319 Notable Nonrequired Reading of 2004 326 <p><article> <h4>Library Journal</h4>Short stories are not meant for short attention spans; the best are as dense and nuanced as a good chocolate truffle. Selected by writer Eggers and his 826 Valencia workshop students, many of the 24 stories in this fourth volume of the "Best American Nonrequired Reading" series are delights. In the best short story tradition, they provoke interest quickly and linger in the memory long after. Cartoon, nonfiction, and quirky short pieces are included among the predominantly traditional short stories, and there's a nice mix of established and lesser-known writers whose offerings range from the mordant wit of Douglas Trevor's "Girls I Know" to Jhumpa Lahiri's beautifully crafted "Hell-Heaven" to Amber Dermont's moving and funny "Lyndon." George Saunders's and Molly McNett's pieces also stand out. Noteworthy among the nonfiction pieces is William Vollmann's "They Came Out Like Ants," about Chinese immigrants living in Mexacali tunnels. The eclectic mix in this anthology shares some recurring motifs: troubled childhoods, a feeling for the woes of American outsiders, and a sort of melancholic irony about the world. A representative and worthwhile holding for public and academic libraries.-Laurie Sullivan, Sage Group Int'l., Nashville Copyright 2005 Reed Business Information. </article> <article> <h4>Kirkus Reviews</h4>Fiction and nonfiction pulled from the main- and side-stream by McSweeney's editor Eggers, founder of a San Francisco writing lab for city youth, is the latest in Houghton Mifflin's Great American Series. Even with forewords from inaugural guest editor Eggers (A Heartbreaking Work of Staggering Genius, 2000) and series editor Michael Cart, a well-known YA author, the new category "nonrequired" is less than clear. Even so, there are pieces from old standbys Esquire, Atlantic Monthly, the New York Times Magazine, and, yes, the New Yorker, cheek by jowl with bits from the Onion, Optic Nerve, Spin, and ZYZZYVA. Though aimed at younger-than-boomer readers, the pieces are not necessarily by or about the less-than-middle-aged. Eric Schlosser's "Why McDonald's French Fries Taste So Good" is a fascinating but almost geekily well-researched piece about the flavor enhancement biz; it educates even though it was probably chosen to appeal to vegan terrorists and their supporters. Adrian Tomine's "Bomb Scare," from Optic Nerve, is a gloomy and graphic high-school-life-sucks-so-bad piece that goes on nearly as long as high school. Karl Taro Greenfield's "Speed Demons," from Time, clearly explains the appeal of meth and other uppers. While a number of pieces have been included as comic relief, only David Sedaris (unsurprisingly) and the Onion bits ("Local Hipster Overexplaining Why He Was At The Mall" and "Marilyn Manson Now Going Door To Door Trying To Shock People") are likely to crack anybody up. Perhaps the truly cool don't want to be caught guffawing. Rodney Rothman's almost-nonfiction "My Fake Job," disowned by the New Yorker, is amusing but so dryly that there's no danger of snorting or snotflying. The sentimental favorite is a long, wonderful piece from Sports Illustrated, of all places, by Gary Smith, about a black coach who brings magic to an Amish community in Ohio. Readers who aren't reduced to blubbering should seek medical attention. An alternative to the Banana Republic gift certificate for that difficult nephew with a birthday. </article>
375Sister Nations: Native American Women Writing on CommunityHeid E. Erdrich0Heid E. Erdrich (Editor), Laura Tohe (Editor), Winona LaDukesister-nationsheid-e-erdrich97808735142860873514289$14.92PaperbackMinnesota Historical Society PressMarch 2002Native North American Peoples - General & Miscellaneous, Women Authors - Literature Anthologies, Native American Studies - General & Miscellaneous, Native American Literature Anthologies, American Literature Anthologies, Native North American Peoples - Au2305.62 (w) x 8.50 (h) x 0.80 (d)This lively and accessible anthology of fiction, prose, and poetry celebrates the rich diversity of writing by Native American women today. Editors Heid E. Erdrich and Laura Tohe have gathered stories from across the nation that celebrate, record, and explore Native American women's roles in community. The end result is a rich and heartfelt tapestry that contains work by established writers along with emerging and first-time authors.<p>Although including some fiction and a few essays, the majority of this collection presents poetry. All of the contributions are written by Native American women and in some way reflect on the relations of women to their community. The writings reflect on transformation in the female experience, the theme of inner strength, reactions to stereotypes and simplified images, or love and sex. Annotation c. Book News, Inc., Portland, OR</p><h3>Library Journal</h3><p>In this anthology, 49 women share their experiences as Native Americans through poetry, essays, and short fiction. Divided into four sections "Changing Women," "Strong Hearts," "New Age Pocahontas," and "In the Arms of the Skies" the selections focus on the centrality of the Native experience. Writers including Louise Erdrich, Joy Harjo, and Roberta Hill tell of harsh mothers, gentle mothers, drunken fathers, strong fathers, and children growing up in a white world. The range of the collection is represented by the titles "First Woman," "Shadow Sisters," "Piece Quilt: An Autobiography," "Red Hawk Woman," "Grandmother, Salish Mathematician," and "The Frybread Queen," among others. The end material includes brief biographies of each contributor and information about the tribes they represent. These are strong, well-written stories of very real experiences and emotions. Recommended for all types of libraries. Sue Samson, Univ. of Montana Lib., Missoula Copyright 2002 Cahners Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sleepwalker</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shadow Sisters</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Woman's Old Age</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Piece Quilt: An Autobiography</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Welcome to the Land of Ma'am</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Picking Indian Tea</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Craving: First Month</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">She Dances</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Fields</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Choctalking on Other Realities</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stitch upon Stitch</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sipping</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One at a Time</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Term</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Limp Strings</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Red Hawk Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vicks</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Cousin from California Shows Up at My House, the First Time in Thirty Years</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Doe Season</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Shawl</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Anna Ghostdancer</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conjure</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Long Division</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chi-Ko-ko-koho and the Boarding School Prefect</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother's Love</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tough Audience</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brother's Passing</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Close to Bone</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Dinetah</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Memory of Shame</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Her Pocahontas</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Butter Maiden and Maize Girl Survive Death Leap</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fleur-de-Lis</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miracle</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ikwe Ishpiming</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To the Woman Who Just Bought a Set of Native American Spirituality Dream Interpretation Cards</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandmother, Salish Mathematician</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Escape from the Rez on a Saturday Night</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">what's an indian woman to do?</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Frybread Queen</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love is Blind</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Not Indian Enough</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Alina in Kansas</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">after powwow</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">the one who got away</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Emergence</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Smile</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Great Spirit's Wife</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Abandoned Wife Gives Herself to the Lord</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Get to the Planet Venus</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coyote Meets His Match</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Husbands</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy for Bobby</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Power of Crushed Leaves</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Books & Your White Women</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Is It Too Much to Ask?</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Big Rectangle</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tsoodzil, Mountain to the South</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ashkii Nizhoni</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">the way around losing you</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Information on Tribes</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD></TABLE><article> <h4>From Barnes & Noble</h4>In the Dakota tongue Minnetonka means "big waters," and there's no doubt that Minnesota's largest lake lives up to its name. From its early days as an Native American outpost and local fishing hideaway, to its 1880s grand hotel heydays, to its recent, heartwarming renaissance, Minnetonka brims with history. For this wondrous pictorial tribute, Wayzata resident James W. Ogland has utilized daguerreotypes, cartes de visite, stereoviews, view cards, and postcards (including some hand-tinted beauties.) One early travel manual boasted that "The long luxurious porches with their easy chairs and entrancing views cast a Circes' spell over time." Now time returns the favor. </article> <article> <h4>Library Journal</h4>In this anthology, 49 women share their experiences as Native Americans through poetry, essays, and short fiction. Divided into four sections "Changing Women," "Strong Hearts," "New Age Pocahontas," and "In the Arms of the Skies" the selections focus on the centrality of the Native experience. Writers including Louise Erdrich, Joy Harjo, and Roberta Hill tell of harsh mothers, gentle mothers, drunken fathers, strong fathers, and children growing up in a white world. The range of the collection is represented by the titles "First Woman," "Shadow Sisters," "Piece Quilt: An Autobiography," "Red Hawk Woman," "Grandmother, Salish Mathematician," and "The Frybread Queen," among others. The end material includes brief biographies of each contributor and information about the tribes they represent. These are strong, well-written stories of very real experiences and emotions. Recommended for all types of libraries. Sue Samson, Univ. of Montana Lib., Missoula Copyright 2002 Cahners Business Information. </article><article> <h4>Booknews</h4>Although including some fiction and a few essays, the majority of this collection presents poetry. All of the contributions are written by Native American women and in some way reflect on the relations of women to their community. The writings reflect on transformation in the female experience, the theme of inner strength, reactions to stereotypes and simplified images, or love and sex. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
376Asian-American Literature: A Brief Introduction and AnthologyShawn Wong0Shawn Wongasian-american-literatureshawn-wong97806734697790673469778$56.66PaperbackLongmanJanuary 19971st EditionPeoples & Cultures - American Anthologies4006.30 (w) x 9.10 (h) x 1.10 (d)A historical overview introduces a selection of works by Hisaye Yamamoto, Bharati Mukherjee, Jessica Hagedorn, Cathy Song, Marilyn Chin, Woo Ping Chin, Yelina Hasu Houston, and others.<p>A historical overview introduces a selection of works by Hisaye Yamamoto, Bharati Mukherjee, Jessica Hagedorn, Cathy Song, Marilyn Chin, Woo Ping Chin, Yelina Hasu Houston, and others.</p><h3>Booknews</h3><p>Specialist in slavery Finkelman (American history, U. of Miami- Coral Gables) argues that slavery was a central issue in the founding of the US, that slaveowners dominated the government from 1787 to 1819, and that the institution of slavery radically altered the country's development. He shows that next to land, slaves were the most valuable property, and that even people such as Jefferson who feared the effect of slavery on society feared emancipation and free blacks even more. He thinks the Garrisonian abolitionists offered an accurate interpretation of the Constitution but that they were mistaken to absent themselves from politics rather than fight for reform. Earlier versions of some of the chapters have been published elsewhere. Paper edition (unseen), $19.95. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><P><br><br>Foreword by Ishmael Reed.<br><br><br>I. AUTOBIOGRAPHY, MEMOIR, AND NONFICTION ESSAY.<br><p>Rendezvous, Frank Chin (b. 1940).<p>The Making of More Americans, Maxine Hong Kingston (b. 1940).<p>Mother Tongue, Amy Tan (b. 1952).<p>The Color Yellow&#58; Working Class, Asian American, Women and Feminism, Connie Ching So (b. 1964).<p><br>II. FICTION.<br><p>Sui Sin Far (1867-914).<p>1936, Toshio Mori (b. 1910).<p>Quicker with Arrows, Bienvenido Santos (b. 1911).<p>The Romance of Magno Rubio, Carlos Bulosan (b. 1913-1956).<p>Las Vegas Charley, Hisaye Yamamoto (b. 1921).<p>Falling Free, Diana Chang (b. 1934).<p>Nobody&rsquo;s Hero, Lonny Kaneko (b. 1939).<p>The Management of Grief, Bharati Mukherjee (b. 1940).<p>Sing Song Plain Song, Jeffrey Paul Chan (b. 1942).<p>Spoils of War, Janice Mirikitani (b. 1942).<p>The Blossoming of Bongbong, Jessica Hagedorn (b. 1949).<p>Primo Doesn&rsquo;t Take Back Bottles Anymore, Darrell H.Y. Lum (b. 1950).<p>Intermediate School Hapai, O. Wini Terada (b?).<p>First Love, R. A. Sasaki (b. 1952).<p>A Spell of Kona Weather, Sylvia Watanabe (b. 1952).<p>Backdaire, Fae Myenne Ng (b. 1956).<p>Waiting for Mr. Kim, Carol Roh-Spaulding (b. 1962).<p>Those Years, T. C. Hou (b. ?).<p>Leda, Robert Ji-Song Ku (b. 1964).<p>Kelly, Monique Thuy-Dung Truong (b. 1968).<p><br>III. POETRY.<br><p>Legends from Camp, Lawson Fusao Inada (b. 1938).<p>The Naturalization of Camellia Song, Woo Ping Chin (b. 1945).<p>In My Mother&rsquo;s Dream.<p>Seven Vietnamese Boys.<p>The Country of Dreams and Dust, Russell Leong (b. 1950).<p>Alan Valeriano Sees a Lynch Mob, Vince Gotera (b. 1952).<p>Aswang.<p>Dance of the Letters.<p>Fighting Kite.<p>Vietnam Era Vet.<p>How I Got That Name, Marilyn Chin (b. 1955).<p>A Break in the Rain.<p>Elegy for Chloe Nguyen.<p>Resistance&#58; A Poem on Ikat Cloth, Kimiko Hahn (b. 1955).<p>The Youngest Daughter, Cathy Song (b. 1955).<p>Easter&#58; Waihiawa, 1959.<p>Tribe.<p>Into Such Assembly, Myung Mi Kim (9b. 1957).<p>A Rose of Sharon.<p>The Cleaving, Li-Young Lee (b. 1957).<p><br>IV. DRAMA.<br><p>The Music Lessons, Wakako Yamauchi (b. 1924).<p><br>Alternate Table of Contents by Theme.<br><br><br>Bibliography.<br><br><br>Index.<br><br><br>Acknowledgments.<article> <h4>Booknews</h4>Specialist in slavery Finkelman (American history, U. of Miami- Coral Gables) argues that slavery was a central issue in the founding of the US, that slaveowners dominated the government from 1787 to 1819, and that the institution of slavery radically altered the country's development. He shows that next to land, slaves were the most valuable property, and that even people such as Jefferson who feared the effect of slavery on society feared emancipation and free blacks even more. He thinks the Garrisonian abolitionists offered an accurate interpretation of the Constitution but that they were mistaken to absent themselves from politics rather than fight for reform. Earlier versions of some of the chapters have been published elsewhere. Paper edition (unseen), $19.95. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
377Black Silk: A Collection of African-American EroticaRetha Powers0Retha Powersblack-silkretha-powers97804466769150446676918$23.21PaperbackHachette Book GroupFebruary 2002Short Story Anthologies, African Americans - Fiction & Literature, Peoples & Cultures - American Anthologies, Erotica3565.00 (w) x 8.00 (h) x 0.79 (d)<p>Black Silk is filled with lush, sexy stories featuring heroines who are overwhelmingly in control of their love lives and unabashed about their libidinous appetites. The stories are written by the best Black American erotic authors.</p><h1><font size="+3">Black Silk</font></h1> <hr noshade size="1"> <font size="+1"><b>By Retha Powers</b></font> <h4><b>Warner Books</b></h4> <font size="-1"><b>Copyright © 2002</b></font> <font size="-1"><b>Retha Powers<br> All right reserved.</b></font><br> <font size="-1"><b>ISBN: 0-446-67691-8</b></font> <br> <hr noshade size='1'> <br> <h3>Chapter One</h3> <b>Planting by s smith</b> The collective rays of the September sun bear into her back and shoulders. It is an intense, deep-heat treatment. Slowly her anger at Jack flows out of her, down her brown arms, into her fingers, and into the deeper brown of the earth. On hands and knees she labors, using the small shovel to turn the dirt. The smell of earth is like fresh-cut, raw potatoes. Subtle and sustaining. It is aromatherapy and the sun is the masseuse. <p>Small beads of sweat, like delicate pinpricks, spring across her forehead and along her top lip. Short breaths softly escape through her slightly parted lips each time she bends, stretches, and digs. With each release of breath goes another angry thought: Jack's words urging her to sell her grandmother's home; Jack's smug assurance playing along the corners of his mouth when he smiles. He is so sure that she will leave this place and live a life of urban bondage.</p> <p>She develops a comfortable rhythm-bend, stretch, dig-planting bulbs of narcissus, jonquil, and gladiolus. She continues a rhythm developed by her grandmother, continued by her mother, and passed down to her. True, she and Jack do not live at this house and have slowly allowed the four-hour drive to become more burdensome. But knowing that the place was there provided a foundation for her. And she never misses a September planting her bulbs. She remembers the joy on Grandmother's face as the blooms and fragrance signaled the beginning of spring.</p> <p>This year she has carefully prepared the soil, just as Grandmother showed her, adding just a touch of vermiculite so that the right amount of moisture would succor the bulbs. So intent on the digging and careful planting, she jumps when she feels a trickle along her side. She laughs as she realizes it is a rivulet of sweat.</p> <p>Sitting back on her heels, she gently dabs the sweat on her brow by pressing the back of her forearm against her head. This only spreads the sweat, however, since her forearm is also wet. She enjoys the sun massaging her scalp with its filament fingers. She closes her eyes and silently blows out the last bit of tension she is holding. Sweat trickles down her back, slowly, like fingers playing gently along her spine.</p> <p>A minute turning of the soil draws her eyes toward the damp, cocoa-brown-colored dirt. A pink, questing head lifts from the soil. Eyeless, it waves about before diving into a patch of dirt next to itself. She watches it as her sweat rolls down her back and meanders down her cleavage. Her shirt begins to cling to her as if shrink-wrapped. The worm's body, a rich magenta muscle, smoothly enters the earth. It hardly disturbs the soil, she thinks. She wishes, just for a second, that her efforts at gardening were so graceful.</p> <p>Bending forward to continue with her planting, she pauses, not wanting to harm the worm or his mates. Funny that she had not considered them before. She sees another pink head rise from the soil, twisting about. She does not know if it is the same worm or a different one. Curious, she gingerly digs with her hands. The grains of dirt scrub her flesh with a gentle roughness. Soon she feels a rolling movement against her palm and freezes. Looking carefully, she lifts the dirt and lets the earth sift through her fingers. Two magenta bodies remain in her palm, coiling and twining together, seeking the soil. Their heads press insistently into her palm. Their bodies turn and stroke her hand.</p> <p>Fascinated, she watches them contract then expand, moving until they, like the earth, slide through her fingers back into the fresh-turned dirt. What must it feel like, she thinks, to feel the soil all over your body? The worms writhe as if in extended ecstasy. They ride the dirt, rolling and turning endlessly. Their questing heads search and search for the source of their delight and they dive into the dirt with exuberance. In a minute they have sensuously wiggled their way back into the earth.</p> <p>Sweat trickles from her scalp and rolls down her neck and over her breasts. The fecund smell of soil wafts into her. The sun has climbed higher. The crest of dirt shows dry, tan patches like an ocean shows whitecapped waves. The sweat travels down her stomach. It feels cold against her skin. She licks her lips and tastes salt. She savors its flavor.</p> <p>Sighing, she takes off her shoes, pushing each heel with her toes so that the shoes fly away from her and thud against an uncultivated patch of ground. Careful to avoid the earth in which the worms have entered, she puts her feet into the cool dirt. She wiggles her toes in the soil, enjoying the rough crunchiness.</p> <p>The sound of muffled steps causes her to look up, squinting into the sunlight. Jack is just a dark silhouette against the sky. They are frozen for one of those timeless seconds. Jack looking down at her, feet covered in the soil, and she looking up at him, made faceless by the bright sun's light. The quiet in the garden is like the hush of a cathedral. The sound of birds and the buzz of insects seem to intensify the sanctity.</p> <p>To her surprise, Jack bends and puts down a bucket and a gardening shovel. In two strides he is sitting opposite from her. He begins to remove his shoes. She watches his hairy knuckles as his caramel-colored fingers loosen each lace. Once freed, the yeasty smell of his feet mingles with the loamy scent of earth. He digs his toes into the soil and leans back, resting the weight of his body on his hands. The black hairs on his toes are in stark contrast to the pale, ginger-colored skin on his feet. His feet, obviously, have been hidden from the sun for some time.</p> <p>The cooling dirt and the twittering of sparrows carry the weight of words, the need for words, away. Through the dirt, Jack's feet creep toward hers. Their toes touch. Jack's foot rubs the gritty dirt against her instep. Sweat has sealed her blouse tightly against her back, and her skin is suffocating. She pulls the blouse over her head and tosses it away.</p> <p>Jack's foot continues to massage hers with the rough dirt. He almost smiles as she throws her blouse away. Slowly his foot works its way until it rests on her calf. He looks at her, waiting. Smiling, she leans toward him, as if to kiss, then gently rubs her dirt-covered hands against his cheeks and over his neck. The dirt mixes with his sweat, creating muddy smears over his skin.</p> <p>"Umph!" he says. Picking up a handful of soil, he sprinkles it over the top of her head, as if it were baptismal water. It tumbles over her face, onto her shoulders, down her chest, sticking to her sweaty skin.</p> <p>Her response is to lie down and roll in the drying dirt. Over and over, back and forward, until she is dusty and muddy. His laughter cascades over her like sunshine. Her mahogany flesh prickles with warmth. She sits up and leans toward him until her face is resting in his lap. He smells of earth, and she sighs.</p> <p>Lifting her face, Jack looks into her eyes. He smiles. With both hands filled with soil, he tenderly holds her face in his hands. He kneads the soil into her cheeks. She presses her face into the scratching grains of dirt, eyes closed. Suddenly she falls forward. She catches herself before she falls, palms digging into the dirt where Jack had lately been. Lithely he stands above her, offering her a hand. He leads her to the garden hose, smiling.</p> <p>The cold water causes her to breathe in quickly. It flows down her scalp and over her body. She begins to shiver in the warm sunlight. Jack steps toward her, awkwardly holding the water hose, pressing it between their two bodies. It bubbles like a fountain under their chins, held in place by his chest and her breasts. With a free hand, Jack unfastens her pants. Wet, they fall heavily around her ankles. Water splashes her in the face as Jack struggles to pull his T-shirt over his head. The water hose gets free and scatters iridescent drops around them. She helps him shimmy out of his pants. His boxers sag with the weight of water. His member, languidly rigid, bobs against the wet cotton.</p> <p>Picking up the lost hose, Jack turns and sprays her. Sputtering, she lunges at him, but he dances away, the hose again flying and scattering water around the yard.</p> <p>The sun shines warmly on the flower bulbs. They sit neatly in a tray, waiting to be immersed in dirt, where they may thrive until spring calls their flowers forth. The water from the garden hose flows and creates a small lagoon. From inside the house the sounds of quiet sighs and the patter of water hitting bathroom tiles mingle and add to the occasional chirps of birds and the steady drone of insects.</p> <p><i>(Continues...)</i></p> <p><br> </p> <blockquote> <hr noshade size='1'> <font size='-2'>Excerpted from <b>Black Silk</b> by <b>Retha Powers</b> Copyright ©2002 by Retha Powers. Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br> Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.</font> <hr noshade size='1'> </blockquote><p>A new collection of African American fiction, <i>Black Silk</i> is filled with lush, sexy stories featuring heroines who are overwhelmingly in control of their sexual lives and unabashed about their appetites.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">vii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jalapeno Love</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Planting</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good-Bye</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kiwi</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fucking the Fat Man</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One-Night Stand</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Venus in Scorpio</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roses, Red, Room 416</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stores</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dawn of Our World</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pisces</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Me Between My Own</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fish Eyes</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Undoings in Amsterdam</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sexiest Seconds</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Revelation</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer in the City</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beachwear</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Princess and the Cop</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Popsicles, Donuts, and Reefah</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Blue Globes</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Different Drummer</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Maya</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Warm and Quiet Storm</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sausage Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If Only</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Rain</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">She Cums Every Nite ...</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Specialgrl Meets Gntlwmn</TD><TD WIDTH="10%" ALIGN="RIGHT">314</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Makes Love Like a Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mojo Lover</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">334</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Editor</TD><TD WIDTH="10%" ALIGN="RIGHT">341</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">342</TD></TABLE>
378The Best Plays Theater Yearbook 2007-2008Jeffrey Eric Jenkins0Jeffrey Eric Jenkinsthe-best-plays-theater-yearbook-2007-2008jeffrey-eric-jenkins97808791036680879103663$46.70HardcoverLimelight EditionsOctober 2009AnnualDrama Anthologies, American Drama, American Literature Anthologies6506.60 (w) x 9.40 (h) x 1.70 (d)<p>(Best Plays Theater Yearbook). Continuing a tradition that dates back to 1920, this beloved annual honors 10 new plays and musicals and three regional plays cited in the Harold and Mimi Steinberg New Play Awards and Citations competition. As always, The Best Plays Theater Yearbook includes a comprehensive collection of facts and figures about the year in United States theatre. The Best Plays of 2007-2008 were chosen from Broadway, Off-Broadway, and Off-Off-Broadway productions of new plays that opened between June 1, 2007 and May 31, 2008. Individual essays celebrate each work. The plays are: Adding Machine , by Jason Loewith and Joshua Schmidt; August: Osage County , by Tracy Letts; The Farnsworth Invention , by Aaron Sorkin; Dividing the Estate , by Horton Foote; Eurydice , by Sarah Ruhl; 100 Saints You Should Know , by Kate Fodor; The Receptionist , by Adam Bock; Rock 'n' Roll , by Tom Stoppard; The Seafarer , by Conor McPherson; Yellow Face , by David Henry Hwang. SPECIAL CITATION: Peter and Jerry , by Edward Albee.</p><p>Continuing a tradition that dates back to 1920, this beloved annual honors 10 new plays and musicals and three regional plays cited in the Harold and Mimi Steinberg New Play Awards and Citations competition. As always, The Best Plays Theater Yearbook includes a comprehensive collection of facts and figures about the year in United States theatre. The Best Plays of 2007-2008 were chosen from Broadway, Off-Broadway, and Off-Off-Broadway productions of new plays that opened between June 1, 2007 and May 31, 2008. Individual essays celebrate each work. The plays are&#58; Adding Machine, by Jason Loewith and Joshua Schmidt; August&#58; Osage County, by Tracy Letts; The Farnsworth Invention, by Aaron Sorkin; Dividing the Estate, by Horton Foote; Eurydice, by Sarah Ruhl; 100 Saints You Should Know, by Kate Fodor; The Receptionist, by Adam Bock; Rock 'n' Roll, by Tom Stoppard; The Seafarer, by Conor McPherson; Yellow Face, by David Henry Hwang. SPECIAL CITATION&#58; Peter and Jerry, by Edward Albee.</p><P>Introduction VII<P>The Season On And Off Broadway 1<P>Broadway and Off Broadway Jeffrey Eric Jenkins 3<P>Broadway Season (summary and chart) 4<P>Broadway Productions by Season (chart) 5<P>Off Broadway Season (summary) 14<P>Off Broadway Season (chart) 15<P>Off Broadway Productions by Season (chart) 17<P>The Best Plays Of 2007-2008&#58; Essays 45<P>Adding Machine by Jason Loewith and Joshua Schmidt Michael Feingold 47<P>August&#58; Osage County by Tracy Letts Chris Jones 57<P>Dividing the Estate by Horton Foote Garrett Eisler 69<P>eurydice by Sarah Ruhl Celia Wren 79<P>The Farnsworth Invention by Aaron Sorkin Christopher Rawson 89<P>100 Saints You Should Know by Kate Fodor John Istel 99<P>The Receptionist by Adam Bock David Cote 109<P>Rock 'n' Roll by Tom Stoppard Charles Wright 119<P>The Seafarer by Conor McPherson Charles McNulty 129<P>Yellow Face by David Henry Hwang Dan Bacalzo 139<P>The Best Plays Of 2007-2008&#58; Special Citation<P>Peter and Jerry by Edward Albee Michael Sommers 149<P>Plays Produced In New York 159<P>Plays Produced on Broadway 161<P>Plays Produced Off Broadway 203<P>Cast Replacements and Touring Companies 253<P>The Season Off Off Broadway 279<P>The Season Off Off Broadway Sylviane Gold 281<P>Plays Produced Off Off Broadway 297<P>The Season Around The United States 337<P>Steinberg/ATCA New Play Award and Citations 339<P>33 Variations by Mois&eacute;s Kaufman Nelson Pressley 341<P>Dead Man's Cell Phone by Sarah Ruhl Peter Marks 349<P>End Days by Deborah Zoe Laufer Christine Dolen 355<P>A Directory of New United States Productions 363<P>Facts And Figures 425<P>Long Runs on Broadway 427<P>Long Runs Off Broadway 431<P>New York Drama Critics' Circle 433<P>Pulitzer PrizeWinners 437<P>Tony Awards 439<P>Lucille Lortel Awards 444<P>Steinberg/ATCA New Play Award and Citations 446<P>Additional Prizes and Awards 448<P>Theater Hall of Fame 454<P>Margo Jones Citizen of the Theater Medal 459<P>In Memoriam 46l<P>The Best Plays and Major Prizewinners, 1894-2008 463<P>Contributors To Best Plays 491<P>Index 495
379Damage Control: Women on the Therapists, Beauticians, and Trainers Who Navigate Their BodiesEmma Forrest0Emma Forrestdamage-controlemma-forrest97800611753500061175358$8.99PaperbackHarperCollins PublishersJune 2007Women Authors - Literature Anthologies, Essays and Individual Humorists, American Literature Anthologies3045.31 (w) x 8.00 (h) x 0.68 (d)<p>Traditionally, women share their secrets with their hairdressers. But what about their manicurists, masseurs, chi gong teachers, and tattoo artists? In <b>Damage Control</b>, women wax poetic about the experts and gurus who help them love themselves, sharing stories of everything from friendships born in the make-up chair to the utter dismay of a truly horrible haircut.</p> <p>Minnie Driver finally meets a Frenchman who understands her hair . . . and tries to teach her not to hate it.</p> <p>Marian Keyes remembers the blow-dry that pushed her over the edge.</p> <p>Francesca Lia Block tells the ugly story of the plastic surgeon who promised to make her beautiful.</p> <p>Rose McGowan explains why it's harder to be depressed when you're glamorous . . . and shows how it takes a village to transform from mere mortal to movie star.</p> <p>Witty and wise, <b>Damage Control</b> is an intimate, sometimes dark, look at our experiences with the professionals who pluck, prod, and pamper every inch of our bodies—and a reminder why we surrender ourselves to their (hopefully) very capable hands.</p><p><P>Traditionally, women share their secrets with their hairdressers. But what about their manicurists, masseurs, chi gong teachers, and tattoo artists? In <i>Damage Control</i>, women wax poetic about the experts and gurus who help them love themselves, sharing stories of everything from friendships born in the make-up chair to the utter dismay of a truly horrible haircut. <P>Minnie Driver finally meets a Frenchman who understands her hair . . . and tries to teach her not to hate it. <P>Marian Keyes remembers the blow-dry that pushed her over the edge. <P>Francesca Lia Block tells the ugly story of the plastic surgeon who promised to make her beautiful. <P>Rose McGowan explains why it's harder to be depressed when you're glamorous . . . and shows how it takes a village to transform from mere mortal to movie star. <P>Witty and wise, <i>Damage Control</i> is an intimate, sometimes dark, look at our experiences with the professionals who pluck, prod, and pamper every inch of our bodies&#8212;and a reminder why we surrender ourselves to their (hopefully) very capable hands.</p>
380The Prentice Hall Anthology of Latino LiteratureEduardo del Rio0Eduardo del Rio, Eduardo Rius Del Riothe-prentice-hall-anthology-of-latino-literatureeduardo-del-rio97801302668730130266876$106.60HardcoverPrentice HallAugust 19011st EditionPeoples & Cultures - American Anthologies, Hispanic & Latin American Literature Anthologies5446.70 (w) x 8.90 (h) x 1.10 (d)<p><b>THE PRENTICE HALL ANTHOLOGY OF LATINO LITERATURE</b> is a collection of poetry and prose (short story and drama) by Latino authors of Mexican-American, Cuban-American, and Puerto Rican-American descent. The text focuses on Latino authors who were either born or raised in the United States and who write primarily in English. In this walk the text concentrates on works and authors who hove been forged fly a dual consciousness.</p> <p>The text establishes its definition of the Latino/Latina author by using the following criteria: first, writers who can trace their ancestry to Spanish-speaking nations of the Americas; second, works produced by authors who have lived in the United States for a significant period of time; third, writers who come from one of the three groups that form the majority in population and literary production of Latino literature; and last, writers with a sense of duality regarding the English language. The text features readings with characteristics unique to Latino/Latina authors such as attention to family, a concern for home, a focus on cultural components such as music, food, and religion, and identity formation.</p> <p><b>The text includes the following features:</b></p> <ul> <li>32 readings/short stories, 38 poems and 9 plays by renowned writers such as Sandra Cisneros, Luis Valdez, Cristina Garcia, Oscar Hijuelos, Judith Ortiz Cofer, and Esmeralda Santiago that emphasize diversity as well as recurring themes.</li> <li>Various exercises designed to explore style and comprehension as well as to compare and contrast the selections from different ethnic groups.</li> <li>Brief survey of the three types of literature focused on in the text to provide further background of the culture.</li> <li>Categorisation by both ethnic group and genre which allows teachers to focus on any or all components.</li> <li>Glossary of Spanish terms for some of the more challenging plays.</li> </ul> <p>Overall, the text emphasizes the similarities and differences between the culture and literature of the three primary groups while also trying to emphasize the unique qualities and universal themes present in all of them.</p><p>When I started teaching Latino literature several years ago I had several goals I wanted to meet. The first one was simply to expose students to works by Mexican-American, Cuban-American, and Puerto Rican authors. I was always surprised to hear that most of my predominantly Mexican-American students had never been exposed to works by authors who shared some of their own backgrounds and experiences. More importantly, I wanted them to see that these works were valuable not simply because they were written by Latinos and Latinas, but because they were well crafted; in effect, because they were "good literature." Additionally, I wanted to show students that while there were some obvious differences within the works of various Latino groups, there were also some significant similarities. I hoped that aside from the linguistic connection, they could feel that they were part of a larger community by learning about the history, religion, and culture of other Latino groups.</p> <p>Finding a textbook that accommodated these goals proved impossible. Anthologies containing selections by one particular Latino group were fairly easy to find. Mexican-American anthologies, for instance, were readily available. It was a bit more difficult to find books that included works by authors of different ethnicities, but a few existed. Unfortunately, they restricted themselves to only one genre. It was possible, for instance, to find an anthology of Latino poetry. At the time I started teaching Latino literature there was only one anthology that contained selections by authors of various Latino groups, which also provided offerings from different genres. While the books were well edited, it was arranged by theme rather than genre or ethnicity. Thus, I felt that it was not well suited to the goals that I wanted to achieve, and which I felt would prove most beneficial to my students. For a few years I struggled with individual works of fiction, poetry, and drama. This approach was not only expensive for students, but it also limited their exposure to a wider variety of texts and ideas. What was needed, I thought, was an affordable textbook that would aid both student and instructor by accentuating the differences and similarities present in the works of Latino and Latina authors.</p> <p>In editing this anthology I have kept these goals in mind. For those who wish to study the works of only one Latino group this book is arranged so that it is possible to do so. However, the arrangement by ethnic group and genre is designed to allow instructors and students to explore the important differences and common traits present in these works. The questions that follow the selections incorporate this idea. I hope that it not only serves as a valuable classroom tool, but that it emphasizes the tremendous amount of quality literature being produced by Latino and Latina writers.</p> <p>—Eduardo del Rio University of Texas Pan American</p><p><P>This anthology exposes readers to a rapidly growing field of literary studies. This mainstream topic focuses on works and authors who have been forged by a dual consciousness.<p>Topics covered include Cultural and Linguistic Considerations, Mexican-American Literature, Cuban-American Literature, and Puerto-Rican American Literature.<p>For readers interested in learning about Latino Literature.</p><P><b>I. FOREWORD.</b><p><b>II. INTRODUCTION.</b><p>Cultural and Linguistic Considerations. Labeling.<p><b>III. MEXICAN-AMERICAN LITERATURE&#58; A BRIEF SURVEY.</b><p>Fiction.<p>Sandra Cisneros from <i>The House on Mango Street</i>&#58; &ldquo;My Name,&rdquo; &ldquo;A House of My Own,&rdquo; &ldquo;Mango Says Goodbye Sometimes.&rdquo; Gary Soto from <i>Living Up the Street</i>&#58; &ldquo;Black Hair.&rdquo; Jose Antonio Villareal from <i>Pocho</i>. Rudolfo Anaya from <i>Bless Me Ultima</i>. Ana Castillo from <i>So Far from God</i>. Denise Chavez from <i>The Last of the Menu Girls</i>&#58; &ldquo;Willow Game.&rdquo; Rolando Hinojosa from <i>Becky and Her Friends</i>&#58; &ldquo;Becky.&rdquo; Roberta Fernandez from <i>Intaglio&#58; A Novel in Six Stories</i>&#58; &ldquo;Esmeralda.&rdquo; Helena Maria Viramontes from <i>Under the Feet of Jesus</i>. Americo Paredes from <i>George Washington Gomez</i>.<p>Poetry.<p>Pat Mora, &ldquo;Sonrisas,&rdquo; &ldquo;Bilingual Christmas,&rdquo; &ldquo;The Grateful Minority.&rdquo; Ana Castillo, &ldquo;Women Are Not Roses,&rdquo; &ldquo;Not Just Because My Husband Said.&rdquo; Sandra Cisneros, &ldquo;My Wicked Wicked Ways,&rdquo; &ldquo;For All Tuesday Travelers.&rdquo; Gary Soto, &ldquo;Who Will Know Us?,&rdquo; &ldquo;Moving Our Misery.&rdquo; Bernice Zamora, &ldquo;Luciano.&rdquo; Lorna Dee Cervantes, &ldquo;To We Who Were Saved by the Stars.&rdquo; Gloria Anzaldua, &ldquo;To Live in the Borderlands Means You.&rdquo; Jimmy Santiago Baca, &ldquo;Roots,&rdquo; &ldquo;Accountability,&rdquo; &ldquo;A Daily Joy to be Alive.&rdquo;<p>Drama.<p>Estela Portillo Trambley, <i>Sor Juana</i>. Luis Valdez, <i>Bernab&eacute;</i>.<p><b>IV. CUBAN-AMERICAN LITERATURE&#58; A BRIEF SURVEY.</b><p>Fiction.<p>Cristina Garcia from <i>Dreaming in Cuban</i>. Oscar Hijuelos from <i>The Mambo Kings Play Songs of Love</i>. Virgil Suarez from <i>Spared Angola&#58; Memories of a Cuban-American Childhood</i>&#58; &ldquo;La Ceiba&#58; Tree of Life.&rdquo; Pablo Medina from <i>The Marks of Birth</i>&#58; &ldquo;The Birthmark.&rdquo; Margarita Engle from <i>Singing to Cuba</i>. Himilce Novas from <i>Mangos, Bananas and Coconuts&#58; A Cuban Love Story</i>. Teresa Bevin from <i>Havana Split</i>&#58; &ldquo;City of Giant Tinajones.&rdquo; Jose Yglesias from <i>The Guns in the Closet</i>&#58; &ldquo;The Place I Was Born,&rdquo; &ldquo;Celia's Family.&rdquo;<p>Poetry.<p>Gustavo Perez Firmat &ldquo;Bilingual Blues,&rdquo; &ldquo;Dedication.&rdquo; Pablo Medina &ldquo;The Exile,&rdquo; &ldquo;Winter of a Rose.&rdquo; Ricardo Pau-Llosa &ldquo;Foreign Language,&rdquo; &ldquo;Minas de Cobre.&rdquo; Elias Miguel Munoz &ldquo;Little Sister Born in this Land.&rdquo; Carolina Hospital &ldquo;Dear T&iacute;a.&rdquo;<p>Drama.<p>Dolores Prida <i>Beautiful Se&ntilde;oritas</i>. Ren&eacute; Alom&aacute;<i>A Little Something to Ease the Pain</i>.<p><b>V. PUERTO-RICAN AMERICAN LITERATURE&#58; A BRIEF SURVEY.</b><p>Fiction.<p>Judith Ortiz Cofer from <i>The Line of the Sun</i>. Nicholassa Mohr from <i>Nilda</i>. Piri Thomas from <i>Down These Mean Streets</i>. Jack Agueros from <i>Dominoes and Other Stories</i>&#58; &ldquo;One Sunday Morning.&rdquo; Esmeralda Santiago from <i>When I Was Puerto Rican</i>. Ed Vega from <i>Mendoza's Dreams</i>&#58; &ldquo;The Barbosa Express.&rdquo; Abraham Rodriguez Jr., &ldquo;The Boy Without a Flag.&rdquo; Jesus Colon from <i>A Puerto Rican in New York and Other Sketches</i>.<p>Poetry.<p>Miguel Algarin &ldquo;Nuyorican Angel,&rdquo; &ldquo;August 21.&rdquo; Sandra Maria Esteves, &ldquo;In the Beginning,&rdquo; &ldquo;A La Mujer Borrinque&ntilde;a.&rdquo; Victor Hernandez Cruz, &ldquo;African Things,&rdquo; &ldquo;Bi-Lingual Education.&rdquo; Tato Laviera, &ldquo;My Graduation Speech,&rdquo; &ldquo;Savorings, from Pi&ntilde;ones to Loiza,&rdquo; &ldquo;Against Mu&ntilde;oz Pamphleteering.&rdquo; Pedro Pietri, &ldquo;Puerto Rican Obituary.&rdquo; Jack Agueros, &ldquo;Sonnet&#58; Waiting in Tompkins Square Park,&rdquo; &ldquo;Sonnets for the Four Horsemen of the Apocalypse&#58; Long Time Among Us.&rdquo; Martin Espada, &ldquo;Thanksgiving,&rdquo; &ldquo;Niggerlips.&rdquo;<p>Drama.<p>Miguel Pi&ntilde;ero, <i>A Midnight Moon at the Greasy Spoon</i>. Miguel Algarin and Tato Laviera <i>Ol&uacute; Clemente</i>.<p><b>VI. APPENDICES.</b><p><b>Glossary of Terms for <i>Bernab&eacute;</i>.</b><p><b>Glossary of Terms for <i>Ol&uacute; Clemente</i>.</b><p><b>Selected Bibliography.</b>
381The Norton Book of American AutobiographyJay Parini0<p><b>Jay Parini</b>, a poet and novelist, teaches at Middlebury College. Parini's recent books include <i>The Last Station</i>, <i>Benjamin's Crossing</i>, and <i>Some Necessary Angels&#58; Essays on Writing and Politics</i>.<P><b>Gore Vidal</b>'s recent books include his collected essays, <i>United States</i>, and a novel, <i>The Smithsonian</i>.</p>Jay Parini (Editor), Gore Vidalthe-norton-book-of-american-autobiographyjay-parini9780393046779039304677X$26.01HardcoverNorton, W. W. & Company, Inc.March 1999Historical Biography - United States - General & Miscellaneous, American Literature Anthologies7116.00 (w) x 9.30 (h) x 1.60 (d)From Mary Rowlandson's story of her capture by Indians in the mid-seventeenth century to Mary Paik Lee's story of being a pioneer Korean woman in America at the beginning of the twentieth century, the autobiographical form has provided our most vivid, intimate glimpses of daily American life and self-understanding. <p>In this groundbreaking anthology, respected writer and critic Jay Parini brings together an abundant selection from over three centuries of "the democratic voice . . . discovering itself." Here are the voices of the Founding Fathers and African American slaves; of transcendentalists and suffragists; of ancestors such as Frederick Douglass, Harriet Jacobs, Mark Twain, Henry James, Helen Keller, Zora Neale Hurston, Gertrude Stein, Ernest Hemingway, James Baldwin, and many others; and of a wide range of contemporaries, including Maxine Hong Kingston, Gore Vidal, Julia Alvarez, and Mark Doty.</p> <p>The rich, continuous influence of autobiographical writing in our culture is clear, and as memoirs continue to fascinate readers, this invaluable anthology provides an essential guide to our foremost American literary tradition.</p><br> <br> <p><br> </p> <p><font size="+2">Chapter One</font></p> <p><br> </p> <p align="center"><b>MARY ROWLANDSON<br> (ca. 1635-1711)</b></p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; Relatively little is known about Mary Rowlandson, who was born in England and migrated to the New World with her father, John White. She married Joseph Rowlandson, a minister, in 1656. But her life changed on February 10, 1676, when she and her three children were captured by the Wampanoag Indian leader, Matocomet. The story of her captivity by Indians was issued in 1682, entitled <i>The Sovereignty and Goodness of God ... Being a Narrative of the Captivity and Restauration of Mrs. Mary Rowlandson</i>. This memoir is governed by a deeply religious sensibility; indeed, Rowlandson underwent a profound transformation during the eleven weeks of her captivity. Rowlandson's sorrow is evident here: she deeply misses her husband and the two of three children who were taken away from her during the captivity period. Through the negotiations of her husband, Rowlandson and her two surviving children (one died in captivity) were released.</p> <p>&nbsp;&nbsp;&nbsp; Rowlandson's story offers the first detailed account of a woman's experience of being captured by Indians. A tough-minded, independent woman, she never lost her faith in God while dwelling in a "lively semblance of hell." Her voice is singular—one of the first strong voices of a woman writing about her experience in North America—and her memoir became a model for later writers, who often wrote about periods of crisis that were also times of spiritual transformation.</p> <p><br> </p> <p align="center"><b>FROM <i>The True History of the Captivity and<br> Deliverance of MaryRowlandson</i></b><br> </p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; On the tenth of February came the Indians with great numbers upon Lancaster: Their first coming was about sunrise; hearing the noise of some guns, we looked out; several houses were burning, and the smoke ascending to Heaven. There were five persons taken in one house, the father, and the mother, and one sucking child they knocked on the head; the other two they took and carried away, and there were two others, who being out of the garrison upon some occasion, were set upon, one was knocked on the head, the other escaped, another there was who running along was shot and wounded, and fell down; he begged of them his life, promising them money, (as they told me) but they would not hearken to him, but knocked him in head, striped him naked, and split open his bowels. Another seeing many of the Indians about his barn, ventured and went out, but was quickly shot down. There were three others belonging to the same garrison who were killed; the Indians getting up upon the roof of the barn, had advantage to shoot down upon them over their fortification. Thus these murderous wretches went on burning and destroying before them.</p> <p>&nbsp;&nbsp;&nbsp; At length they came and beset our own house, and quickly it was the dolefullest day that ever mine eyes saw. The house stood upon the edge of a hill; some of the Indians got behind the hill, others in the barn, and others behind any thing that would shelter them; from all which places they shot against the house, so that the bullets seemed to fly like hail; and quickly they wounded one man among us, then another, and then a third. About two hours (according to my observation in that amazing time) they had been about the house before they prevailed to fire it, (which they did with flax and hemp which they brought out of the barn, and there being no defence about the house, only two flankers at two opposite corners, and one of them not finished) they fired it once and one ventured out and quenched it, but they quickly fired it again, and that took. Now is that dreadful hour come, that I have often heard of, (in the time of the war, as it was the case of others) but now mine eyes see it. Some in our house were fighting for their lives, others wallowing in their blood, the house on fire over our heads, and the bloody heathen ready to knock us on the head if we stirred out. Now might we hear mothers and children crying out for themselves, and one another, <i>Lord what shall we do!</i> Then I took my children (and one of my sisters heirs) to go forth and leave the house: But as soon as we came to the door, and appeared, the Indians shot so thick that the bullets rattled against the house, as if one had taken a handful of stones and threw them so that we were forced to give back. We had six stout dogs belonging to our garrison, but none of them would stir, though another time, if an Indian had come to the door, they were ready to fly upon him and tear him down. The Lord hereby would make us the more to acknowledge his hand, and to see that our help is always in him. But out we must go, the fire increasing, and coming along behind us, roaring, and the Indians gaping before us with their guns, spears, and hatchets to devour us. No sooner were we out of the house, but my brother in law (being before wounded in defending the house, in or near the throat) fell down dead, whereat the Indians scornfully shouted, and halloed, and were presently upon him, stripping off his cloaths. The bullets flying thick, one went through my side, and the same (as would seem) through the bowels and hand of my poor child in my arms. One of my elder sisters children (named <i>William</i>) had then his leg broke, which the Indians perceiving, they knocked him on head. Thus were we butchered by those merciless heathens, standing amazed, with the blood running down to our heels. My elder sister being yet in the house, and seeing those woful sights, the infidels hauling mothers one way, and children another, and some wallowing in their blood: And her eldest son telling her that her son <i>William</i> was dead, and myself was wounded, she said, and Lord let me die with them: Which was no sooner said, but she was struck with a bullet, and fell down dead over the threshold. I hope she is reaping the fruit of her good labors, being faithful to the service of God in her place. In her younger years she lay under much trouble upon spiritual accounts, till it pleased God to make that precious scripture take hold of her heart, 2 <i>Cor</i>. 12, 9. <i>And he said unto me, my grace is sufficient for thee</i>. More than twenty years after I have heard her tell how sweet and comfortable that place was to her. But to return; The Indians laid hold of us, pulling me one way, and the children another, and said, come go along with us. I told them they would kill me; they answered, if I were willing to go along with them they would not hurt me.</p> <p>&nbsp;&nbsp;&nbsp; Oh! the doleful sight that now was to behold at this house! come, behold the works of the Lord, what desolations he has made in the earth. Of thirty seven persons who were in this one house, none escaped either present death, or a bitter captivity, save only one, who might say as he, <i>Job</i>, 1. 15. <i>And I only am escaped alone to tell the news</i>. There were twelve killed, some shot, some stabbed with their spears, some knocked down with their hatchets. When we are in prosperity, Oh the little that we think of such dreadful sights, to see our dear friends and relations lie bleeding out their hearts blood upon the ground. There was one who was choped into the head with a hatchet, and striped naked and yet was crawling up and down. It is a solemn sight to see so many Christians lying in their blood, some here and some there, like a company of sheep torn by wolves. All of them striped naked by a company of hell hounds, roaring, singing, ranting and insulting, as if they would have torn our very hearts out; yet the Lord by his, Almighty Power, preserved a number of us from death, for there were twentyfour of us taken alive and carried captive.</p> <p>&nbsp;&nbsp;&nbsp; I had often before this said, that if the Indians should come, I should chuse rather to be killed by them, than taken alive: But when it came to a trial, my mind changed; their glittering weapons so daunted my spirit, that I chose rather to go along with those (as I may say) ravenous bears, than that moment to end my days. And that I may the better declare what happened to me during that grievous captivity, I shall particularly speak of the several removes we had up and down the wilderness.</p> <p><br> </p> <p align="center">The First Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; Now away we must go with those barbarous creatures, with our bodies wounded and bleeding, and our hearts no less than our bodies. About a mile we went that night, up upon a hill within sight of the town, where they intended to lodge. There was hard by a vacant house, deserted by the English before, for fear of the Indians, I asked them whether I might not lodge in that house that night? to which they answered, what will you love Englishmen still? This was the dolefulest night that ever my eyes saw. Oh the roaring, singing, dancing, and yelling of those black creatures in the night, which made the place a lively resemblance of hell: And as miserable was the waste that was there made, of horses, cattle, sheep, swine, calves, lambs, roasting pigs, and fowls, (which they had plundered in the town) some roasting, some frying and burning, and some boyling, to feed our merciless enemies; who were joyful enough, though we were disconsolate. To add to the dolefulness of the former day, and the dismalness of the present night, my thoughts ran upon my losses and sad bereaved condition. All was gone, my husband gone, (at least separated from me, he being in the bay; and to add to my grief, the Indians told me they would kill him as he came homeward) my children gone, my relations and friends gone, our house and home, and all our comforts within door and without, all was gone, (except my life) and I knew not but the next moment that might go too.</p> <p>&nbsp;&nbsp;&nbsp; There remained nothing to me but one poor wounded babe, and it seemed at present worse than death, that it was in such a pitiful condition, bespeaking compassion, and I had no refreshing for it, nor suitable things to revive it. Little do many think, what is the savageness and brutishness of this barbarous enemy, even those that seem to profess more than others among them, when the English have fallen into their hands.</p> <p>&nbsp;&nbsp;&nbsp; Those seven that were killed at Lancaster the summer before upon a Sabbath day, and the one that was afterwards killed upon a week day, were slain and mangled in a barbarous manner, by one eyed John and Marlborough's praying Indians, which Capt. Mosely brought to Boston, as the Indians told me.</p> <p><br> </p> <p align="center">The Second Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; But now (the next morning) I must turn my back upon the town, and travel with them into the vast and desolate wilderness, I know now whither. It is not my tongue or pen can express the sorrows of my heart, and bitterness of my spirit, that I had at this departure: But God was with me in a wonderful manner, carrying me along, and bearing up my spirit, that it did not quite fail. One of the Indians carried my poor wounded babe upon a horse; it went moaning all along, I shall die, I shall die. I went on foot after it, with sorrow that cannot be exprest. At length I took it off the horse, and carried it in my arms, till my strength failed, and I fell down with it. Then they set me upon a horse, with my wounded child in my lap, and there being no furniture upon the horses back, as we were going down a steep hill, we both fell over the horses head, at which they like inhuman creatures laughed, and rejoiced to see it, though I thought we should there have ended our days, as overcome with so many difficulties. But the Lord renewed my strength still, and carried me along that I might see more of his Power, yea, so much that I could never have thought of, had I not experienced it.</p> <p>&nbsp;&nbsp;&nbsp; After this it quickly began to snow, and when night came on, they stoped: And now down I must sit in the snow, by a little fire, and a few boughs behind me, with my sick child in my lap, and calling much for water, being now (through the wound) fallen into a violent Fever. My own wound also growing so stiff, that I could scarce sit down or rise up, yet so it must be, that I must sit all this cold winter night, upon the cold snowy ground, with my sick child in my arms, looking that every hour would be the last of its life; and having no Christian friend near me, either to comfort or help me. Oh I may see the wonderful power of God, that my spirit did not utterly sink under my afflictions; still the Lord upheld me with his gracious and merciful spirit, and we were both alive to see the light of the next morning.</p> <p><br> </p> <p align="center">The Third Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; The morning being come, they prepared to go on their way: One of the Indians got up upon a horse, and they set me up behind him, with my poor sick babe in my lap. A very wearisome and tedious day I had of it; what with my own wound, and my child being so exceeding sick, and in a lamentable condition with her wound, if might easily be judged what a poor feeble condition we were in, there being not the least crumb of refreshing that came within either of our mouths from Wednesday night to Saturday night, except only a little cold water. This day in the afternoon, about an hour by sun, we came to the place where they intended, viz. an Indian town called Wenimesset, northward of Quabaug. When we were come, Oh the number of Pagans (now merciless enemies) that there came about me, that I may say as <i>David</i>, Psal. 27. 13. <i>I had fainted, unless I had believed</i>, &amp;c. The next day was the Sabbath: I then remembered how careless I had been of God's holy time; how many sabbaths I had lost and misspent, and how evilly I had walked in God's sight; which lay so close upon my spirit, that it was easier for me to see how righteous it was with God to cut off the thread of my life, and cast me out of his presence for ever. Yet the Lord still shewed mercy to me, and helped me; and as he wounded me with one hand, so he healed me with the other. This day there came to me one Robert Pepper, (a man belonging to Roxbury,) who was taken at Capt. Beer's fight; and had been now a considerable time with the Indians, and up with them almost as far as Albany, to see King Philip, as he told me, and was now very lately come with them into these parts. Hearing I say, that I was in this Indian town he obtained leave to come and see me. He told me he himself was wounded in the leg at Capt. Beer's fight; and was not able sometimes to go but as they carried him, and that he took oak leaves and laid to his wound, and by the blessing of God, he was able to travel again. Then I took oak leaves and laid to my side, and with the blessing of God, it cured me also; yet before the cure was wrought, I may say as it is in <i>Psal</i>. 38. 5, 6. <i>My wounds stink and are corrupt, I am troubled, I am bowed down greatly, I go mourning all the day long</i>. I sat much alone with my poor wounded child in my lap, which moaned night and day, having nothing to revive the body, or cheer the spirits of her; but instead of that, one Indian would come and tell me one hour, your master will knock your child on the head, and then a second, and then a third, your master will quickly knock your child on the head.</p> <p>&nbsp;&nbsp;&nbsp; This was the comfort I had from them; miserable comforters were they all. Thus nine days I sat upon my knees, with my babe in my lap, till my flesh was raw again. My child being even ready to depart this sorrowful world, they bid me carry it out to another wigwam; (I suppose because they would not be troubled with such spectacles) whither I went with a very heavy heart, and down I sat with the picture of death in my lap. About two hours in the night, my sweet babe like a lamb departed this life, on Feb. 18. 1675. it being about six years and five months old. It was nine days from the first wounding, in this miserable condition, without any refreshing of one nature or other, except a little cold water. I cannot but take notice how at another time I could not bear to be in the room where any dead person was, but now the case is changed; I must, and could lie down by my dead babe all the night after. I have thought since of the wonderful goodness of God to me, in preserving me so in the use of my reason and senses, in that distressed time, that I did not use wicked and violent means to end my own miserable life. In the morning, when they understood that my child was dead, they sent for me home to my masters wigwam: (By my master in this writing, must be understood <i>Qunnaopin</i>, who was a saggamore, and married K. Philip's wives sister; not that he first took me, but I was sold to him by a Narraganset Indian, who took me when I first came out of the garrison) I went to take up my dead child in my arms to carry it with me, but they bid me let it alone: There was no resisting, but go I must and leave it. When I had been a while at my masters wigwam, I took the first opportunity I could get, to go look after my dead child: When I came, I asked them what they had done with it? they told me it was upon the hill; then they went and shewed me where it was, where, I saw the ground was newly digged, and where they told me they had buried it; there I left that child in the wilderness, and, and must commit it and myself also in this wilderness condition, to him who is above all. God having taken away this dear child, I went to see my daughter <i>Mary</i>, who was at this same Indian town, at a wigwam not very far off, though we had little liberty or opportunity to see one another; she was about ten years old, and taken from the door at first by a praying Indian, and afterward sold for a gun. When I came in sight, she would fall a weeping, at which they were provoked, and would not let me come near her, but bid me be gone; which was a heart cutting word to me. I had one child dead, another in the wilderness, I knew not where, the third they would not let me come near to; <i>Me</i> (as he said) <i>have ye bereaved of my children, Joseph is not, and Simeon is not, and ye will take Benjamin also, all these things are against me</i>. I could not sit still in this condition, but kept walking from one place to another. And as I was going along, my heart was even overwhelmed with the thoughts of my condition, and that I should have children, and a nation that I knew not, ruled over them. Whereupon I earnestly intreated the Lord that he would consider my low estate, and shew me a token for good, and if it were his blessed will, some sign and hope of some relief. And indeed quickly the Lord answered, in some measure, my poor prayer: For as I was going up and down mourning and lamenting my condition, my son came to me, and asked me how I did? I had not seen him before, since the destruction of the town; and I knew not where he was, till I was informed by himself, that he was amongst a smaller parcel of Indians, whose place was about six miles off, with tears in his eyes, he asked me whether his sister Sarah was dead? and told me he had seen his sister Mary; and prayed me, that I would not be troubled in reference to himself. The occasion of his coming to see me at this time was this: There was, as I said, about six miles from us, a small plantation of Indians, where it seems he had been, during his captivity; and at this time, there were some forces of the Indians gathered out of our company, and some also from them, (amongst whom was my sons master) to go to assault and burn Medfield: In this time of his masters absence, his dame brought him to see me. I took this to be some gracious answer to my earnest and unfeigned desire. The next day the Indians returned from Medfield: (all the company, for those that belonged to the other smaller company, came through the town that now we were at) but before they came to us, oh the outrageous roaring and hooping that there was! they began their din about a mile before they came to us. By their noise and hooping they signified how many they had destroyed (which was at that time twenty three) those that were with us at home, were gathered together as soon as they heard the hooping, and every time that the other went over their number, these at home gave a shout, that the very earth rang again. And thus they continued till those that had been upon the expedition were come up to the Saggamor's wigwam; and then, oh the hideous, insulting and triumphing that there was over some English mens scalps, that they had taken (as their manner is) and brought with them. I cannot but take notice of the wonderful mercy of God to me in those afflictions, in sending me a bible: One of the Indians that came from Medfield fight, and had brought some plunder, came to me, and asked me if I would have a bible, he had got one in his basket, I was glad of it, and asked him if he thought the Indians would let me read? he answered yes? so I took the bible, and in that melancholy time it came into my mind to read first the 28th, Chap. of <i>Deuteronomy</i>, which I did, and when I had read it, my dark heart wrought on this manner, that there was no mercy for me, that the blessings were gone, and the curses came in their room, and that I had lost my opportunity. But the Lord helped me still to go on reading, till I came to chap. 30. the seven first verses; where I found there was mercy promised again, if we would return to him, by repentance; and though we were scattered from one end of the earth to the other, yet the Lord would gather us together, and turn all those curses upon our enemies. I do not desire to live to forget this scripture, and what comfort it was to me.</p> <p>&nbsp;&nbsp;&nbsp; Now the Indians began to talk of removing from this place, some one way, and some another. There were now besides myself nine English captives in this place, (all of them children except one woman) I got an opportunity to go and take my leave of them; they being to go one way, and I another. I asked them whether they were earnest with God for deliverance, they all told me they did as they were able, and it was some comfort to me, that the Lord stirred up children to look to him. The woman, viz good wife Joslin, told me, she should never see me again, and that she could find in her heart to run away: I desired her not to run away by any means, for we were near thirty miles from any English town, and she very big with child, having but one week to reckon; and another child in her arms two years old, and bad rivers there were to go over, and we were feeble with our poor and coarse entertainment. I had my bible with me, I pulled it out, and asked her whether she would read; we opened the bible, and lighted on <i>Psal.</i> 27. in which psalm we especially took notice of that verse, <i>Wait on the Lord, be of good courage, and he shall strengthen thine heart, wait I say on the Lord</i>.</p> <p><br> </p> <p align="center">The Fourth Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; And now must I part with that little company that I had. Here I parted from my daughter Mary, (whom I never saw again till I saw her in Dorchester, returned from captivity) and from four little cousins and neighbors, some of which I never saw afterward, the Lord only knows the end of them. Among them also was that poor woman before mentioned, who came to a sad end, as some of the company told me in my travel: She having much grief upon her Spirits, about her miserable condition, being so near her time, she would be often asking the Indians to let her go home; they not being willing to that, and yet vexed with her importunity, gathered a great company together about her, and striped her naked, and set her in the midst of them; and when they had sung and danced about her (in their hellish manner) as long as they pleased, they knocked her on the head, and the child in her arms with her: When they had done that, they made a fire and put them both into it, and told the other children that were with them, that if they attempted to go home, they would serve them in like manner. The children said she did not shed one tear, but prayed all the while. But to return to my own journey: We travelled about half a day or a little more, and came to a desolate place in the wilderness, where there were no wigwams or inhabitants before: We came about the middle of the afternoon to this place; cold, wet, snowy, hungry, and weary, and no refreshing (for man) but the cold ground to sit on, and our poor Indian cheer.</p> <p>&nbsp;&nbsp;&nbsp; Heart acheing thoughts here I had about my poor children, who were scattered up and down among the wild beasts of the forest: My head was light and dissy, (either through hunger or hard lodging, or trouble, or altogether) my knees feeble, my body raw by sitting double night and day, that I cannot express to man, the affliction that lay upon my spirit, but the Lord helped me at that time to express it to himself. I opened my bible to read, and the Lord brought that precious scripture to me, <i>Jer</i>. 31. 16. <i>Thus saith the Lord, refrain thy voice from weeping, and thine eyes from tears, for thy work shall be rewarded, and they shall come again from the land of the enemy</i>. This was a sweet cordial to me, when I was ready to faint, many and many a time have I sat down, and wept sweetly over this scripture. At this place we continued about four days.</p> <p><br> </p> <p align="center">The Fifth Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; The occasion (as I thought) of their moving at this time, was the English Army's being near and following them: For they went as if they had gone for their lives, for some considerable way; and then they made a stop, and chose out some of their stoutest men, and sent them back to hold the English Army in play whilst the rest escaped; and then like Jehu they marched on furiously, with their old and young: Some carried their old decriped mothers, some carried one and some another. Four of them carried a great Indian upon a bier; but going through a thick wood with him, they were hindered, and could make no haste; whereupon they took him upon their backs, and carried him one at a time, till we came to Bacquag River. Upon a Friday a little after noon we came to this river: When all the company was come up, and were gathered together, I thought to count the number of them, but they were so many, and being somewhat in motion, it was beyond my skill. In this travel, because of my wound, I was somewhat favored in my load: I carried only my knittingwork, and two quarts of parched meal: Being very faint, I asked my mistress to give me one spoonful of the meal, but she would not give me a taste. They quickly fell to cutting dry trees, to make rafts to carry them over the river, and soon my turn came to go over. By the advantage of some brush which they had laid upon the raft to sit on, I did not wet my foot, (which many of themselves at the other end were mid leg deep) which cannot but be acknolwedged as a favor of God to my weakened Body, it being a very cold time. I was not before acquainted with such kind of doings, or dangers. <i>When thou passeth through the waters I will be with thee, and through the rivers they shall not overflow thee</i>. Isai. 43. 2. A certain number of us got over the river that night, but it was the night after the Sabbath before all the company was got over. On the Saturday they boiled an old horse's Leg (which they had got) and so we drank of the broth, as soon as they thought it was ready, and when it was almost all gone, they filled it up again.</p> <p>&nbsp;&nbsp;&nbsp; The first week of my being among them, I hardly eat any thing: The second week I found my stomach grew very faint for want of something; and yet it was very hard to get down their filthy trash; but the third week (though I could think how formerly my stomach would turn against this or that, and I could starve and die before I could eat such things,) yet they were pleasant and savory to my taste. I was at this time knitting a pair of white cotten stockings for my mistress, and I had not yet wrought upon the Sabbath Day: when the Sabbath came, they bid me go to work; I told them it was Sabbath day, and desired them to let me rest, and told them I would do as much more tomorrow; to which they answered me, they would break my face. And here I cannot but take notice of the strange Providence of God in preserving the heathen: They were many hundreds, old and young, some sick and some lame, many had papooses at their backs, the greatest number (at this time with us) were Squaws, and they travelled with all they had, bag and baggage, and yet they got over this river aforesaid; and on Monday they set their wigwams on fire, and away they went; on that very day came the English Army after them to this river, and saw the smoak of their wigwams, and yet this river put a stop to them. God did not give them courage or activity to go over after us; we were not ready for so great a mercy as victory and deliverance; if we had been, God would have found out a way for the English to have passed this River, as well as for the Indians with their Squaws and children, and all their luggage. <i>Oh that my people had hearkened to me, and Israel had walked in my ways, I should soon have subdued their enemies, and turned my hand against their adversaries</i>. Psal. 81. 13, 14.</p> <p><br> </p> <p align="center">The Sixth Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; On Monday (as I said) they set their wigwams on fire, and went away. It was a cold morning, and before us there was a great brook with ice on it: Some waded through it, up to the knees and higher, but others went till they came to a beaver dam, and I amongst them, where through the good providence of God, I did not wet my foot. I went along that day, mourning and lamenting (leaving farther my own country, and travelling farther into the vast and howling wilderness) and I understood something of Lot's wife's temptation, when she looked back: We came that day to a great swamp, by the side of which we took up our lodging that night. When we came to the brow of the hill that looked toward the swamp, I thought we had come to a great Indian town. (Though there were none but our own company) the Indians were as thick as the trees; it seemed as if there had been a thousand hatchets going at once: If one looked before one, there was nothing but Indians, and behind one, nothing but Indians; and so on either hand: And I myself in the midst, and no christian soul near me, and yet how hath the Lord preserved me in safety! Oh the experience that I have had of the goodness of God to me and mine!</p> <p><br> </p> <p align="center">The Seventh Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; After a restless and hungry night there, we had a wearisome time of it the next day. The swamp by which we lay, was as it were a deep dungeon, and an exceeding high and steep hill before it. Before I got to the top of the hill, I thought my heart and legs and all would have broken, and failed me. What through faintness and soreness of body, it was a grievous day of travel to me. As we went along, I saw a place where English cattle had been, that was comfort to me, such as it was; quickly after that we came to an English path, which so took with me, that I thought I could there have freely lain down and died. That day, a little after noon, we came to Squauheag, where the Indians quickly spread themselves over the deserted English fields, gleaning what they could find; some picked up ears of wheat, that were crinckled down, some found ears of Indian corn, some found ground nuts, and others sheaves of wheat that were frozen together in the shock, and went to threshing of them out. Myself got two ears of Indian corn, and whilst I did but turn my back, one of them was stolen from me, which much troubled me. There came an Indian to them at that time, with a basket of horse liver; I asked him to give me a piece: What (says he) can you eat horse liver? I told him I would try if he would give me a piece, which he did; and I laid it on the coals to roast, but before it was half ready, they got half of it away from me; so that I was forced to take the rest and eat it as it was, with the blood about my mouth, and yet a savory bit it was to me; for to the hungry soul every bitter thing is sweet. A solemn sight me thought it was, to see whole fields of wheat and Indian corn forsaken and spoiled, and the remainder of them to be food for our merciless Enemies. That night we had a mess of wheat for our supper.</p> <p><br> </p> <p align="center">The Eighth Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; On the morrow morning we must go over Connecticut river to meet with King Philip; two canoes full they had carried over, the next turn myself was to go; but as my foot was upon the canoe to step in, there was a sudden outcry among them, and I must step back; and instead of going over the river, I must go four or five miles up the river farther Northward. Some of the Indians ran one way, and some another. The cause of this rout was, as I thought, their espying some English scouts, who were thereabouts. In this travel up the river, about noon the company made a stop, and sat down, some to eat, and others to rest them. As I sat amongst them, musing on things past, my son Joseph unexpectedly came to me: We asked of each others welfare, bemoaning our doleful condition, and the change that had come upon us: We had husband, and father, and children, and sisters, and friends, and relations, and house, and home, and many comforts of this life; but now we might say as <i>Job, naked came I out of my mothers womb, and naked shall I return: The Lord gave, and the Lord hath taken away, blessed be the name of the Lord</i>. I asked him whether he would read? he told me, he earnestly desired it. I gave him my bible, and he lighted upon that comfortable scripture, <i>Psal. 118. 17, 18. I shall not die, but live, and declare the works of the Lord: The Lord hath chastened me sore, yet he hath not given me over to death</i>. Look here mother (says he) did you read this? And here I may take occasion to mention one principal ground of my setting forth these few lines, even as the psalmist says, to declare the works of the Lord, and his wonderful power in carrying us along, preserving us in the wilderness, while under the enemies hand, and returning of us in safety again; and his goodness in bringing to my hand so many comfortable and suitable scriptures in my distress.</p> <p>&nbsp;&nbsp;&nbsp; But to return: We travelled on till night, and in the morning we must go over the river to Philip's crew. When I was in the canoe, I could not but be amazed at the numerous crew of Pagans that were on the bank on the other side. When I came ashore, they gathered all about me, I sitting alone in the midst: I observed they asked one another questions, and laughed, and rejoiced over their gains and victories. Then my heart began to fail, and I fell a weeping; which was the first time, to my remembrance, that I wept before them; although I had met with so much affliction, and my heart was many times ready to break, yet could I not shed one tear in their sight, but rather had been all this while in a maze, and like one astonished; but now I may say as <i>Psal. 137. 1. By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion</i>. There one of them asked me, why I wept? I could hardly tell what to say; yet I answered, they would kill me: No, said he, none will hurt you. Then came one of them, and gave me two spoonfuls of meal (to comfort me) and another gave me half a pint of pease, which was more worth than many bushels at another time. Then I went to see King Philip; he bid me come in, and sit down; and asked me whether I would smoke it? (a usual complement now a days, among Saints and Sinners) but this no way suited me. For though I had formerly used tobacco, yet I had left it ever since I was first taken. It seems to be a bait, the devil lays to make men lose their precious time. I remember with shame, how formerly, when I had taken two or three pipes, I was presently ready for another; such a bewitching thing it is: But I thank God, he has now given me power over it; surely there are many who may be better employed, than to sit sucking a stinking tobacco pipe.</p> <p>&nbsp;&nbsp;&nbsp; Now the Indians gather their Forces to go against Northampton: Over night one went about yelling and hooting to give notice of the design. Whereupon they went to boiling of ground nuts, and parching of corn (as many as had it) for their provision; and in the Morning away they went. During my abode in this place, Philip spake to me to make a shirt for his boy, which I did; for which he gave me a shilling; I offered the money to my master, but he bid me keep it, and with it I bought a piece of horse flesh. Afterward he asked me to make a cap for his boy, for which he invited me to dinner: I went, and he gave me a pancake, about as big as two fingers; it was made of parched wheat, beaten, and fryed in bears grease, but I thought I never tasted pleasanter meat in my life. There was a Squaw who spake to me to make a shirt for her sannup; for which she gave me a piece of bear. Another asked me to knit a pair of stockings, for which she gave me a quart of pease. I boiled my pease and bear together, and invited my master and mistress to dinner; but the proud gossip, because I served them both in one dish, would eat nothing, except one bit that he gave her upon the point of his knife. Hearing that my son was come to this place, I went to see him, and found him lying flat upon the ground; I asked him how he could sleep so? he answered me, that he was not asleep, but at prayer; and that he lay so, that they might not observe what he was doing. I pray God he may remember these things now he is returned in safety. At this place, (the Sun now getting higher) what with the beams and heat of the Sun, and the smoke of the wigwams, I thought I should have been blind. I could scarce discern one wigwam from another. There was here one Mary Thurston of Medfield, who seeing how it was with me, lent me a hat to wear; but as soon as I was gone, the Squaw who owned that Mary Thurston, came running after me, and got it away again. Here was a Squaw who gave me a spoonful of meal, I put it in my pocket to keep it safe, yet notwithstanding somebody stole it, but put five Indian corns in the room of it; which corns were the greatest provision I had in my travel for one day.</p> <p><br> </p> <p align="center">THE NINTH REMOVE</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; But instead of going either to Albany or homeward we must go five miles up the river, and then go over it. Here we abode a while. Here lived a sorry Indian, who spake to me to make him a shirt, when I had done it, he would pay me nothing for it. But he living by the river side, where I often went to fetch water, I would often be putting of him in mind, and calling for my pay; at last he told me, if I would make another shirt for a papoos not yet born, he would give me a knife, which he did, when I had done it. I carried the knife in, and my master asked me to give it him, and I was not a little glad that I had any thing that they would accept of, and be pleased with. When we were at this place, my master's maid came home; she had been gone three weeks into the Narraganset country to fetch corn, where they had stored up some in the ground: She brought home about a peck and a half of corn. This was about the time that their great captain (<i>Naananto</i>) was killed in the Narraganset country.</p> <p>&nbsp;&nbsp;&nbsp; My son being now about a mile from me, I asked liberty to go and see him, they bid me go, and away I went; but quickly lost myself, travelling over hills and through swamps, and could not find the way to him. And I cannot but admire at the wonderful power and goodness of God to me, in that though I was gone from home, and met with all sorts of Indians, and those I had no knowledge of, and there being no christian soul near me, yet not one of them offered the least imaginable miscarriage to me. I turned homeward again, and met with my master, and he shewed me the way to my son. When I came to him, I found him, not well; and withall he had a bile on his side, which much troubled him: We bemoaned one another a while, as the Lord helped us, and then I returned, again. When I was returned I found myself as unsatisfied as I was before. I went up and down mourning and lamenting, and my spirit was ready to sink, with the thoughts of my poor children; my son was ill, and I could not but think of his mournful looks, having no christian friend near him, to do any office of love for him, either for soul or body. And my poor girl, I knew not where she was, nor whether she was sick, or well, or alive or dead. I repaired under these thoughts to my bible, (my great comforter in that time) and that scripture came to my hand, <i>Cast thy burden upon the Lord, and he shall sustain thee</i>, Psal. 55.22.</p> <p>&nbsp;&nbsp;&nbsp; But I was fain to go and look after something to satisfy my hunger: And going among the wigwams, I went into one, and there found a Squaw who shewed herself very kind to me, and gave me a piece of bear. I put it into my pocket, and came home; but could not find an opportunity to broil it, for fear they should get it from me; and there it lay all that day and night in my stinking pocket. In the morning I went again to the same Squaw, who had a kettle of ground nuts boiling: I asked her to let me boil my piece of bear in her kettle, which she did, and gave me some ground nuts to eat with it, and I cannot but think how pleasant it was to me. I have sometimes seen bear baked handsomely amongst the English, and some liked it, but the thoughts that it was bear, made me tremble: But now that was savory to me that one would think was enough to turn the stomach of a brute creature.</p> <p>&nbsp;&nbsp;&nbsp; One bitter cold day, I could find no room to sit down before the fire: I went out, and could not tell what to do, but I went into another wigwam, where they were also sitting round the fire; but the Squaw laid a skin for me, and bid me sit down, and gave me some ground nuts, and bid me come again; and told me they would buy me, if they were able; and yet these were strangers to me that I never knew before.</p> <p><br> </p> <p align="center">The Tenth Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; That day a small part of the company removed about three quarters of a mile, intending farther the next day. When they came to the place where they intended to lodge, and had pitched their wigwams, being hungry I went again back to the place we were before at, to get something to eat; being encouraged by the Squaw's kindness, who bid me come again. When I was there, there came an Indian to look after me; who when he had found me, kicked me all along. I went home and found venison roasting that night, but they would not give me one bit of it. Sometimes I met with favors, and sometimes with nothing but frowns.</p> <p><br> </p> <p align="center">The Eleventh Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; The next day in the morning, they took their travel, intending a days Journey up the river; I took my load at my back, and quickly we came to wade over a river, and passed over tiresome and wearisome hills. One hill was so steep, that I was fain to creep up upon my knees, and to hold by the twigs and bushes to keep myself from falling backward. My head also was so light that I usually reeled as I went, but, I hope all those wearisome steps that I have taken, are but a forwarding of me to the heavenly rest. <i>I know O Lord, that thy Judgments are right and that thou in faithfulness hast afflicted me</i>, Psal. 119.75.</p> <p><br> </p> <p align="center">The Twelfth Remove</p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; It was upon a Sabbath day morning, that they prepared for their travel. This morning I asked my master whether he would sell me to my husband? he answered nux; which did much rejoice my spirit. My mistress, before we went, was gone to the burial of a papoos, and returning, she found me sitting, and reading in my bible: She snatched it hastily out of my hand, and threw it out of doors; I ran out and catched it up, and put it in my pocket, and never let her see it afterward. Then they packed up their things to be gone, and gave me my load: I complained it was too heavy, whereupon she gave me a slap on the face, and bid me be gone. I lifted up my heart to God, hoping that redemption was not far off; and the rather because their insolency grew worse and worse.</p><p>&quot;The essential American form of expression.&quot;&mdash;from the Introduction by Jay Parini</p><h3>Library Journal</h3><p>Norton anthologies, well respected and widely used in classrooms and libraries, cover a variety of literary forms--poetry, essays, interviews, and short stories. For Norton's most recent addition, poet and novelist Parini has compiled over 60 selections from autobiographies and memoirs published since the 17th century. His original manuscript was three times its present size, simply because there was so much to choose from in "a tradition quintessentially American in its forms and performance." The final result includes works by such diverse writers as Henry David Thoreau, U.S. Grant, Gertrude Stein, Malcom X, Mary McCarthy, and Richard Rodriguez. Among other topics, these excerpts discuss childhood, immigration, spiritual enlightenment, and racial, social, and ethnic issues. The selections are arranged chronologically, and each is prefaced by an introduction on its author and its merit. This well-rounded and enjoyable collection is recommended for both academic and public libraries.--Ilse Heidmann, San Marcos, TX</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The True History of the Captivity and Deliverance of Mary Rowlandson</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Life and Character of the Late Rev. Mr. Jonathan Edwards</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Autobiography of Benjamin Franklin</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Some Account of the Fore-Part of the Life of Elizabeth Ashbridge</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: An Autobiography</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Incidents in the Life of a Slave Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Eighty Years and More: Reminiscences, 1815-1897</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Two Years before the Mast</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Walden</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: My Bondage and My Freedom</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Specimen Days in America</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Memoirs</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Behind the Scenes; or, Thirty Years a Slave, and Four Years in the White House</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: A New England Girlhood</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Life on the Mississippi</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: My Cave Life in Vicksburg</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Education of Henry Adams</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Notes of a Son and Brother</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Up from Slavery</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Souls of Black Folk</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Living My Life</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Prison Memoirs of an Anarchist</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: A Hoosier Holiday</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Autobiography of Alice B. Toklas</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Story of My Life</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Promised Land</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Dust Tracks on a Road</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Son of Italy</TD><TD WIDTH="10%" ALIGN="RIGHT">343</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Crack-Up"</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Quiet Odyssey</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Black Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">381</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: One Writer's Beginnings</TD><TD WIDTH="10%" ALIGN="RIGHT">389</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Wolf Willow</TD><TD WIDTH="10%" ALIGN="RIGHT">401</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Memories of a Catholic Girlhood</TD><TD WIDTH="10%" ALIGN="RIGHT">407</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Seven Storey Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">426</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: A Walker in the City</TD><TD WIDTH="10%" ALIGN="RIGHT">435</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Notes of a Native Son</TD><TD WIDTH="10%" ALIGN="RIGHT">441</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Palimpsest</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Autobiography of Malcolm X</TD><TD WIDTH="10%" ALIGN="RIGHT">466</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Unto the Sons</TD><TD WIDTH="10%" ALIGN="RIGHT">480</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: A Childhood: The Biography of a Place</TD><TD WIDTH="10%" ALIGN="RIGHT">489</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Fierce Attachments</TD><TD WIDTH="10%" ALIGN="RIGHT">495</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Stop-Time</TD><TD WIDTH="10%" ALIGN="RIGHT">501</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Letter to My Mother Carolina Oates on Her 78th Birthday November 8, 1995"</TD><TD WIDTH="10%" ALIGN="RIGHT">509</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Woman Warrior</TD><TD WIDTH="10%" ALIGN="RIGHT">519</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Son and Father"</TD><TD WIDTH="10%" ALIGN="RIGHT">526</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Fear of Fifty</TD><TD WIDTH="10%" ALIGN="RIGHT">541</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: "Going Up to Atlanta"</TD><TD WIDTH="10%" ALIGN="RIGHT">549</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Days of Obligation</TD><TD WIDTH="10%" ALIGN="RIGHT">568</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Borrowed Time: An AIDS Memoir</TD><TD WIDTH="10%" ALIGN="RIGHT">586</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: An American Childhood</TD><TD WIDTH="10%" ALIGN="RIGHT">593</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Buckeye"</TD><TD WIDTH="10%" ALIGN="RIGHT">599</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Cloister Walk</TD><TD WIDTH="10%" ALIGN="RIGHT">605</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Reading the Mountains of Home</TD><TD WIDTH="10%" ALIGN="RIGHT">612</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Picky Eater"</TD><TD WIDTH="10%" ALIGN="RIGHT">619</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Bone Black</TD><TD WIDTH="10%" ALIGN="RIGHT">627</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Always Running</TD><TD WIDTH="10%" ALIGN="RIGHT">632</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Liars' Club</TD><TD WIDTH="10%" ALIGN="RIGHT">650</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: Refuge: An Unnatural History of Family and Place</TD><TD WIDTH="10%" ALIGN="RIGHT">657</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: The Women</TD><TD WIDTH="10%" ALIGN="RIGHT">668</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Respect"</TD><TD WIDTH="10%" ALIGN="RIGHT">675</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From: First Indian on the Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">687</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Parental Guidance Suggested"</TD><TD WIDTH="10%" ALIGN="RIGHT">692</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">709</TD></TABLE><article> <h4>Library Journal</h4>Norton anthologies, well respected and widely used in classrooms and libraries, cover a variety of literary forms--poetry, essays, interviews, and short stories. For Norton's most recent addition, poet and novelist Parini has compiled over 60 selections from autobiographies and memoirs published since the 17th century. His original manuscript was three times its present size, simply because there was so much to choose from in "a tradition quintessentially American in its forms and performance." The final result includes works by such diverse writers as Henry David Thoreau, U.S. Grant, Gertrude Stein, Malcom X, Mary McCarthy, and Richard Rodriguez. Among other topics, these excerpts discuss childhood, immigration, spiritual enlightenment, and racial, social, and ethnic issues. The selections are arranged chronologically, and each is prefaced by an introduction on its author and its merit. This well-rounded and enjoyable collection is recommended for both academic and public libraries.--Ilse Heidmann, San Marcos, TX </article>
382New Playwrights: The Best Plays of 2000D. L. Lepidus0D. L. Lepidusnew-playwrightsd-l-lepidus9781575252490157525249X$19.95PaperbackSmith & Kraus, Inc.January 2003Drama Anthologies, American Drama, American Literature Anthologies31152.50 (w) x 82.50 (h) x 7.50 (d)<article> <h4>Library Journal</h4>The six recent American plays in this anthology have all enjoyed some theatrical success, thanks in part to their ear for dialog. Like earlier entries in the "New Playwrights" series, founded in 1998, these productions range across genres and were not necessarily staged in New York City. Among them, Lepidus, a veteran theater columnist and former theater lecturer, selected Stephen Adly Guirgis's Jesus Hopped the "A" Train, in which a death-row inmate finds God (with a satirical twist); Brian Mori's Adult Fiction, a funny and touching study of the older generation's failure to pass on wisdom to the younger; Don Nigro's Quint and Miss Jessel at Bly, a witty, disturbing ghost story that responds to Henry James's The Turn of the Screw; and Charles Smith's Knock Me a Kiss, a historical drama exploring the relationship among W.E.B. Du Bois, Countee Cullen, Jimmy Lunceford, and Du Bois's daughter. This quite readable collection has something for everyone; take your pick! For larger drama collections, especially in universities supporting a theater department.-Thomas E. Luddy, Salem State Coll., MA Copyright 2003 Reed Business Information. </article>
383Xerophilia: Ecocritical Explorations in Southwestern LiteratureTom Lynch0<p>Tom Lynch is associate professor of English at the University of Nebraska–Lincoln, where he teaches ecocriticism and place-conscious literature. Currently co-editing a collection of writings about Loren Eiseley and a collection of bioregional literary criticism, he is also engaged in a comparative study of the literature of the American West and the Australian Outback from ecocritical and postcolonial perspectives.Scott Slovic, founding president of the Association for the Study of Literature and Environment, is professor of literature and environment at the University of Nevada, Reno, and is author, editor, or co-editor of fifteen books. He lives in Reno, Nevada.</p>Tom Lynch, Scott Slovicxerophiliatom-lynch9780896726383089672638X$33.60HardcoverTexas Tech University PressDecember 2008New EditionLiterary Criticism - General & Miscellaneous, Techniques & Strategies in Environmental Conservation & Protection, American Literature - Regional Literature - Literary Criticism, Natural Literature & History, Environmental Conservation & Protection - Gener2646.20 (w) x 8.30 (h) x 1.10 (d)<p>The arid American Southwest is host to numerous organisms described as desert-loving, or xerophilous. Extending this term to include the region’s writers and the works that mirror their love of desert places, Tom Lynch presents the first systematically ecocritical study of its multicultural literature. By revaluing nature and by shifting literary analysis from an anthropocentric focus to an ecocentric one, Xerophilia demonstrates how a bioregional orientation opens new ways of thinking about the relationship between literature and place. Applying such diverse approaches as environmental justice theory, phenomenology, border studies, ethnography, entomology, conservation biology, environmental history, and ecoaesthetics, Lynch demonstrates how a rooted literature can be symbiotic with the world that enables and sustains it. Analyzing works in a variety of genres by writers such as Leslie Marmon Silko, Terry Tempest Williams, Edward Abbey, Ray Gonzales, Charles Bowden, Susan Tweit, Gary Paul Nabhan, Pat Mora, Ann Zwinger, and Janice Emily Bowers, this study reveals how southwestern writers, in their powerful role as community storytellers, contribute to a sustainable bioregional culture that persuades inhabitants to live imaginatively, intellectually, and morally in the arid bioregions of the American Southwest.</p><p>The arid American Southwest is host to numerous organisms described as desert-loving, or zerophilous. Extending this class to include the region's writers and the works that mirror their love of desert places, Tom Lynch presents the first systematically ecocritical study of its multicultural literature.</p><P>Introduction The Southwest &#58; from region to bioregions 3<P>Ch. 1 Acequia culture &#58; watershed consciousness and environmental justice in literature of the Upper Rio Grande bioregion 41<P>Ch. 2 Border(home)lands &#58; bioregional readings in border literature 91<P>Ch. 3 Dignifying the overlooked &#58; invertebrates in Southwestern literature 140<P>Ch. 4 Re-sensing place &#58; ecological aesthetics, embodied experience, and environmental literature 177<P>Conclusion Saving Tortugas Arroyo &#58; are words enough? 227<P>Notes 233<P>Works cited 241<P>Index 253
384The New Anthology of American Poetry: Volume I: Traditions and Revolutions, Beginnings to 1900Steven Gould Axelrod0Steven Gould Axelrod (Editor), Camille Roman, Camille Roman (Editor), Thomas J. Travisano (Editor), Camille Romanthe-new-anthology-of-american-poetrysteven-gould-axelrod97808135316250813531624$36.05PaperbackRutgers University PressMarch 20031st EditionPoetry, American Literature Anthologies, Anthologies7686.10 (w) x 9.20 (h) x 1.40 (d)<p>When completed, this three-volume anthology will be the most balanced, inclusive, and comprehensive anthology of American poetry ever published. <i>The New Anthology of American Poetry</i> is designed to become the standard text for college courses in American poetry, and it will also appeal to general readers who wish to explore the range and diversity of this literary form.</p> <p>The series demonstrates how a succession of canons of American poetry have evolved, with certain poets silenced until the present day, while others who emerged and then faded are now ready to be retrieved. Readers will find more attention devoted to women poets and to artists from African American, Asian American, Latino, and Native American cultures than in any previous anthology. Readers will also encounter an extremely solid presentation of long-established writers. The anthology offers not just a unique and teachable selection of poets and poems, but also concise introductions to periods and styles, brief bibliographies of key primary and secondary texts, and critical selections on the art of poetry by the anthologized poets themselves.</p> <p class="null1">VOLUME I: Traditions and Revolutions, Beginnings to 1900</p> <p>Volume I begins with a generous selection of Native American materials, then spans the years from the establishment of the American colonies to about 1900, a world on the brink of World War I and the modern era. Part One focuses on poetry from the very beginnings through the end of the eighteenth century. The expansion and development of a newly forged nation engendered new kinds of poetry. Part Two includes works from the early nineteenth century through the time of the Civil War. The poems in Part Three reflect the many issues affecting a nation undergoing tumultuous change: the Civil War, immigration, urbanization, industrialization, and cultural diversification.</p> <p>Such well-recognized names as Anne Bradstreet, Edward Taylor, Phillis Wheatley, Edgar Allan Poe, Herman Melville, Walt Whitman, Emily Dickinson, and Stephen Crane appear in this anthology alongside such less frequently anthologized poets as George Horton, Sarah Helen Whitman, Elizabeth Oakes-Smith, Frances Harper, Rose Terry Cooke, Helen Hunt Jackson, Adah Menken, Sarah Piatt, Ina Coolbrith, Emma Lazarus, Albery Whitman, Owl Woman (Juana Manwell) Sadakichi Hartmann, Ernest Fenollosa, James Weldon Johnson, Paul Laurence Dunbar, and—virtually unknown as a poet—Abraham Lincoln. It also includes poems and songs reflecting the experiences of a variety of racial and ethnic groups.</p><p>The first of a three-volume series that will be the most comprehensive and innovative anthology of American poetry ever published.</p><article> <h4>Choice</h4>"it belongs on the shelf of every library and of every individual who understand that the voices of the poets set the moral tone of the US." </article>
385Contemporary U. S. Latino a Literary CriticismLyn Di Iorio Sandin0<p><p><B>Lyn Di Iorio Sand&#237;n</B> is the author of <I>Killing Spanish&#58; Literary Essays on Ambivalent U.S. Latino/a Identity</I> (Palgrave Macmillan 2004). She has recently finished her first novel called <I>Outside the Bones</I>, and her short fiction has been published in <I>The Bilingual Review</I>, <I>The Hogtown Creek Review</I>, and <I>The Texas Review</I>, among other venues. She is also the author of articles and translations. She is currently a specialist in Latino/a and Caribbean literatures at The City College of New York.<p><p><B>Richard Perez</B> is working towards his Ph.D. in English and American literatures at the City University of New York Graduate Center. He is currently writing his dissertation on the Specter in Post-colonial and Trans-American literature. His work has appeared in <I>Centro&#58; Journal of the Center for Puerto Rican Studies. </I>Perez also writes book reviews for <I>Tempo</I>, the Latino section of <I>The New York Post</I>. He teaches at Hunter College.<p></p>Lyn Di Iorio Sandin (Editor), Richard Perezcontemporary-u-s-latino-a-literary-criticismlyn-di-iorio-sandin97814039799951403979995$96.51HardcoverPalgrave MacmillanOctober 2007120th Century American Literature - General & Miscellaneous - Literary Criticism, Latinos - General, Latino Literature - Literary Criticism, American Literature Anthologies, 21st Century American Literature - Literary Criticism3045.50 (w) x 8.50 (h) x 0.81 (d)<p>This is the first inter-group and gender inclusive collection of scholarship in U.S. Latino literary criticism that begins with the assumption that the literature written by U.S. Latinos is as important an object of scholarship as U.S. Latino/a history, sociology, and culture, fields that have dominated previous inter-group anthologies. Some of the most important and insightful Latino and Latin<b>a</b> literary scholars in the field write on authors from the four major Latino/a groups— Cuban American, Dominican American, Mexican American, and Puerto Rican American. The anthology evaluates the state of U.S. Latino/a literary study and projects a vision of that study for the twenty-first century. This book is divided into four major areas of literary inquiry: analyses of the psychic relations between the Latino/a subject and its mimetic others; explorations of the complexities of race and Afro-Latino/a poetics; studies of the representation of labor in the Latino/a literary imagination; and genealogical and archival assessment of U.S. Latino literature’s relationship with America<b>n</b>, Caribbean, and Latin American literatures and histories.</p><p><p>This is the first inter-group and gender inclusive collection of scholarship in U.S. Latino literary criticism that begins with the assumption that the literature written by U.S. Latinos is as important an object of scholarship as U.S. Latino/a history, sociology, and culture, fields that have dominated previous inter-group anthologies. Some of the most important and insightful Latino and Latin<B>a</B> literary scholars in the field write on authors from the four major Latino/a groups-- Cuban American, Dominican American, Mexican American, and Puerto Rican American. The anthology evaluates the state of U.S. Latino/a literary study and projects a vision of that study for the twenty-first century. This book is divided into four major areas of literary inquiry&#58; analyses of the psychic relations between the Latino/a subject and its mimetic others; explorations of the complexities of race and Afro-Latino/a poetics; studies of the representation of labor in the Latino/a literary imagination; and genealogical and archival assessment of U.S. Latino literature&#8217;s relationship with America<B>n</B>, Caribbean, and Latin American literatures and histories. <p></p><p>The Latino Scapegoat&#58; Knowledge through Death in Short Stories by Joyce Carol Oates and Junot D&#237;az--Lyn Di Iorio Sand&#237;n * Alternative Visions and the Souvenir Collectible in Nelly Rosario's "Song of the Water Saints"--Victoria A. Chevalier <br>&bull; Spirited Identities&#58; Creole Religions, Creole/U.S. Latina Literature, and the Initiated Reader--Margarite Fern&#225;ndez Olmos <br>&bull; Racial Spills and Disfigured Faces in Piri Thomas's <i>Down These Mean</i> <i>Streets</i><i> </i>and Junot D&#237;az's "Ysrael"--Richard Perez <br>&bull; The Once and Future Latino&#58; Notes Toward a Literary History <i>todav&#237;a para llegar--</i>Kirsten Silva Gruesz * Hurricanes, Magic, and Politics in Cristina Garc&#237;a's <i>The Ag&#252;ero Sisters--</i>William Luis * Latin Americans and Latinos&#58; Terms of Engagement--Rom&#225;n de la Campa * Inheriting' Exile&#58; Cuban-American Writers in the Diaspora--O'Reilly Herrera * So your social is real?' Vernacular Theorists and Economic Transformation--Mary Pat Brady <br>&bull; Oscar Hijuelos&#58; Writer of Work--Rodrigo Lazo <br>&bull; Mass Production of the Heartland&#58; Cuban American Lesbian Camp in Achy Obejas's "Wrecks"--Maria DeGuzman<p>
386Brother to Brother: New Writings by Black Gay MenEssex Hemphill0Essex Hemphill (Editor), Chuck Tarver (Afterword), Jafari Allen (Introduction), Joseph Beambrother-to-brotheressex-hemphill97809786251150978625110$12.55PaperbackSmall Pr DistributionDecember 20072Short Story Anthologies, African Americans - Fiction & Literature, Gay & Lesbian Fiction3895.50 (w) x 8.50 (h) x 1.30 (d)<br> Literary Nonfiction. African American Studies. LGBT Studies. BROTHER TO BROTHER, begun by Joseph Beam and completed by Essex Hemphill after Beam's death in 1988, is a collection of now-classic literary work by black gay male writers. Originally published in 1991 and out of print for several years, BROTHER TO BROTHER "is a community of voices," Hemphill writes. "[It] tells a story that laughs and cries and sings and celebrates...it's a conversation intimate friends share for hours. These are truly words mined syllable by syllable from the harts of black gay men. You're invited to listen in because you're family, and these aren't secrets-not to us, so why should they be secrets to you? Just listen. Your brother is speaking." This new edition includes an introduction by Jafari Allen.<p>The late black activist and poet Essex Hemphill follows in the footsteps of Joseph Beam with this powerful anthology of fiction, essays, and poetry by black gay men.</p><h3>Publishers Weekly</h3><p>Believing that the ``gay community . . . operates from a one-eyed, one gender, one colorstet without hyphens. sg perception of community ,'' Beam and Hemphill have compiled a volume of writings that addresspk the emerging black gay sensibility in all of its glory, pain and promise. The strength of the book's politics, however,pk is undermined by offerings of dubious literary merit.pk Generally, the short fiction is only adequately written, depicting young closeted men afraid to come out to their abusive parents and peers. One exception is John Keene Jr.'s ``Adelphus King,'' a sweet tale about a man who falls head over heels for his cousin's boyfriend, a charismatic jazz musician. The poems in the collection speak routinely about sex and love; the most touching deal with the loss of loved ones to AIDS. By far, the most satisfying writing is Ron Simmons's incisive ``Some thoughts on challenges facing black gay intellectuals,'' which exposes the homophobic views of many black writers and calls for the development of ``an affirming and liberating philosophical understanding of homosexuality that will self-actualize black gay genius.'' Hemphill is a poet; Beam, who edited In the Life , died in 1988. (June)</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Believing that the ``gay community . . . operates from a one-eyed, one gender, one colorstet without hyphens. sg perception of community ,'' Beam and Hemphill have compiled a volume of writings that addresspk the emerging black gay sensibility in all of its glory, pain and promise. The strength of the book's politics, however,pk is undermined by offerings of dubious literary merit.pk Generally, the short fiction is only adequately written, depicting young closeted men afraid to come out to their abusive parents and peers. One exception is John Keene Jr.'s ``Adelphus King,'' a sweet tale about a man who falls head over heels for his cousin's boyfriend, a charismatic jazz musician. The poems in the collection speak routinely about sex and love; the most touching deal with the loss of loved ones to AIDS. By far, the most satisfying writing is Ron Simmons's incisive ``Some thoughts on challenges facing black gay intellectuals,'' which exposes the homophobic views of many black writers and calls for the development of ``an affirming and liberating philosophical understanding of homosexuality that will self-actualize black gay genius.'' Hemphill is a poet; Beam, who edited In the Life , died in 1988. June </article>
387The New World Border: Prophecies, Poems, and Loqueras for the End of the CenturyGuillermo Gomez-Pena0Guillermo Gomez-Penathe-new-world-borderguillermo-gomez-pena97808728631320872863131$15.27HardcoverCity Lights BooksJanuary 2001United States Studies - General & Miscellaneous, Literature Anthologies - General & Miscellaneous, National Characteristics - North America, American Literature Anthologies2446.00 (w) x 8.00 (h) x 0.60 (d)<p>Poetry. Latin American Studies. THE NEW WORLD BORDER is a new collection of essays, poems, and performance text through which Gomez-Pena muses on matters of race, nationality, language, and identity. The book is a carnivalesque inversion of ethnic and geo-political ideology, a disorienting free-fall into the space between cultures, and a head-on collision with real and imagined borders. Gomez-Pena won international acclaim for his efforts to create a hybrid culture and articulate a borderless ethos, and has been called an intercultural interpreter, reverse anthropologist, experimental linguist, and political artist of the first order. The Village Voice proclaims "In everything he does, he remains an indomitably playful phrasemaker; a fertile rethinker of contradictions, clichés, and conundrums; and an inspiring recruiter for a playground army of cultural pluralists".</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Freefalling Toward a Borderless Future</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Free Trade Art Agreement</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The New World Border</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Just Don't Know What to Think of Your Country</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Real-Life Border Thriller</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Could Only Fight Back in My Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Psycho in the Lobby of the Theater</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The '90s Culture of Xenophobia</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">News from Aztlan Liberado</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chicanost: Radio Nuevo Orden</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Colonial Dreams/Post-Colonial Nightmares</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Naftaztec: Pirate Cyber-TV for A.D. 2000</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Borderama</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Seminar on Museum Race Relations</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On U.S./Mexico Relations</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">15 Ways of Relating Across the Border</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Terreno Peligroso/Danger Zone</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Des-Encuentro De 3 Mun-2</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Artist as Criminal</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dedicatorias</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Besame Mucho</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Rey Del Cruce</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Migration</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where Were You During All Those Years?</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glossary of Borderismos</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Appendix: End-of-the-Century Topography Review</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD></table><article> <h4>Library Journal</h4>Performance artist and self-proclaimed "reverse anthropologist," Gomez-Pea slashes and burns his way through the social jungle like a Latino Berzerker. Clear and energetic, he levels all, and I mean all, cultural dragons. He is not the first to observe that change in the late 20th century has been so enormous that the entire world, especially the United States, has plunged into a deep identity crisis, but unlike some social critics, he offers hope. First, he argues, we must recognize that no one is innocent. Then, only by accepting the inevitability of our innate hybridization will we find a healthy context for genuine growth. Taken from several projects, the author's poems and texts are astute, biting, and often painfully funny. Like any good trickster, he tries to awaken us by teaching how important it is to laugh at ourselves. Read at risk to your own complacency.Susan Olcott, Columbus Metropolitan Lib., Ohio </article>
388Literatura Chicana, 1965-1995: An Anthology in Spanish, English, and Calo, Vol. 191Garland0<b>Manuel de Jes(oe)s Hern ndez-Guti rrez</b> is an Associate Professor, and David William Foster is a Regents' Professor of Spanish, Arizona State University.Garland, David Foster (Editor), Manuel De Jesus Hernandez-Gutierliteratura-chicana-1965-1995garland97808153208070815320809$84.75PaperbackRoutledgeMarch 19971st EditionAmerican Literature Anthologies5205.50 (w) x 8.50 (h) x 1.05 (d)<b>Illuminates major themes and artistic visions</b><br> The only comprehensive anthology of Chicano literature, this work charts the rise and evolution of contemporary Mexican American writing in the context of its major themes: the search for identity, feminism, conservatism, revisionism, homoeroticism, and internationalism. These are the symbolic lenses that through language have focused on the artistic visions that since the mid-l960s have earned Chicano literary works national and international prizes and critical acclaim.<br> <br> <b>Includes</b> <b>selections from the best writers</b><br> The texts presented in this anthology include late-19th and early 20th-century "oppositional" writings, as well as works with dominant rural or urban settings. The selections include three of the five writers-Gloria Anzald(oe)a, Lorna Dee Cervantes, and Luis Valdez-whose work has been included by the College Board in the Recommended Reading List for the Advanced Placement Exam of the Educational Testing Service. Comprising eight essays, sixteen short stories, thirty poems, three plays, and two complete novels, the collection is meant not only for a new generation of Chicana/o students but also for general Anglo-American, Latin American, and Peninsular readers.<br> <br> <b>Special Features</b><br> Represents every major figure in the development of Chicano literature. * Emphasizes the place of Chicano literature in the broader Hispanic tradition. * Provides both Spanish and English texts. * Details historical and cultural references for contemporary readers. * Explains little-known colloquial and regional uses of Spanish. * Several authors have revised their texts especially for thisedition.<br> <br> <b>Suitable</b> <b>for Courses in:</b> Literature (in English and Spanish): Chicano Literature; Ethnic American Literature; Contemporary American Literature; Literature by American Women; Literature in Spanish by Women; Literature of the American West<p><b>Illuminates major themes and artistic visions</b><br>The only comprehensive anthology of Chicano literature, this work charts the rise and evolution of contemporary Mexican American writing in the context of its major themes&#58; the search for identity, feminism, conservatism, revisionism, homoeroticism, and internationalism. These are the symbolic lenses that through language have focused on the artistic visions that since the mid-l960s have earned Chicano literary works national and international prizes and critical acclaim.<br><br><b>Includes</b> <b>selections from the best writers</b><br>The texts presented in this anthology include late-19th and early 20th-century "oppositional" writings, as well as works with dominant rural or urban settings. The selections include three of the five writers-Gloria Anzald(oe)a, Lorna Dee Cervantes, and Luis Valdez-whose work has been included by the College Board in the Recommended Reading List for the Advanced Placement Exam of the Educational Testing Service. Comprising eight essays, sixteen short stories, thirty poems, three plays, and two complete novels, the collection is meant not only for a new generation of Chicana/o students but also for general Anglo-American, Latin American, and Peninsular readers.<br><br><b>Special Features</b><br>Represents every major figure in the development of Chicano literature. * Emphasizes the place of Chicano literature in the broader Hispanic tradition. * Provides both Spanish and English texts. * Details historical and cultural references for contemporary readers. * Explains little-known colloquial and regional uses of Spanish. * Several authors have revised their texts especially for thisedition.<br><br><b>Suitable</b> <b>for Courses in&#58;</b> Literature (in English and Spanish)&#58; Chicano Literature; Ethnic American Literature; Contemporary American Literature; Literature by American Women; Literature in Spanish by Women; Literature of the American West</p><b>endice de Materias/Contents</b><P>Manuel de Jesoes Hern ndez-Guti rrez, "Prefacio&#58; Tres d cadas de literatura chicana contempor nea" * "Preface&#58; Three Decades of Contemporary Chicana/o Literature" * Felipe G. Castro and Edward Escobar, "Presentaci-n&#58; Chicana/o Literature&#58; A Generational Tapestry of Colors"<P> <b>Ensayo/Essay</b><P> Francisco H. V zquez, "Chicanology&#58; A Postmodern Analysis of Meshicano Discourse" (1992) * Ysidro Ram-n Macias, "The Evolution of the Mind" (1969) * Octavio Ignacio Romano-V., "The Historical and Intellectual Presence of Mexican Americans" (1969) * Richard Rodriguez, "Prologue&#58; Middle-Class Pastoral" (1981) from "Hunger of Memory" * Cherrie Moraga, "La GYera" (1981) * Gloria Anzaldoea, "La conciencia de la mestiza&#58; Towards a New Consciousness" (1987) * Jos Antonio Burciaga, "Pendejismo" (1993) * Cordelia Candelaria, "Letting La Llorona Go, or, Re/reading History's 'Tender Mercies'" (1993)<P> <b>Cuento/Short Story</b> Jorge Ulica, "Do You Speak Pocho...?" (1924) * Mario Su rez, "El Hoyo" (1947) * Tom s Rivera, "Las salamandras" (1974) * Estela Portillo Trambley, "The Paris Gown" (1975; 1993) * Rolando R. Hinojosa-Smith, "Feliz cumplea-os, E.U.A." (1979) * Alejandro Murgu'a, "A Long Walk" (1980, 1996) * Jim Sagel, "La junta" (1980) * Alberto Alvaro R'os , "Then They'd Watch Comedies" (1984) * Helena Maria Viramontes, "The Moths" (1985) * Gary Soto, "Looking for Work" (1985) * Beverly Silva, "The Cat" (1986) * Miguel M ndez-M., "Huachusey" (1986) * Gloria Vel squez, "Fugitive" (1987) * Ricardo Aguilar Melantz-n, "Cumplir mi justa condena..." (1987) * Sabine Ulibarri, "El conejo pionero" (1988) * Sergio Elizondo, "Coyote emplumado" (1988)<P> <b>Poes'a/Poetry</b><P> Anonimo, "Corrido de Joaqu'n Murrieta" (c.1850) * Anonimo, "Corrido de Gregorio Cortez" (c.1901) * Jesoes Maria H. Alarid, "El idioma espa-ol" (1889) * Rodolfo "Corky" Gonzales, "I Am Joaquin" (1967) * Abelardo ("Lalo" Delgado), "Stupid America" (1969) * Jos Montoya, "El Louie" (1969) * Margarita Cota-C denas, "Crisis de identidad, o, Ya no chingues" (1970) * raoelrsalinas, "Los caudillos" (1970) * Alurista (Alberto Baltazar Urista), "Tarde sobria" (1971) * Ricardo S nchez, "Barrios of the World" (1971) * Luis Omar Salinas, "Death in Vietnam" (1972) * Yolanda Luera, "Aborto" (1975) * Gary Soto, "Daybreak" (1977); "Mexicans Begin Jogging" (1981) * Jos Antonio Burciaga, "Poema en tres idiomas y cal-" (1977) * Bernice Zamora, "Notes from a Chicana 'Coed'" (1977) * Lorna Dee Cervantes, "Beneath the Shadow of the Freeway" (1977) * Alberto Alvaro Rios, "Mi abuelo" (1982) * Juan Felipe Herrera, "Are You Doing That New Amerikan Thing?" (1983) * Jimmy Santiago Baca, "Pinos Wells" (1984) * Carlos Cumpi n, "Kilotons and Then Some" (1985) * Reyes C rdenas, "Padre Nuestro Que Est s en el Banco" (1986) * Rub n Medina, "C-mo desnudar a una mujer con un saxof-n" (1986) * Gina Vald s, "Comiendo lumbre" (1986) * Tino Villanueva, "Unci-n de palabras" (1987) * Demetria Mart'nez, "Nativity&#58; For Two Salvadoran Women, 1986-1987" (1989) * B rbara Brinson Curiel, "Recipe&#58; Chorizo con Huevo Mado in the Microwave" (1989) * Francisco Alarc-n, "Me gusta caminar junto a tu lado" (1991) * Luis Rodriguez, "The Blast Furnace" (1991) * Alma Luz Villanueva, "Trust" (1992)<P> <b>Teatro/Theater</b><P> Luis Valdez, <i>Las Dos Caras del Patroneito </i>(1965); <i>Los Vendidos </i>(1967) * Cherrie Moraga, <i>Giving Up the Ghost </i>(1986, 1994)<P> <b>Novela/Novel</b><P> Aristeo Brito, <i>El diablo en Texas</i> (1976) * Gina Vald s, <i>There Are No Madmen Here</i> (1981, 1996)<P>
389So FeySteve Berman0Steve Bermanso-feysteve-berman97815902122881590212282$18.00PaperbackLethe PressJune 2009Peoples & Cultures - American Anthologies, Gay & Lesbian Literature Anthologies3486.00 (w) x 9.00 (h) x 0.78 (d)The legends of Fairyland tell that one should never taste the food or sip the drink, or else risk being caught there forever. But the tempting morsels in So Fey are irresistible! Lambda Award-finalist editor Steve Berman brings together acclaimed fantasy writers with some of the brightest names in speculative and LGBT fiction to create tales that are moving and magical. These stories of romance and grief, adolescence and identity, struggle and hope will enchant readers who long for a fantastic escape--and a wonderful twist! One sample of this bewitching treat is sure to trap you in its pages! <p>From the pains of loss in Holly Black's "The Coat of Stars" to dealing with issues of identity in Richard Bowes's "The Wand's Boy" to Melissa Scott's look at the dangers of love in "Mister Seeley" So Fey: Queer Fairy Fiction takes you into worlds that are at once amazing and familiar. With tales that tear and tug at the heart but never cease to enchant, this exciting and unique collection of 22 stories will last long in the minds of readers.</p><p><P>The legends of Fairyland tell that one should never taste the food or sip the drink, or else risk being caught there forever. But the tempting morsels in So Fey are irresistible! Lambda Award-finalist editor Steve Berman brings together acclaimed fantasy writers with some of the brightest names in speculative and LGBT fiction to create tales that are moving and magical. These stories of romance and grief, adolescence and identity, struggle and hope will enchant readers who long for a fantastic escape&#151;and a wonderful twist! One sample of this bewitching treat is sure to trap you in its pages! <br><br>From the pains of loss in Holly Black's "The Coat of Stars" to dealing with issues of identity in Richard Bowes's "The Wand's Boy" to Melissa Scott's look at the dangers of love in "Mister Seeley" So Fey&#58; Queer Fairy Fiction takes you into worlds that are at once amazing and familiar. With tales that tear and tug at the heart but never cease to enchant, this exciting and unique collection of 22 stories will last long in the minds of readers.</p>
390Imagined Transnationalism: U. S. Latino/A Literature, Culture, and IdentityKevin Concannon0<p><p><p><B>Kevin Concannon</B> is Assistant Professor of English at Texas A&M University, Corpus Christi. His areas of specialty include Border Studies, Latino and Latina Studies, and 20th-Century U.S. Ethnic Literatures.<p><B>Francisco Lomel&#237;</B> is Professor and Chair of Spanish & Portuguese at the University of California at Santa Barbara. He specializes in Latin American and Chicana/o literatures, Cultural Studies, Border Studies, and Spanglish, having co-written a recent book entitled <I>Defying the Inquisition in Colonial New Mexico&#58; Miguel de Quintana's Life and Writings </I>(2006).<p><B>Marc Priewe</B> is Assistant Professor of American Studies at the University of Potsdam, Germany and Author of <I>Writing Transit&#58; Refiguring National Imaginaries in Chicana/o Narratives</I> (2007). His areas of specialty include Latino and Latina Studies, Cultural Studies, and Early American Literature.<p><p></p>Kevin Concannon (Editor), Francisco A. Lomeli (Editor), Marc Prieweimagined-transnationalismkevin-concannon97802306063260230606326$95.00HardcoverPalgrave MacmillanNovember 2009Latinos, American Literature Anthologies, Development2725.70 (w) x 8.30 (h) x 0.80 (d)<p>With its focus on Latino and Latina communities in the United States,&nbsp;this book&nbsp;investigates narrative and aesthetic strategies that are employed to represent transnational experiences in literary and cultural texts. Specifically concerned with how real and imagined movements between Latin American countries and the U.S. generate diverse conceptualizations of nationalism and transnationalism, this collection explores notions of identity, citizenship, and belonging in the past, present, and future.</p><p><p>With its focus on Latino and Latina communities in the United States, this book investigates narrative and aesthetic strategies that are employed to represent transnational experiences in literary and cultural texts. Specifically concerned with how real and imagined movements between Latin American countries and the U.S. generate diverse conceptualizations of nationalism and transnationalism, this collection explores notions of identity, citizenship, and belonging in the past, present, and future.<p></p><P>Figures and Tables v<P>Introduction Kevin Concannon Francisco A. Lomel&iacute; Marc Priewe 1<P>1 Chicano Transnation Bill Ashcroft 13<P>2 A Schematic Approach to Understanding Latino Transnational Literary Texts Nicol&aacute;s Kanellos 29<P>3 Para Espa&ntilde;ol Oprima El N&uacute;mero Dos&#58; Transnational Translation and U.S. Latino/a Literature Marta E. S&aacute;nchez 47<P>4 Transnational Migrations and Political Mobilizations&#58; The Case of A Day without a Mexican Mar&iacute;a Herrera-Sobek 61<P>5 Imagining Transnational Chicano/a Activism against Gender-Based Violence at the U.S.-Mexican Border Claudia Sadowski-Smith 75<P>6 Precursors of Hemispheric Writing&#58; Latin America, the Caribbean, and Early U.S. American Identity Gabriele Pisarz-Ram&iacute;rez 95<P>7 Slammin' in Transnational Heterotopia&#58; Words Being Spoken at the Nuyorican Poets Cafe Haraid Zapf 117<P>8 "A Broader and Wiser Revolution"&#58; Refiguring Chicano Nationalist Politics in Latin American Consciousness in Post-Movement Literature Tim Libretti 137<P>9 With Bertolt Brecht and the Aztecs Toward an Imagined Transnation&#58; A Literary Case Study Karin Ikas 157<P>10 Travel, Autoethnography, and Oppositional Consciousness in Juan Felipe Herrera's Mayan Drifter Maria Ant&ograve;nia Oliver-Rotger 171<P>11 D&oacute;nde est&aacute;s vos/z?&#58; Performing Salvadore&ntilde;idades in Washington, DC Ana Patricia Rodr&iacute;guez 201<P>12 The Final Frontier&#58; Guillermo G&oacute;mez-Pe&ntilde;a's The Great Mojado Invasion Catherine Leen 221<P>13 Writing the Haitian Diaspora&#58; The Transnational Contexts of Edwidge Danticat's The Dew Breaker Ricardo L. Ort&iacute;z 237<P>Notes on Contributors 257<P>Index 261
391Literature and Aging: An AnthologyMartin Kohn0Martin Kohn (Editor), Delese Wear (Editor), Carol Donleyliterature-and-agingmartin-kohn97808733846670873384660$29.00PaperbackKent State University PressFebruary 1993Aging - General & Miscellaneous, Literature Anthologies - General & Miscellaneous, Gerontology, English & Irish Literature Anthologies, American Literature Anthologies4566.25 (w) x 9.18 (h) x 1.13 (d)<table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editors' Statements</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Aging and Identity</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Monet Refuses the Operation</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Next Day</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Worn Path</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Clean, Well-Lighted Place</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Workhouse Ward</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Space Crone</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Flood's Party</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Old Man's Winter Night</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Provide, Provide</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Woman Alone</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Virginia Portrait</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miss Rosie</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lady</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On A Winter Night</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to be Old</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fortitude</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Jilting of Granny Weatherall</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Aging and Love</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pleasures of Old Age</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Medicine</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Now, Before the End, I Think</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bean Eaters</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crazy Jane Talks with the Bishop</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Asphodel, That Greeny Flower</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Are Nighttime Travelers</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandma's Got a Wig</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Retirement</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epstein</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Linden Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fallback</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Aging and the Family</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tell Me A Riddle</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Porte-Cochere</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Everything That Rises Must Converge</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Jewbird</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Maggie of the Green Bottles</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Joy Luck Club</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandfather in the Old Men's Home</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Father-in-Law's Contract</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stroke</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandmother and Grandson</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sandbox</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The 90th Year</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stroke</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strokes</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandmother's Stroke</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sequel</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Appropriate Affect</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spelling</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Aging and the Community</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Emperor of the Air</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Very Old</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Near the Old People's Home</TD><TD WIDTH="10%" ALIGN="RIGHT">309</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Makes a House Call</TD><TD WIDTH="10%" ALIGN="RIGHT">310</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ancient Gentility</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Hell with Dying</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Toenails</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Misery</TD><TD WIDTH="10%" ALIGN="RIGHT">326</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Visit of Charity</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dillinger in Hollywood</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Idiots First</TD><TD WIDTH="10%" ALIGN="RIGHT">347</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What You Hear From 'Em?</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Doc Rivers</TD><TD WIDTH="10%" ALIGN="RIGHT">368</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leaving the Yellow House</TD><TD WIDTH="10%" ALIGN="RIGHT">388</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black and White</TD><TD WIDTH="10%" ALIGN="RIGHT">415</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Authors</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">427</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD></table>
392Salaam. Peace: An Anthology of Middle Eastern-American DramaHolly Hill0Holly Hillsalaam-peaceholly-hill97815593633271559363320$19.95PaperbackTheatre Communications GroupJanuary 2010Drama Anthologies, American Drama, American Literature Anthologies4006.00 (w) x 8.90 (h) x 1.20 (d)<p>This groundbreaking anthology is a collection of new plays by American writers of a variety of Middle Eastern backgrounds, from artists born in Egypt and Iran, to Israeli and Palestinian Americans. These plays—written in a diversity of theatrical styles ranging from lyrical drama to satiric comedy—are personal and political, fresh and important. They represent artists negotiating the complexities of Middle Eastern identity in America, while dealing with the ravages of war and violence in their families’ homelands.</p> <p>Included are:</p> <p><i>Ten Acrobats in an Amazing Leap of Faith</i> by Yussef el-Guindi<br> <i>Between Our Lips</i> by Nathalie Handal<br> <i>Nine Parts of Desire</i> by Heather Raffo<br> <i>The Black Eyed</i> by Betty Shamieh<br> <i>Call Me Mehdi</i> by Torange Yeghiazarian<br> <i>Browntown</i> by Samir Younis<br> <i>Desert Sunrise</i> by Misha Shulman</p> <p><b>Holly Hill</b> is the author of <i>Playing Joan</i> and <i>Actors’ Lives</i>, published by Theatre Communications Group. A critic and feature writer published widely in the United States and United Kingdom, Hill was the former New York theater correspondent for <i>The Times</i> of London and the director of the Arabic Theater Project from 1997 to 2000.</p> <p><b>Dina Amin</b> is the assistant professor of Arab Literature &amp; Culture and Theatre at Villanova University. She directs in the United States and Egypt, in Arabic and English. Amin has published in major academic journals and has translated a number of Arabic plays into English.</p><p><P>The first anthology of its kind, collecting plays of our time.</p>
393Plays and Playwrights 2008Robert Attweiler0<p>Edited by Martin Denton and with a foreword by Variety reviewer, Mark Blankenship, the book also includes biographical data about all of the featured playwrights, an extensive introductory essay, and an appendix listing new American plays produced in New York City during the season. All of the plays here were originally produced in New York City during the 2005-2006 theatre season.<p></p>Robert Attweiler, Daniel Reitz, Crystal Skillman, Leslie Bramm, Daniel Talbottplays-and-playwrights-2008robert-attweiler97809794852130979485215$16.61PaperbackNew York Theatre Experience, Incorporated, TheFebruary 2008Drama Anthologies, American Drama, American Literature AnthologiesThis anthology contains the following complete plays: THE TELLING TRILOGY by Crystal Skillman<br> A gripping and often chilling full length play that explores the nature of loss, comprising three linked tales of the supernatural. WHAT HAPPENED WHEN by Daniel Talbott Two young men, brothers who have recently been separated, reunite of a night of reminiscence and truth telling. ANTARCTICA by Carolyn Raship<br> In this sometimes surreal fantasia of growing up, Magda and Winnie set out to become the first American Girls to make an expedition to the South Pole. CLEANSED by Thomas Bradshaw An envelope-pushing drama about a biracial teenage girl who joins a white supremacist group. LINNEA by John Regis A young writer who is obsessed by Dostoyevsky lives out his own NYC dream version of The Idiot in this remarkable coming-of-age tale. . . . AND WE ALL WORE LEATHER PANTS by Robert Attenweiler In this wild and pyrotechnically poetic comedy, a Midwestern American family searches for redemption in the world of heavy metal &amp; glam rock. MARVELOUS SHRINE by Leslie Bramm 17-year-old Marvelous isn't sure if he's gay, but he knows he wants to play music. His parents battle over his destiny, and nobody wins in this moving drama. IN OUR NAME by Elena Hartwell A triptych of short, breathtaking one-acts about the ways that the War in Iraq has hit home, especially among American women. UNIVERSAL ROBOTS by Mac Rogers A riveting sci-fi cautionary tale inspired by the lives and works of Czech writer/activists Karel &amp; Josef Capek, especially the play R.U.R. which gave us the word "robot." FALL FORWARD by Daniel Reitz A play about choices and figuring out what really matters, originally performed in a MethodistChurch two blocks from the World Trade Center.<p>This anthology contains the following complete plays: THE TELLING TRILOGY by Crystal Skillman<br>A gripping and often chilling full length play that explores the nature of loss, comprising three linked tales of the supernatural. WHAT HAPPENED WHEN by Daniel Talbott Two young men, brothers who have recently been separated, reunite of a night of reminiscence and truth telling. ANTARCTICA by Carolyn Raship<br>In this sometimes surreal fantasia of growing up, Magda and Winnie set out to become the first American Girls to make an expedition to the South Pole. CLEANSED by Thomas Bradshaw An envelope-pushing drama about a biracial teenage girl who joins a white supremacist group. LINNEA by John Regis A young writer who is obsessed by Dostoyevsky lives out his own NYC dream version of The Idiot in this remarkable coming-of-age tale. . . . AND WE ALL WORE LEATHER PANTS by Robert Attenweiler In this wild and pyrotechnically poetic comedy, a Midwestern American family searches for redemption in the world of heavy metal & glam rock. MARVELOUS SHRINE by Leslie Bramm 17-year-old Marvelous isn't sure if he's gay, but he knows he wants to play music. His parents battle over his destiny, and nobody wins in this moving drama. IN OUR NAME by Elena Hartwell A triptych of short, breathtaking one-acts about the ways that the War in Iraq has hit home, especially among American women. UNIVERSAL ROBOTS by Mac Rogers A riveting sci-fi cautionary tale inspired by the lives and works of Czech writer/activists Karel & Josef Capek, especially the play R.U.R. which gave us the word "robot." FALL FORWARD by Daniel Reitz A play about choices and figuring out what really matters, originally performed in a MethodistChurch two blocks from the World Trade Center.<p></p>
394Call and Response: The Riverside Anthology of the African American Literary Tradition CDPatricia Liggins Hill0Patricia Liggins Hill (Editor), Patricia Liggins Hill, Bernard W. Bell (Editor), Bernard W. Bellcall-and-responsepatricia-liggins-hill97803958750940395875099$10.79MultimediaCENGAGE LearningJanuary 19981st EditionPeoples & Cultures - American Anthologies5.00 (w) x 4.90 (h) x 0.20 (d)<p>More than a decade in the making, <i>Call and Response</i> is a ground-breaking anthology of African American literature, unique in its placing equal emphasis on the written and the oral dimensions of the black aesthetic. It traces the centuries-long emergence of this distinct literary tradition from its earliest roots in African proverbs, folktales, and chants to its latest flowering in the works of such writers as Rita Dove, August Wilson, and Terry McMillan. Here, in 2,000 pages and 550 selections, is (in the words of Richard Wright) the "long black song" of African American life, sung in a great choir of voices, from the slaves of the 1600s to the rap artists, orators, novelists, and poets of today.</p> <p>Among the works included are Frederick Douglass's <i>Life ...</i> and Toni Morrison's <i>The Bluest Eyes</i>--both presented complete and unabridged. Here too are hundreds of spirituals and work songs, jazz and blues lyrics, poems, plays, stories, and speeches. An audio CD, produced in conjunction with the Smithsonian Institution, features many of the texts as spoken or sung by their creators.</p><p><P>More than a decade in the making, <I>Call and Response</I> is a ground-breaking anthology of African American literature, unique in its placing equal emphasis on the written and the oral dimensions of the black aesthetic. It traces the centuries-long emergence of this distinct literary tradition from its earliest roots in African proverbs, folktales, and chants to its latest flowering in the works of such writers as Rita Dove, August Wilson, and Terry McMillan. Here, in 2,000 pages and 550 selections, is (in the words of Richard Wright) the "long black song" of African American life, sung in a great choir of voices, from the slaves of the 1600s to the rap artists, orators, novelists, and poets of today. <P>Among the works included are Frederick Douglass's <I>Life ...</I> and Toni Morrison's <I>The Bluest Eyes</I>--both presented complete and unabridged. Here too are hundreds of spirituals and work songs, jazz and blues lyrics, poems, plays, stories, and speeches. An audio CD, produced in conjunction with the Smithsonian Institution, features many of the texts as spoken or sung by their creators.</p>
395U.S. Latino Literature TodayGabriela Baeza Ventura0Gabriela Baeza Venturaus-latino-literature-todaygabriela-baeza-ventura97803211984330321198433$66.20PaperbackLongmanAugust 20041st EditionLatinos - General, Peoples & Cultures - American Anthologies3526.40 (w) x 9.00 (h) x 0.90 (d)<p><b>An anthology of contemporary Latino literature that offers a wide range of literary genres, themes, authors in one volume.</b></p><p><P>An anthology of contemporary Latino literature that offers a wide range of literary genres, themes, authors in one volume.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT">xi</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">xv</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Native</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Taos Pueblo Indians: 700 strong according to Bobby's last census"</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"el sarape de mi personalidad"</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Martin III"</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Belonging"</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Refugee Ship"</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Marina Mother"</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Affirmations #3, Take Off Your Mask"</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"These Days"</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Loisaida"</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Hyphenated Man"</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Lessons in Semantics"</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"AmeRican"</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Legal Alien"</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Ending Poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Lower East Side Poem"</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Wet Camp"</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Am America"</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Chicano Dropout"</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prose</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Secret Latina at Large"</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Silent Dancing"</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Hammon and the Beans"</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Dichos"</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Zoo Island"</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"On Becoming"</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Dallas"</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Senior Picture Day"</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Prologue" to Seven Long Times</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Birthday"</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Desert Vista"</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Essay</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"La Guera"</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Exile"</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drama</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Los Vendidos"</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Exile and Immigration</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"United States"</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Nocturnal Visits"</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"America"</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Nicaragua"</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Campesinos Go Down the Roads"</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Federico's Ghost", "Revolutionary Spanish Lesson"</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Self-Portrait"</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Dog"</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hymn of the Exile"</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Bilingual Blues"</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Song for Wall Street"</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prose</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"All I Thought about Was Disneyland"</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Snow" from How the Garcia Girls Lost Their Accents</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Toward Patzun"</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Immigrants"</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Prelude" from Testimony: Death of a Guatemalan Village</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The One-Flower Slippers" from The Little School</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Spared Angola"</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Essay</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Politics of Exile"</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Our America"</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drama</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Super</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transcultural</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Somewhere between Houston and El Paso"</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Tango for the Broom"</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Huitlacoche Crepes"</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Illiterati"</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Night Cruising"</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Las a-e-i-o-u's de los ums seeking tongues of migratin' letras que ain't no way hiding"</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spoken Word Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Intensidad - N"</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Lengualistic Algo"</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Cumbia de salvacion"</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Jetties Were the Bridges I Crossed"</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Peeping Tom-Tom Girl"</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"My Name's Not Rodriguez"</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Seven African Gods"</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Reinvention of Zero"</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prose</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Tino", "Piojos"</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Aguantando"</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"La Quebrada"</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Senoritas in Love"</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Crossing the Border" from Diary of an Undocumented Worker</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Miami International Airport"</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drama</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Simply Maria or The American Dream"</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Essay</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"How to Tame a Wild Tongue"</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Danger Zone: Cultural Relations between Chicanos and Mexicans at the End of the Century"</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Questions to Consider</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronology</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Film List</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Author Websites and Other Resources</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Credits</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">323</TD></TABLE>
396Death Defying ActsWoody Allen0Woody Allen, Elaine May, David Mametdeath-defying-actswoody-allen97805736953910573695393$9.55PaperbackSamuel French, IncorporatedJanuary 19961st EditionDrama Anthologies, American Drama, Comedy - Drama, American Literature Anthologies1325.00 (w) x 8.00 (h) x 0.28 (d)Short Plays / Comedy / 2m, 3f / 3 ints. <p>This long-running Off Broadway hit features the work of three gifted playwrights. David Mamet's AN INTERVIEW is an oblique, mystifying interrogation. A sleazy lawyer is forced to answer difficult questions and to admit the truth about his life and career. The why and where of the interrogation provide a surprise ending to this brilliant twenty minute comedy. In HOTLINE by Elaine May, a neurotic woman with enough urban angst to fill a neighborhood calls a suicide crisis hotline late one night. The counselor who gets the call is overwhelmed - it is his first night on the job. This dark and desperate, wildly funny forty minute piece ends Act 1. A well to do psychiatrist has just discovered that her best friend is having an affair with her husband in Woody Allen's wildly comic second act, CENTRAL PARK WEST. She has invited the friend over for a confrontation after getting thoroughly soused. Meanwhile, the husband is about to run off with a college student. CENTRAL PARK WEST provides an hour of constant hilarity.</p> <p>"A wealth of laughter."-N.Y. Newsday</p> <p>"Lighter than air, an elegant diversion."-N.Y. Times</p><p>Short Plays / Comedy / 2m, 3f / 3 ints.<p>This long-running Off Broadway hit features the work of three gifted playwrights. David Mamet's AN INTERVIEW is an oblique, mystifying interrogation. A sleazy lawyer is forced to answer difficult questions and to admit the truth about his life and career. The why and where of the interrogation provide a surprise ending to this brilliant twenty minute comedy. In HOTLINE by Elaine May, a neurotic woman with enough urban angst to fill a neighborhood calls a suicide crisis hotline late one night. The counselor who gets the call is overwhelmed - it is his first night on the job. This dark and desperate, wildly funny forty minute piece ends Act 1. A well to do psychiatrist has just discovered that her best friend is having an affair with her husband in Woody Allen's wildly comic second act, CENTRAL PARK WEST. She has invited the friend over for a confrontation after getting thoroughly soused. Meanwhile, the husband is about to run off with a college student. CENTRAL PARK WEST provides an hour of constant hilarity. <p>"A wealth of laughter."-N.Y. Newsday <p>"Lighter than air, an elegant diversion."-N.Y. Times</p>
397American Studies AnthologyRichard P. Horwitz0<p>Richard P. Horwitz is professor of American studies at the University of Iowa, visiting scholar of American civilization at Brown University, and senior fellow in the Coastal Institute at the University of Rhode Island.</p>Richard P. Horwitzamerican-studies-anthologyrichard-p-horwitz97808420282950842028293$44.65PaperbackSr BooksAugust 20011st EditionUnited States History - Social Aspects, United States Studies - General & Miscellaneous, United States History - General & Miscellaneous, National Characteristics - North America, American Literature Anthologies4160.93 (w) x 6.00 (h) x 9.00 (d)<p>A rich and rewarding subject of popular imagination, the United States is compellingly portrayed in this first anthology designed specifically for American studies courses. Offering an indispensable introduction to the long and varied history of generalizing about America, leading scholar Richard Horwitz has compiled the definitive anthology for American studies and American culture courses. Brimming with imaginative selections, the reader contains essays, plays, songs, comedy, legal documents, speeches, and poems by a rich array of authors-both domestic and international-whose writings echo recurring American themes. Collectively, the anthology identifies the ways in which scholars and popularizers have attempted to characterize America. Horwitz's insightful introduction summarizes key themes in the study of American culture as he traces the history of the field as well as current controversies. He avoids heavy jargon yet presents a nuanced view of the foundational works in American studies. Preceding the readings with concise, informative introductions, Horwitz seamlessly guides the reader through this distinctive collection.</p><p><P>A rich and rewarding subject of popular imagination, the United States is compellingly portrayed in this first anthology designed specifically for American studies courses. Offering an indispensable introduction to the long and varied history of generalizing about America, leading scholar Richard Horwitz has compiled the definitive anthology for American studies and American culture courses. Brimming with imaginative selections, the reader contains essays, plays, songs, comedy, legal documents, speeches, and poems by a rich array of authors-both domestic and international-whose writings echo recurring American themes. Horwitz's insightful introduction and headnotes seamlessly guide the reader to an understanding of both America and American studies.</p><h3>Booknews</h3><p>This anthology, designed specifically for American studies courses, introduces the history of generalizing about America, with essays, plays, songs, comedy, legal documents, speeches, and poems by international and domestic writers from various periods of history. Each selection includes a brief introduction. An overall introduction summarizes key themes in the study of American culture, looking at the history of the field and at current controversies. Horwitz is professor, graduate director, and director of public outreach for the American Studies Department at the University of Iowa. The anthology lacks a subject index. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">Pt. I</TD><TD WIDTH="70%">America as a New World</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">How America Was Discovered (c. 1735-1815)</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">The Tempest (1611)</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">A Model of Christian Charity (1630)</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Engel v. Vitale (1962)</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Letter III from an American Farmer (1782)</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">To the United States (1827)</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Paddy's Lament (ca. 1865)</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">The Spirit of Capitalism (1904)</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">On Being an American (1922)</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%">Pt. II</TD><TD WIDTH="70%">America as an Independent Nation</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Declaration of Independence (1776)</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">Declaration of Sentiments (1848)</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">Independence Day Speech (1854)</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">The Significance of the Frontier in American History (1893)</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">Vietnam's Declaration of Independence (1945)</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%">15</TD><TD WIDTH="70%">Independence Day (1993)</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%">16</TD><TD WIDTH="70%">What to the Slave Is the Fourth of July? (1852)</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%">Pt. III</TD><TD WIDTH="70%">America as a Place to Belong</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%">17</TD><TD WIDTH="70%">Americanism and the Foreign-Born (1915)</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%">18</TD><TD WIDTH="70%">Objections Answered (1913)</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%">19</TD><TD WIDTH="70%">Ain't I a Woman? (1851)</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%">20</TD><TD WIDTH="70%">Trans-National America (1916)</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%">21</TD><TD WIDTH="70%">Americanism (1919)</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%">22</TD><TD WIDTH="70%">Century Readings (1919)</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%">23</TD><TD WIDTH="70%">The One-Hundred Percent American (1937)</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%">24</TD><TD WIDTH="70%">National Brotherhood Week (1965)</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%">25</TD><TD WIDTH="70%">America (1953)</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%">26</TD><TD WIDTH="70%">This Land Is Your Land (1940)</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%">Pt. IV</TD><TD WIDTH="70%">America as a Land of the Free</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%">27</TD><TD WIDTH="70%">Gettysburg Address (1863)</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%">28</TD><TD WIDTH="70%">The American System (1928)</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%">29</TD><TD WIDTH="70%">The Four Freedoms (1941)</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%">30</TD><TD WIDTH="70%">Bowers v. Hardwick (1986)</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%">31</TD><TD WIDTH="70%">Puerto Ricans (1961)</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%">32</TD><TD WIDTH="70%">Wrestling with the Hard One (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%">33</TD><TD WIDTH="70%">POPism (1975)</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%">34</TD><TD WIDTH="70%">An Okie from Muskogee (1969)</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%">35</TD><TD WIDTH="70%">Wasteland of the Free (1996)</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%">36</TD><TD WIDTH="70%">Of Our Spiritual Strivings (1903)</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%">Pt. V</TD><TD WIDTH="70%">America as an Empire</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%">37</TD><TD WIDTH="70%">The Utility of the Union (1787)</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%">38</TD><TD WIDTH="70%">The Monroe Doctrine (1823)</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%">39</TD><TD WIDTH="70%">The European Colonizations of America (1855)</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%">40</TD><TD WIDTH="70%">The White Man's Burden (1899)</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%">41</TD><TD WIDTH="70%">Cast Away Illusions, Prepare for Struggle (1949)</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%">42</TD><TD WIDTH="70%">U.S. and Mexican Pastimes (1946)</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%">43</TD><TD WIDTH="70%">Ugly American Sightings (2000)</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%">44</TD><TD WIDTH="70%">Letter to Americans (1986)</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%">Pt. VI</TD><TD WIDTH="70%">America as a Culture</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%">45</TD><TD WIDTH="70%">The American Scholar (1837)</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%">46</TD><TD WIDTH="70%">Ralph Waldo Emerson: Transcendental Critic (1927)</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%">47</TD><TD WIDTH="70%">Factors in America Literary History (1925)</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%">48</TD><TD WIDTH="70%">Middletown Faces Both Ways (1937)</TD><TD WIDTH="10%" ALIGN="RIGHT">340</TD><TR><TD WIDTH="20%">49</TD><TD WIDTH="70%">Cultural Locations: Positioning American Studies in the Great Debate (1992)</TD><TD WIDTH="10%" ALIGN="RIGHT">353</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Suggestions for Further Reading on the Roots of American Studies</TD><TD WIDTH="10%" ALIGN="RIGHT">367</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Credits for Selections, Citations, and Visuals</TD><TD WIDTH="10%" ALIGN="RIGHT">371</TD></TABLE><article> <h4>Staci Ford</h4>Those of us who teach American Studies outside of the United States have been waiting for this anthology. It provides historical grounding and a range of texts that is both foundational and fresh, and it reflects Horwitz's passion for artful prose and cultural analysis that is readable, teachable, transnational, and truly interdisciplinary. </article> <article> <h4>Matthew Mancini</h4>This anthology answers a need felt by so many of us who teach both beginning and advanced courses in American Studies. The introduction is ideal, and the 'roots and soil' metaphor provides a wonderfully concrete way for us all, teachers and students to grasp some hitherto vaguely understood ideas about the field. </article><article> <h4>David Katzman</h4>The American Studies Anthology is imaginative and creative. It includes familiar texts in American studies as well as unusual ones. Professor Horwitz locates American studies in history and the present, in culture and ideas, in scholarly work and popular culture, and from the United States and abroad. He introduces each of the selections with a brief commentary that offers suggestions on where classroom discussions might go. This is the first anthology to capture the contradictory and interdisciplinary directions that comprise American studies today. Indispensable for the novice and veteran alike. </article> <article> <h4>Linda K. Kerber</h4>Professor Horwitz has a shrewd eye for documents. He not only has gathered familiar expressions of U.S. national identity, but also ranged widely to find songs and images, reflective essays, and significant statements of public policy. His unusual selections and thought-provoking juxtapositions make this an invigorating collection to read to learn from. </article> <article> <h4>Bernard Mergen</h4>There are two ways to review anthologies intended for classroom use. One is to focus on their selections of readings and discuss their usefulness in teaching. Another approach is to examine the anthology's documents and explanatory material for what they reflect about the current state of the field. Many of us spend a good deal of time talking with visiting groups of teachers from outside the United States about current trends and future directions in American studies. This collection, with Richard Horwitz's excellent introduction and headnotes, has value as a class text and as a guide to the field. . . . Whoever reads this splendid anthology will learn a great deal about America and American studies. </article> <article> <h4>Jay Mechling</h4>Richard Horwitz is one of the most thoughtful American Studies scholars when it comes to understanding what it means to build a fully interdisciplinary American Studies. This volume reflects his unerring sense of how we must weave theory and practice into a seamless garment where old distinctions between the humanities, the social sciences, and even the natural sciences now seem pointless. </article> <article> <h4>Booknews</h4>This anthology, designed specifically for American studies courses, introduces the history of generalizing about America, with essays, plays, songs, comedy, legal documents, speeches, and poems by international and domestic writers from various periods of history. Each selection includes a brief introduction. An overall introduction summarizes key themes in the study of American culture, looking at the history of the field and at current controversies. Horwitz is professor, graduate director, and director of public outreach for the American Studies Department at the University of Iowa. The anthology lacks a subject index. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
398Women Heroes: Six Short Plays from the Women's ProjectJulia Miles0Julia Mileswomen-heroesjulia-miles97809368392260936839228$1.99PaperbackApplause Theatre Book PublishersJanuary 1987New EditionDrama, American Literature Anthologies, General & Miscellaneous Drama, Anthologies1044.80 (w) x 6.80 (h) x 0.30 (d)<p>(Applause Books). The English Channel, the United States Government, Hitler, cancer these are a few of the obstacles which these extraordinary women hurdle on their way to ticker tape parades, prison cells and anonymous fates. These are not theatrical accolades to daring public feats; the inner frontiers we learn, are the most treacherous to navigate. So these figures are not statues in the park being polished for public view. And not "heroines" in a male melodrama, but heroes in their own right, and in their own world meet them in Julia Miles' new collection from The Women's Project.</p><p>The English Channel, the United States Government, Hitler, cancer - these are a few of the obstacles which these extraordinary women hurdle on their way to ticker tape parades, prison cells and anonymous fates. These are not theatrical accolades to daring public feats; the inner frontiers we learn, are the most treacherous to navigate. So these figures are not statues in the park being polished for public view. And not "heroines" in a male melodrama, but heroes in their own right, and in their own world - meet them in Julia Miles' new collection from The Women's Project.</p>
399Queer Beats: How the Beats Turned America On to SexRegina Marler0Regina Marlerqueer-beatsregina-marler97815734418891573441880$16.10PaperbackCleis PressJune 2004Gay & Lesbian Literary Studies, Peoples & Cultures - American Anthologies, Gay & Lesbian Fiction, Gay & Lesbian Literature Anthologies, American Literature Anthologies2096.04 (w) x 8.96 (h) x 0.72 (d)Blasting through the crew-cuts and conformism of their day, the Beat writers were queer in the fullest sense of the word: their fluid sexuality challenged all sexual and romantic conventions. Most shocking of their unconventional attitudes was their embrace of same-sex eroticism. At a time when gay people were considered mentally ill or criminal, the Beats celebrated spontaneity and freedom in thought, word, and action. Their highest value was nakedness -- even before Allen Ginsberg stripped bare at a poetry reading to silence a heckler. They would try anything once, then write about it. Queer Beats: How the Beats Turned America On to Sex traces, for the first time, the queer pulse that throbs throughout the Beats' writings -- from William S. Burroughs's Naked Lunch and Allen Ginsberg's wistful, boy-loving sex poems to Jack Kerouac's hero-worship of Neal Cassady -- and Kerouac's denial of having sex with men, despite erotic encounters with Ginsberg and Gore Vidal: "Posterity will laugh at me if it thinks I was queer"<p><p>Among the unconventional attitudes of the Beat writers as they rebelled against the conformism of the late 1940s and 1950s was their relaxed stance on sexuality. At a time when gay people were considered mentally ill or criminal, the Beats celebrated spontaneity and freedom in thought, word, and action. They were queer in the fullest sense of the word&#58; their fluid sexuality challenged all sexual and romantic conventions. Combining fiction, letters, and poetry, <I>Queer Beats</I> explores the sexual pulse that throbbed throughout the Beats' writings - from the perverse "cut-up" prose of William S. Burroughs's <I>Naked Lunch</I> and the homoerotic poetry of Allen Ginsberg to Jack Kerouac's letter to Neal Cassady in which he declares (despite sexual encounters with Ginsberg and Gore Vidal)&#58; "Posterity will laugh at me if it thinks I was queer." This collection also includes writings by Diane di Prima, Frank O'Hara, Herbert Huncke, Elise Cowen, Robert Duncan, and others.<p></p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">xv</TD><TR><TD WIDTH="20%">I.</TD><TD WIDTH="70%">The Road of Excess (Or, Saintly Sinners)</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Society</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Meeting Kinsey</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Nobler, I thought, to die a man than live on, a sex monster..."</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dead Drunk</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Youth</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I don't mind being called queer..."</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Burroughs may be gay, but he's a man..."</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"We owed it to literary history..."</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Norman wanted to know what had really happened..."</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Something strange has happened..."</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I sit naked in my room remembering..."</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"It was a strange, nondescript kind of orgy..."</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%">II.</TD><TD WIDTH="70%">Male Muses (Or, Sex without Borders)</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Oh, I love, love, love women!"</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I'm on a spree tonight..."</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Love is not controllable..."</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bradley the Buyer</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Posterity will laugh at me..."</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Love Poem on Theme by Whitman</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Teacher--Your Body My Kabbalah</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Accept my soul with all its throbbings and sweetness..."</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"If like me you renounce love and the world..."</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Malest Cornifici Tuo Catullo</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Howl</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I find myself getting jealous of Kiki..."</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Newport News has arrived in Venice for a week's stay...</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A. J.'s Annual Party</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Cut-ups: A Project for Disastrous Success</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Met Jack Kerouac in 1958 for One Glorious Moment..."</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Poem for Cocksuckers</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Memoirs of a Bastard Angel</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%">III.</TD><TD WIDTH="70%">Queer Shoulder to the Wheel</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Me & Allen</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Peter Jerking Allen Off (First Sex Experiment)</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why Is God Love, Jack?</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sexual Conditioning</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sweet Boy, Gimme Yr Ass</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Going to Massachusetts</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Horns</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Place of Dead Roads</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pages from Cold Point</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Green Ballet</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hi Risque</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Neal's Ashes</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sex as a biological weapon"</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rain-Wet Asphalt Heat, Garbage Curbed Cans Overflowing</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Now France</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Drag up your soul to its proper bliss..."</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The gay state"</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Author</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD></TABLE>
400Message to Aztlan: Selected ReadingsRodolfo Gonzales0Rodolfo Gonzales, Antonio Esquibel (Compiler), Rodolfo F. Acunamessage-to-aztlanrodolfo-gonzales97815588533171558853316$13.63PaperbackArte Publico PressJanuary 20011st EditionCivil Rights - United States, Peoples & Cultures - American Anthologies, Mexican Americans & Chicanos2565.52 (w) x 8.52 (h) x 0.90 (d)<p>Cultural Writing. Poetry. Fiction. Latino/Latina Stuides. One of the most famous leaders of the Chicano civil rights movement, Rodolfo Corky Gonzales was a multifaceted and charismatic, bigger-than-life hero who inspired his followers not only by taking direct political action but also by making eloquent speeches, writing incisive essays, and creating the kind of socially engaged poetry and drama that could be communicated easily through the barrios of Aztlán, populated by Chicanos in the United States. In MESSAGE TO AZTLAN, Dr. Antonio Esquibel, Professor Emeritus of Metropolitan State College of Denver, has compiled the first collection of Gonzales' diverse writings: the original I Am Joaquín (1967), along with a new Spanish translation, seven major speeches (1968-78); two plays, The Revolutionist and A Cross for Malcovio (1966-67); various poems written during the 1970s and a selection of letters. Foreword by Rodolfo F. Acuna.</p><p>One of the most famous leaders of the Chicano civil rights movement, Rodolfo "Corky" Gonzales, was a multifaceted and charismatic, bigger-than-life hero who inspired his followers not only by taking direct political action but also by making eloquent speeches, writing incisive essays, and creating the kind of socially engaged poetry and drama that could be communicated easily throughout the barrios of Aztlan, the communities populated by Chicanos in the United States.<p> Gonzales is the author of I Am Joaquin, an epic poem of the Chicano Movement that lives on in film, sound recording, and hundreds of anthologies. Gonzales and other Chicanos established the Crusade for Justice, a Denver-based civil rights organization, school, and community center, in 1966. The school, La Escuela Tlatelolco, lives on today some three decades after its founding.<p> In Message to Aztlan, Dr. Antonio Esquibel, Professor Emeritus of Metropolitan State College of Denver, has compiled the first collection of Gonzales' diverse writings: the original I Am Joaquin (1967), along with a new Spanish translation; seven major speeches (1968-78); two plays, The Revolutionist and A Cross for Maclovio (1966-67); various poems written during the 1970s and a selection of letters. These varied works demonstrate the evolution of Gonzales' thought on human and civil rights. Any examination of the Chicano Movement is incomplete without this volume. An eight-page photo insert accompanies the text.</p><h3>Library Journal</h3><p>This edition features selected writings of the Chicano civil rights leader, handpicked by Gonzales himself with the help of his longtime friend and political associate Esquibel (emeritus, Metropolitan State Coll. of Denver). The years represented in these writings, 1966-1980, were important ones for the Chicano movement, as mainstream America had just begun to wake up to the concerns of Mexican Americans and other Latin American citizens. As his speeches reveal, Gonzales was a key figure. His words expose and attack the cultural stereotypes plaguing his people for centuries under Euro-American domination and emphasize education for the Chicano people, both academic and political. Also included in this work is the famous "Yo Soy Joaquin," an epic poem covering the history of Aztec civilization and the fate of its descendants today. Gonzales's poetry and plays (also featured in this edition) may seem a bit dated and melodramatic today, but they are historically important and represent the struggles encountered by Chicanos up to the 1980s. Gonzales hoped that this work would "inspire and motivate a new generation of Chicanos," and for this reason it belongs in academic libraries and public libraries with many Chicano or Mexican American patrons. Nedra C. Evers, Sacramento P.L. Copyright 2001 Cahners Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editor's Note</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">I</TD><TD WIDTH="70%">Epic poem</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yo soy Joaquin, un poema epico, 2000</TD><TD WIDTH="10%" ALIGN="RIGHT">2</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Am Joaquin, an Epic Poem, 1967</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%">II</TD><TD WIDTH="70%">Seven Major Speeches</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Plan del Barrio</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arizona State University Speech</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Manteniendo una direccion positiva para el Movimiento Chicano</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Maintaining a Positive Direction for the Chicano Movement</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Speech Delivered at the La Raza Unida National Convention</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Message to Aztlan</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Colorado Springs Bicentennial Speech of July 4, 1976</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Past-President-Future of the Chicano Movement, 1978</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%">III</TD><TD WIDTH="70%">Two Plays</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Revolutionist</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Cross for Maclovio</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%">IV</TD><TD WIDTH="70%">Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La Escuela y Colegio Tlatelolco</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tlatelolco</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Ballet Chicano de Aztlan</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adios, Miguel</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Chicano's Trial</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mis hijos guerrilleros, 1973</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He Laughed While he Danced, Luis Junior Martinez</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Boy, Juarez U.S.A.</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Raices ... Raices ...</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Movimiento Chicano, 1973</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Chicano Movement, 1973</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">America ... America ... America</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">America ... America ... America</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cuidate, Mejico!!</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%">V</TD><TD WIDTH="70%">Correspondence</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Masthead of El Gallo Editorial</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Message to the Democratic Party</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Western Union Telegram Sent to: Thomas y Berta Rodriguez</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to Reies Lopez Tijerina</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Discurso al Congreso de la Tierra</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Message to el Congreso on Land and Cultural Reform</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to the Editor</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"We Will Endure"</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%">VI</TD><TD WIDTH="70%">Photos</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%">VII</TD><TD WIDTH="70%">Selected Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD></TABLE><article> <h4>Library Journal</h4>This edition features selected writings of the Chicano civil rights leader, handpicked by Gonzales himself with the help of his longtime friend and political associate Esquibel (emeritus, Metropolitan State Coll. of Denver). The years represented in these writings, 1966-1980, were important ones for the Chicano movement, as mainstream America had just begun to wake up to the concerns of Mexican Americans and other Latin American citizens. As his speeches reveal, Gonzales was a key figure. His words expose and attack the cultural stereotypes plaguing his people for centuries under Euro-American domination and emphasize education for the Chicano people, both academic and political. Also included in this work is the famous "Yo Soy Joaquin," an epic poem covering the history of Aztec civilization and the fate of its descendants today. Gonzales's poetry and plays (also featured in this edition) may seem a bit dated and melodramatic today, but they are historically important and represent the struggles encountered by Chicanos up to the 1980s. Gonzales hoped that this work would "inspire and motivate a new generation of Chicanos," and for this reason it belongs in academic libraries and public libraries with many Chicano or Mexican American patrons. Nedra C. Evers, Sacramento P.L. Copyright 2001 Cahners Business Information. </article>
401The New England Transcendentalists: Life of the Mind and of the Spirit (Perspectives on History Series)Ellen Hansen0Ellen Hansenthe-new-england-transcendentalistsellen-hansen97819326631741932663177$7.95PaperbackHistory Compass, LLCDecember 20062Regional American Anthologies, 19th Century American Literature - Literary Criticism, American Literature Anthologies, 19th Century American Philosophy447.53 (w) x 4.67 (h) x 0.11 (d)<p>New England Transcendentalists gives readers insight into the idealism and romanticism running through 19th century Transcendentalist philosophy, thought, and spirituality and into the movement's critique of the materialist and rationalist culture of the time. This volume introduces the reader to Transcendentalism through excerpts from the writings of Transcendentalist movement members such as Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and Walt Whitman.</p><p><P>New England Transcendentalists gives readers insight into the idealism and romanticism running through 19th century Transcendentalist philosophy, thought, and spirituality and into the movement's critique of the materialist and rationalist culture of the time. This volume introduces the reader to Transcendentalism through excerpts from the writings of Transcendentalist movement members such as Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and Walt Whitman.</p>
402Literature of the American South: A Norton AnthologyWilliam L. Andrews0<p><b>William L. Andrews</b> (Ph.D. University of North Carolina, Chapel Hill), Editor, "The Literature of Slavery and Freedom," Co-Editor, "the Literature of the Reconstruction to the New Negro Renaissance." E. Maynard Adams Professor of English, University of North Carolina, Chapel Hill. General editor of the Wisconsin Studies in American Autobiography series and <b>The Literature of the American South&#58; A Norton Anthology</b>, and co-editor of <b>The Oxford Companion to African American Literature</b>. Other works include <b>The Literary Career of Charles W. Chesnutt</b>; <b>To Tell a Free Story&#58; The First Century of Afro-American Autobiography, 1760&ndash;1865</b>; <b>Sisters of the Spirit</b>; <b>Critical Essays on Frederick Douglass</b>; and <b>Classic Fiction of the Harlem Renaissance</b>.<P><b>Minrose C. Gwin</b> (Ph.D. University of Tennessee) is professor of English at the University of New Mexico. She is the author of <b>The Feminine and Faulkner&#58; Reading (Beyond) Sexual Difference and Black</b> and <b>White Women of the Old South&#58; The Peculiar Sisterhood in American Literature</b>.<P><b>Trudier Harris</b> (Ph.D. University of North Carolina at Chapel Hill) is J. Carlyle Sitterson Professor of English at the University of North Carolina, Chapel Hill. She is the author of five books, most recently <b>The Power of the Porch&#58; The Storyteller&rsquo;s Craft in Zora Neale Hurston, Gloria Naylor, and Randall Kenan</b>, and a co-editor of <b>The Oxford Companion to Women&rsquo;s Writing in the United States</b> and <b>The Oxford Companion to African American Literature</b>.<P><b>Fred Hobson</b> (Ph.D. University of North Carolina at Chapel Hill) is Lineberger Professor in the Humanities at the University of North Carolina at Chapel Hill. He is the author of numerous books, most recently <b>Mencken&#58; A Life and The Southern Writer in the Postmodern World</b>, and a co-editor of <b>Southern Literary Journal</b>.</p>William L. Andrewsliterature-of-the-american-southwilliam-l-andrews97803933167110393316718$53.12PaperbackNorton, W. W. & Company, Inc.October 19971st EditionRegional American Anthologies10606.00 (w) x 9.20 (h) x 1.20 (d)<p><b>For nearly four centuries, the American South has been home to a vital literary tradition.</b></p> <p><b>The Literature of the American South</b> reconsiders southern writing from its seventeenth-century origins to its flourishing present. Featuring the works of eighty-seven classic,<br> contemporary, and newly recovered writers of all genres—poetry, short fiction, drama, novels, autobiography, criticism, sermons, memoirs,<br> journals, and letters—this groundbreaking anthology sheds new light on the creative power of the southern imagination.</p><p>For nearly four centuries, the American South has been home to a vital literary tradition.</p><h3>Publishers Weekly</h3><p>Writing from his experience as a professor of American and English literature at the University of Kentucky, Bryant has compiled here a thorough guidehe calls it a "primer"to the literary output of 20th-century Southerners. From this premise, Bryant is able to include writers like Ralph Ellison, James Agee and William Styron who migrated north but whose works nonetheless both inform and are informed by the regional experience of the South. In more or less chronological order, Bryant leads the reader from the early plantation fiction with its idealized notions of the Old South, through the various movements centered around Vanderbilt Universitythe Fugitives, the Agrarians and the New Criticismall of which contributed greatly to the mid-century "Southern Renaissance," and beyond to a broad discussion of postmodern and contemporary writers. Special attention is given to major writers such as Faulkner, Thomas Wolfe, Shelby Foote and Robert Penn Warren, whom Bryant designates as "the supreme summary figure of the century," but the book also incorporates and draws connections between lesser-known writers or those whose one-time significance has since faded. Well organized with subchapters devoted to African American writers, women writers, playwrights, poets and critics, the book includes a good deal of background and biographical information. What the book offers in breadth of scope, however, it lacks in details such as quotations from the literature discussed or Bryant's own insights. Nonetheless, for the reader interested in a bird's-eye view of the major figures and trends in Southern literature, this work will be a welcome resource. (Nov.) FYI: Also due in October are Southern Writers with photos by David G. Spielman, text by William W. Starr (Univ. of S. Carolina $24.95 160p ISBN 1-57003-224-6; Oct.) and The Literature of the American South: Vol. II (Norton, $29.95 1060p ISBN 0-393-31671-8)</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Writing from his experience as a professor of American and English literature at the University of Kentucky, Bryant has compiled here a thorough guidehe calls it a "primer"to the literary output of 20th-century Southerners. From this premise, Bryant is able to include writers like Ralph Ellison, James Agee and William Styron who migrated north but whose works nonetheless both inform and are informed by the regional experience of the South. In more or less chronological order, Bryant leads the reader from the early plantation fiction with its idealized notions of the Old South, through the various movements centered around Vanderbilt Universitythe Fugitives, the Agrarians and the New Criticismall of which contributed greatly to the mid-century "Southern Renaissance," and beyond to a broad discussion of postmodern and contemporary writers. Special attention is given to major writers such as Faulkner, Thomas Wolfe, Shelby Foote and Robert Penn Warren, whom Bryant designates as "the supreme summary figure of the century," but the book also incorporates and draws connections between lesser-known writers or those whose one-time significance has since faded. Well organized with subchapters devoted to African American writers, women writers, playwrights, poets and critics, the book includes a good deal of background and biographical information. What the book offers in breadth of scope, however, it lacks in details such as quotations from the literature discussed or Bryant's own insights. Nonetheless, for the reader interested in a bird's-eye view of the major figures and trends in Southern literature, this work will be a welcome resource. (Nov.) FYI: Also due in October are Southern Writers with photos by David G. Spielman, text by William W. Starr (Univ. of S. Carolina $24.95 160p ISBN 1-57003-224-6; Oct.) and The Literature of the American South: Vol. II (Norton, $29.95 1060p ISBN 0-393-31671-8) </article>
403The American Puritans: Their Prose and PoetryPerry Miller0Perry Miller (Editor), Perry Millerthe-american-puritansperry-miller9780231054195023105419X$29.78PaperbackColumbia University PressMay 19821st EditionPuritanism, American Literature Anthologies3468.06 (w) x 8.08 (h) x 0.67 (d)<p>Perry Miller's classic one-volume anthology of Puritan writings recreates the world of seventeenth-century New England through a judicious selection of tracts, journals, sermons, and poetry by the major Puritan writers: William Bradford, Cotton Mather, John Winthrop, Thomas Hooker, Anne Bradstreet, Michael Wigglesworth, and Edward Taylor among them.</p> <p> Columbia University Press</p> <p>The world of seventeeth-century New England is recreated in Miller's judicious selection of tracts, journals, sermons, and poetry by the major Puritan writers. </p><p><P>Miller's classic one-volume anthology of Puritan writings recreates the world of seventeenth-century New England through a judicious selection of tracts, journals, sermons, and poetry by the major Puritan writers&#58; William Bradford, Cotton Mather, John Winthrop, Thomas Hooker, Anne Bradstreet, Michael Wigglesworth, and Edward Taylor among them.</P></p><h3>Sacvan Bercovitch</h3><p>The best collection of American Puritan writings, selected by the foremost American intellectual historian of our century.</p><P>Chapter One&#58; History<br>1. Of Plymouth Plantation, by William Bradford<br>2. A Defense of the Answer, by Thomas Shepard<br>3. Wonder-Working Providence of Sion's Savior, by Edward Johnson<br>4. Journal, by John Winthrop<br>5. The Antinomian Crisis, by John Winthrop<br>6. A General Introduction, by Cotton Mather<br>Chapter Two&#58; State and Society<br>1. A Model of Christian Charity, by John Winthrop<br>2. Limitation of Government, by John Cotton<br>3. Hartford Election Sermon, by Thomas Hooker<br>4. Speech to the General Court, by John Winthrop<br>5. The Simple Cobler of Aggawam, by Nathaniel Ward<br>6. Nehemiah on the Wall, by Jonathan Mitchell<br>7. New England's True Interest, by William Stoughton<br>8. The Happiness of a People, by William Hubbard<br>9. Vindication of the Government of New England Churches, by John Wise<br>10. A Discourse Concerning Unlimited Submission, by Jonathan Mayhew<br>Chapter Three&#58; This World and the Next<br>1. The Covenant of Grace, by Thomas Shepard<br>2. The Lesson of the Covenant, for England and New England, by Peter Bulkeley<br>3. A True Sight of Sin, by Thomas Hooker<br>4. Repentant Sinners and Their Ministers, by Thomas Hooker<br>5. Christian Calling, by John Cotton<br>6. Man Knows Not His Time, by Increase Mather<br>7. The Sovereign Efficacy of Divine Providence, by Urian Oakes<br>8. Phaenomena, by Samuel Sewall<br>9. Bonifacius, by Cotton Mather<br>10. Concerning Ancestors, by Solomon Stoddard<br>Chapter Four&#58; Personal Narrative<br>1. Autobiography, by Thomas Shepard<br>2. Richard Mather, by Increase Mather<br>3. Diary, by Samuel Sewall<br>4. The Redeemed Captive, by John Williams<br>Chapter Five&#58; Poetry<br>1. Several Poems,by Anne Bradstreet<br>2. Meditations, by Anne Bradstreet<br>3. The Day of Doom, by Michael Wigglesworth<br>4. God's Controversy with New England, by Michael Wigglesworth<br>5. A Threnodia, by E.B.<br>6. God's Determinations Touching His Elect, by Edward Taylor<br>7. Poems and Sacramental Meditations, by Edward Taylor<br>Chapter Six&#58; Literary and Educational Ideals<br>1. The Bay Psalm Book, by Richard Mather<br>2. New England's First Fruits<br>3. The Praise of Eloquence, by Michael Wigglesworth<br>4. Of Style, by Cotton Mather</P><article> <h4>Larzer Ziff</h4><p>The American Puritan movement is the essential starting point for all considerations of American culture and no book in print provides a better introduction to it than does this one.</p> </article> <article> <h4>Sacvan Bercovitch</h4>The best collection of American Puritan writings, selected by the foremost American intellectual historian of our century. </article>
404Richard Wright: Early Works (Lawd Today!, Uncle Tom's Children, Native Son)Richard Wright26<p>A trailblazing African-American novelist, playwright, and memoirist, Richard A. Wright brought the experiences of the twentieth-century ghetto into the realm of high art with his blockbuster 1940 novel <i>Native Son</i>. He went on to mix autobiography and fiction, and to become one of the most celebrated writers -- black or white -- of his era.</p>Richard Wright, Arnold Rampersadrichard-wrightrichard-wright97809404506600940450666$23.76HardcoverLibrary of AmericaOctober 19911st EditionAmerican Literature Anthologies, Peoples & Cultures - Fiction9365.16 (w) x 8.16 (h) x 1.15 (d)The library of America is dedicated to publishing America's best and most significant writing in handsome, enduring volumes, featuring authoritative texts. Hailed as the "finest-looking, longest-lasting editions ever made" (The New Republic), Library of America volumes make a fine gift for any occasion. Now, with exactly one hundred volumes to choose from, there is a perfect gift for everyone.<p>The library of America is dedicated to publishing America's best and most significant writing in handsome, enduring volumes, featuring authoritative texts. Hailed as the "finest-looking, longest-lasting editions ever made" (The New Republic), Library of America volumes make a fine gift for any occasion. Now, with exactly one hundred volumes to choose from, there is a perfect gift for everyone.</p>
405The Heath Anthology of American Literature: Volume E: Contemporary Period (1945 to the Present)Paul Lauter0<p><P>Paul Lauter is the Smith Professor of Literature at Trinity College. He has served as president of the American Studies Association and is a major figure in the revision of the American literary canon.<P>Dr. Bryer is an expert on F. Scott Fitzgerald and is president of the International F. Scott Fitzgerald Society. He was an editor of DEAR SCOTT, DEAREST ZELDA&#58; THE LOVE LETTERS OF F. SCOTT AND ZELDA FITZGERALD (Macmillan).<P>Dr. Bryer is an expert on F. Scott Fitzgerald and is president of the International F. Scott Fitzgerald Society. He was an editor of DEAR SCOTT, DEAREST ZELDA&#58; THE LOVE LETTERS OF F. SCOTT AND ZELDA FITZGERALD (Macmillan).<P>Dr. Cheung received her Ph.D. from the University of California, Berkeley, and has specialized in Asian-American literature.</p>Paul Lauter, Richard Yarborough, Jackson Bryer, Charles Molesworth, King-Kok Cheungthe-heath-anthology-of-american-literaturepaul-lauter9780618533015061853301X$57.95PaperbackCengage LearningJanuary 20055th EditionAmerican Literature Anthologies12646.10 (w) x 9.00 (h) x 1.00 (d)<p>Unrivaled diversity and teachability have made The Heath Anthology a best-selling text since the publication of its first edition in 1989. In presenting a more inclusive canon of American literature, The Heath Anthology continues to balance the traditional, leading names in American literature with lesser-known writers and to build upon the anthology's other strengths: its apparatus and its ancillaries. Available in five volumes for greater flexibility, the Fifth Edition offers new thematic clusters to stimulate classroom discussions and to show the treatment of important topics across the genres. The indispensable web site includes revised timelines, a multimedia gallery to support thematic clusters, and a searchable Instructor's Guide.</p><p><P>Unrivaled diversity and teachability have made The Heath Anthology a best-selling text since the publication of its first edition in 1989. In presenting a more inclusive canon of American literature, The Heath Anthology continues to balance the traditional, leading names in American literature with lesser-known writers and to build upon the anthology's other strengths&#58; its apparatus and its ancillaries. Available in five volumes for greater flexibility, the Fifth Edition offers new thematic clusters to stimulate classroom discussions and to show the treatment of important topics across the genres. The indispensable web site includes revised timelines, a multimedia gallery to support thematic clusters, and a searchable Instructor's Guide.</p><P>Contemporary Period&#58; 1945 to the Present Earlier Generations&#58; Cold War Culture and Its Discontents Ann Petry (1908-1997) The Witness Theodore Roethke (1908-1963) Frau Bauman, Frau Schmidt, and Frau Schwartze Root Cellar Big Wind from The Lost Son&#58; 1. The Flight; 4. The Return; 5. It was beginning winter. from Meditations of an Old Woman&#58; First Meditation; from Fourth Meditation. Elegy My Papa's Waltz Eudora Welty (1909-2002) The Wide Net Charles Olson (1910-1970) The Kingfishers For Sappho, Back I, Maximus of Gloucester, to You Maximus, to himself Elizabeth Bishop (1911-1979) The Fish The Man-Moth At the Fishhouses Filling Station Tennessee Williams (1911-1983) Portrait of a Madonna Tillie Lerner Olsen (b. 1913) Tell Me a Riddle Muriel Rukeyser (1913-1980) Absalom The Minotaur Rite The Poem as Mask Martin Luther King, Malcolm X How We Did It Carlos Bulosan (1913-1956) America Is in the Heart&#58; from Chapter XIII; from Chapter XIV. Robert Hayden (1913-1980) Tour 5 Those Winter Sundays Summertime and the Living. . . Mourning Poem for the Queen of Sunday Bernard Malamud (1914-1986) The Magic Barrel Ralph Waldo Ellison (1914-1994) A Party Down at the Square Flying Home Brave Words for a Startling Occasion Arthur Miller (b. 1915) The Crucible Saul Bellow (b. 1915) Looking for Mr. Green Gwendolyn Brooks (1917-2000) The Sundays of Satin-Legs Smith The Mother We Real Cool A Bronzeville Mother Loiters in Mississippi. Meanwhile, a Mississippi Mother Burns Bacon The Last Quatrain of the Ballad of Emmet Till Ulysses Robert Lowell, Jr. (1917-1977) Memories of West Street and Lepke Skunk Hour For Theodore Roethke For the Union Dead Near the Ocean Hisaye Yamamoto (b. 1921) Seventeen Syllables Grace Paley (b. 1922) The Expensive Moment John Okada (1923-1971) from No-No Boy&#58; Chapter 6. James Baldwin (1924-1987) Sonny's Blues Flannery O'Connor (1925-1964) A Good Man Is Hard to Find A Sheaf of Poetry and Prose from the Beat Movement Allen Ginsberg (1926-1997) A Supermarket in California Howl America Jack Kerouac (1922-1969) The Vanishing American Hobo Lawrence Ferlinghetti (b. 1919) I Am Waiting Dove Sta Amore. . . The Old Italians Dying Brenda (Bonnie) Frazer (b. 1939) from Troia&#58; Mexican Memoirs Joyce Johnson (b. 1934) from Door Wide Open from Minor Characters Gary Snyder (b. 1930) Riprap Vapor Trails Wave It Was When Malcolm X (1925-1965) from The Autobiography of Malcolm X&#58; from Chapter 19&#58; 1965. Robert Creeley (b. 1926) Hart Crane I Know a Man For Love Words America Frank O'Hara (1926-1966) My Heart The Day Lady Died Why I Am Not a Painter Poem John Ashbery (b. 1927) The Instruction Manual Farm Implements and Rutabagas in a Landscape As You Came from the Holy Land Cynthia Ozick (b. 1928) The Shawl Edward Albee (b. 1928) The Sand Box Anne Sexton (1928-1974) Her Kind Housewife Young Somewhere in Africa Paule Marshall (b. 1929) To Da-Duh, in Memoriam Adrienne Rich (b. 1929) Diving into the Wreck From a Survivor Power Not Somewhere Else, but Here Coast to Coast Frame Sylvia Plath (1932-1963) For a Fatherless Son Daddy Lady Lazarus Stings Fever 103 Martin Luther King, Jr. (1929-1968) I Have a Dream New Generations&#58; Postmodernity and Difference Rolando Hinojosa-Smith (b. 1929) Sometimes It Just Happens That Way; That's All John Barth (b. 1930) Lost in the Funhouse A Sheaf of Vietnam Conflict Poetry and Prose Michael Herr (b. 1940) from Dispatches Tim O'Brien (b. 1946) In the Field Norman Mailer (b. 1923) from The Armies of the Night Robert Bly (b. 1926) Counting Small-Boned Bodies The Teeth Mother Naked at Last Yusef Komunyakaa (b. 1947) Tu Do Street Prisoners Thanks Facing It Fog Galleon Denise Levertov (1923-1997) Illustrious Ancestors A Solitude Making Peace A Woman Alone The May Mornings Donald Barthelme (1931-1989) At the End of the Mechanical Age Toni Morrison (b. 1931) Recitatif John Updike (b. 1932) Trust Me Ernest J. Gaines (b. 1933) The Sky Is Gray N. Scott Momaday (Kiowa) (b. 1934) from The Way To Rainy Mountain&#58; Headwaters; Prologue; From the Introduction; IV; XVI; XVII; XXIV; Epilogue; Rainy Mountain Cemetery. Audre Lorde (1934-1992) Power Walking Our Boundaries Never Take Fire from a Woman The Art of Response Stations The Master's Tools Will Never Dismantle the Master's House Amiri Baraka (LeRoi Jones) (b. 1934) An Agony. As now. Ka 'Ba Black People&#58; This Is Our Destiny A Poem Some People Will Have to Understand Numbers, Letters Dutchman Sonia Sanchez (b. 1934) to blk/record/buyers Masks Just Don't Never Give Up on Love A Letter to Dr. Martin Luther King Father and Daughter Tomas Rivera (1935-1984) from. . .y no se lo trag? la tierra/ And the Earth Did Not Devour Him Lucille Clifton (b. 1936) the thirty eighth year i am accused of tending to the past at the cemetery, walnut grove plantation, south carolina, 1989 reply in white america June Jordan (b. 1936) Poem About My Rights To Free Nelson Mandela Moving Towards Home Rudolfo A. Anaya (b. 1937) from Bless Me, Ultima&#58; Dieciocho. Thomas Pynchon (b. 1937) Entropy Nicholasa Mohr (b. 1938) from Rituals of Survival Raymond Carver (1938-1988) from Cathedral&#58; A Small Good Thing. Lawson Fusao Inada (b. 1938) Instructions to All Persons Two Variations on a Theme by Thelonius Monk as Inspired by Mal Waldron&#58; Introduction&#58; Monk's Prosody; I. Blue Monk (linear); II. Blue Monk (percussive). Kicking the Habit On Being Asian American Michael S. Harper (b. 1938) Song&#58; I Want a Witness Nightmare Begins Responsibility Here Where Coltrane Is A Narrative of the Life and Times of John Coltrane&#58; Played by Himself Camp Story Joyce Carol Oates (b. 1938) Where Are You Going, Where Have You Been? Ishmael Reed (b. 1938) I am a cowboy in the boat of Ra Flight to Canada Toni Cade Bambara (1939-1995) The Lesson Frank Chin (b. 1940) Railroad Standard Time Cluster&#58; Prison Literature Etheridge Knight (1931-1991)&#58; The Idea of Ancestry; The Violent Space (or when your sister sleeps around for money); Ilu, the Talking Drum; A Poem for Myself (or Blues for a Mississippi Black Boy). Jimmy Santiago Baca (b. 1952)&#58; I've Taken Risks; I Put on My Jacket; Commitment; Ghost Reading in Sacramento. Kathy Boudin (b. 1943)&#58; The Call; Our Skirt; A Trilogy of Journeys. Leonard Peltier (b. 1944)&#58; from Prison Writings. Judee Norton (b. 1949)&#58; Norton #59900. James Welch (Blackfeet-Gros Ventre) (b. 1940) from Winter in the Blood Bharati Mukherjee (b. 1940) A Wife's Story Maxine Hong Kingston (b. 1940) No Name Woman Bobbie Ann Mason (b. 1940) Airwaves Simon Ortiz (Acoma Pueblo) (b. 1941) from Sand Creek John Edgar Wideman (b. 1941) Valaida Gloria Anzald-a (1942-2004) from Borderlands/ La Frontera&#58; 3. Entering into the Serpent; 7. La conciencia de la mestiza/ Toward a New Consciousness. Janice Mirikitani (b. 1942) For My Father Desert Flowers Breaking Tradition Recipe Pat Mora (b. 1942) Border Town&#58; 1938 Unnatural Speech University Avenue James Alan McPherson (b. 1943) A Solo Song&#58; For Doc Lee Smith (b. 1944) The Bubba Stories Pedro Pietri (1944-2004) Puerto Rican Obituary Traffic Violations Richard Rodriguez (b. 1944) from The Hunger of Memory Alice Walker (b. 1944) Laurel Leslie Marmon Silko (Laguna) (b. 1948) Lullaby Wendy Rose (Hopi) (b. 1948) Throat Song&#58; The Rotating Earth Loo-wit To the Hopi in Richmond (Santa Fe Indian Village) If I Am Too Brown or Too White for You Story Keeper Julia Sandra Maria Esteves (b. 1948) and Luz Mar-a Umpierre (b. 1947)&#58; A Poetry Exchange A la Mujer Borrinque-a (Esteves) In Response (Umpierre) So Your Name Isn't Mar-a Cristina (Esteves) Music d'Orsay (Umpierre) Jessica Hagedorn (b. 1949) The Blossoming of BongBong The Death of Anna May Wong Filipino Boogie Homesick Vulva Operetta Dorothy Allison (b. 1949) Don't Tell Me You Don't Know Victor Hernandez Cruz (b. 1949) urban dream Mountain Building Table of Contents Carolyn Forch? (b. 1950) from The Country Between Us&#58; The Colonel. Because One Is Always Forgotten As Children Together from The Recording Angel Elegy Paula Vogel (b. 1951) How I Learned to Drive Karen Tei Yamashita (b. 1951) from Tropic of Orange&#58; 2. Benefits&#151;Koreatown. Garrett Kaoru Hongo (b. 1951) Yellow Light Off from Swing Shift Who Among You Knows the Essence of Garlic? And Your Soul Shall Dance The Unreal Dwelling&#58; My Years in Volcano Joy Harjo (Creek) (b. 1951) The Woman Hanging from the Thirteenth Floor Window New Orleans Remember Vision Anchorage Deer Dancer We Must Call a Meeting Tato Laveria (b. 1951) fr&#237;o Amer&#237;can Latero Story Judith Ortiz Cofer (b. 1952) Claims The Woman Who Was Left at the Altar My Father in the Navy&#58; A Childhood Memory En Mis Ojos No Hay D&#233;as Latin Women Pray Rita Dove (b. 1952) Kentucky, 1833&#151;Daystar The Oriental Ballerina Naimi Shihab Nye (b. 1952) Ducks Different Ways to Pray My Father and the Figtree Blood Where the Soft Air Lives Gary Soto (b. 1952) Braly Street The Cellar Mexicans Begin Jogging Black Hair Kearney Park Rane Arroyo (b. 1953) My Transvestite Uncle Is Missing Caribbean Braille Write What You Know That Flag Louise Erdrich (b. 1954) from Love Medicine&#58; Saint Marie (1934). Lorna Dee Cervantes (b. 1954) Beneath the Shadow of the Freeway Poem for the Young White Man Who Asked Me How I, an Intelligent, Well-Read Person Could Believe in the War Between Races Macho Bananas Helena Mar-a Viramontes (b. 1954) The Cariboo Caf? Aurora Levins Morales (b. 1954) Child of the Americas Puertoricanness Heart of My Heart, Bone of My Bone Sandra Cisneros (b. 1954) Eleven Gish Jen (b. 1955) In the American Society Kimiko Hahn (b. 1955) Strands Resistance&#58; A Poem on Ikat Cloth Cuttings Li-Young Lee (b. 1957) I Ask My Mother to Sing My Father, in Heaven, Is Reading Out Loud With Ruins This Room and Everything in It David Foster Wallace (b. 1962) The Devil Is a Busy Man Chang-Rae Lee (b.1965) Coming Home Again Sherman Alexie (b. 1966) Because My Father Always Said He Was the Only Indian Who Saw Jimi Hendrix Play The Star Spangled Banner" at Woodstock Edwidge Danticat (b. 1969) New York Day Women Minh Duc Nguyen (b. 1972) Tale of Apricot"
406Best American Magazine Writing 2004American Society Of Magazine Editors0<p><P>The American Society of Magazine Editors is the professional organization for editors of consumer magazines and business publications that are edited, published and sold in the United States. It sponsors the National Magazine Awards in assosciation with the Columbia University School of Journalism.</p>American Society Of Magazine Editors, Susan Orleanbest-american-magazine-writing-2004american-society-of-magazine-editors97800607495380060749539$1.99PaperbackHarperCollins PublishersSeptember 2004Older EditionOther Media, Journalism, American Literature Anthologies5605.31 (w) x 8.00 (h) x 0.89 (d)<p>In the magazine world, no recognition is more highly coveted than an "Ellie," presentedby the American Society of Magazine Editors. Selected from thousands of submissions, the pieces in this anthology represent the very best of those — outstanding works by some of the most eminent writers in America:</p> <p>Laura Hillenbrand (Seabiscuit) on living and creating with chronic fatigue syndrome</p> <p>Dave Eggers (A Heartbreaking Work of Staggering Genius) on love and surfing</p> <p>Mark Bowden (Black Hawk Down) on modern torture and the "landscape of persuasion"</p> <p>Seymour M. Hersh (Chain of Command) on the "selective intelligence" used by the White House to justify the war in Iraq</p> <p>Calvin Trillin (The Tummy Trilogy) on his favorite force of nature, the newsman R. W. Apple, Jr.</p> <p>Tucker Carlson (CNN's Crossfire), the "whitest man in America," on a peace mission with Rev. Al Sharpton</p> <p>And many more!</p><p><P>In the magazine world, no recognition is more highly coveted than an "Ellie," presentedby the American Society of Magazine Editors. Selected from thousands of submissions, the pieces in this anthology represent the very best of those &#151; outstanding works by some of the most eminent writers in America&#58;<P>Laura Hillenbrand (Seabiscuit) on living and creating with chronic fatigue syndrome<P>Dave Eggers (A Heartbreaking Work of Staggering Genius) on love and surfing<P>Mark Bowden (Black Hawk Down) on modern torture and the "landscape of persuasion"<P>Seymour M. Hersh (Chain of Command) on the "selective intelligence" used by the White House to justify the war in Iraq<P>Calvin Trillin (The Tummy Trilogy) on his favorite force of nature, the newsman R. W. Apple, Jr.<P>Tucker Carlson (CNN's Crossfire), the "whitest man in America," on a peace mission with Rev. Al Sharpton<P>And many more!</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The dark art of interrogation</TD><TD WIDTH="10%" ALIGN="RIGHT">2</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The marriage cure</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The killer elite (part I)</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The league of extraordinary gentlemen</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Housewife confidential</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The stovepipe</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Columbia's last flight</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The David Kelly affair</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The vulgarian in the choir loft</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The red bow</TD><TD WIDTH="10%" ALIGN="RIGHT">316</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Newshound</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A sudden illness</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wynton's blues</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The $20 theory of the universe</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My big fat question</TD><TD WIDTH="10%" ALIGN="RIGHT">422</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The confessions of Bob Greene</TD><TD WIDTH="10%" ALIGN="RIGHT">432</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The only meaning of the oil-wet water</TD><TD WIDTH="10%" ALIGN="RIGHT">460</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The falling man</TD><TD WIDTH="10%" ALIGN="RIGHT">494</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">2004 National Magazine Award finalists</TD><TD WIDTH="10%" ALIGN="RIGHT">523</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1966-2004 National Magazine Award winners</TD><TD WIDTH="10%" ALIGN="RIGHT">533</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">ASME Board of Directors 2003-2004</TD><TD WIDTH="10%" ALIGN="RIGHT">541</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">ASME mission statement</TD><TD WIDTH="10%" ALIGN="RIGHT">542</TD></TABLE>
407Writing Off the Hyphen: New Perspectives on the Literature of the Puerto Rican DiasporaJose L. Torres-Padilla0Jose L. Torres-Padilla, Carmen Hayd'e Riverawriting-off-the-hyphenjose-l-torres-padilla9780295988245029598824X$30.00PaperbackUniversity of Washington PressApril 2008General & Miscellaneous Latin American Literature - Literary Criticism, Puerto Ricans - Life in America, Peoples & Cultures - American Anthologies3615.90 (w) x 8.80 (h) x 0.90 (d)<p>The sixteen essays in Writing Off the Hyphen approach the literature of the Puerto Rican diaspora from current theoretical positions, with provocative and insightful results. The authors analyze how the diasporic lived experience of Puerto Ricans is played out in the context of class, race, gender, and sexuality and how other themes emerging from postcolonialism and postmodernism come into play. Their critical work also demonstrates an understanding of how the process of migration and the relations between Puerto Rico and the United States complicate notions of cultural and national identity as writers confront their bilingual, bicultural, and transnational realities.</p> <p>The collection has considerable breadth and depth. It covers earlier, undertheorized writers, prominent writers, and often-neglected writers. The essays cover all the genres and demonstrate that current theoretical ideas and approaches, such as transnationalism, create exciting opportunities and possibilities for the study of Puerto Rican diasporic literature.</p><p><P>The sixteen essays in Writing Off the Hyphen approach the literature of the Puerto Rican diaspora from current theoretical positions, with provocative and insightful results. The authors analyze how the diasporic lived experience of Puerto Ricans is played out in the context of class, race, gender, and sexuality and how other themes emerging from postcolonialism and postmodernism come into play. Their critical work also demonstrates an understanding of how the process of migration and the relations between Puerto Rico and the United States complicate notions of cultural and national identity as writers confront their bilingual, bicultural, and transnational realities.<P>The collection has considerable breadth and depth. It covers earlier, undertheorized writers, prominent writers, and often-neglected writers. The essays cover all the genres and demonstrate that current theoretical ideas and approaches, such as transnationalism, create exciting opportunities and possibilities for the study of Puerto Rican diasporic literature.</p><P>Introduction The Literature of the Puerto Rican Diaspora and Its Critical Practice Jose L. Torres-Padilla Torres-Padilla, Jose L. Carmen Haydee Rivera Rivera, Carmen Haydee 1<P>Pt. I Earlier Voices<P>1 Evolving Identities&#58; Early Puerto Rican Writing in the United States and the Search for New Puertorriquenidad Jose M. Irizarry Rodriguez Rodriguez, Jose M. Irizarry 31<P>2 For the Sake of Love&#58; Luisa Capetillo, Anarchy, and Boricua Literary History Lisa Sanchez Gonzalez Gonzalez, Lisa Sanchez 52<P>3 When "I" Became Ethnic&#58; Ethnogenesis and Three Early Puerto Rican Diaspora Writers Jose L. Torres-Padilla Torres-Padilla, Jose L. 81<P>Pt. II Political and Historical<P>4 Anarchism in the Work of Aurora Levins Morales Ferda Asya Asya, Ferda 107<P>5 Puerto Rican Literature in a New Clave&#58; Notes on the Emergence of DiaspoRican William Burgos Burgos, William 125<P>6 The Political Left and the Development of Nuyorican Poetry Trenton Hickman Hickman, Trenton 143<P>Pt. III Identity and Place<P>7 Literary Tropicalizations of the Barrio&#58; Ernesto Quinonez's Bodega Dreams and Ed Vega's Mendoza's Dreams Antonia Dominguez Miguela Miguela, Antonia Dominguez 165<P>8 Discordant Differences&#58; Strategic Puerto Ricanness in Pedro Pietri's Puerto Rican Obituary Victor Figueroa Figueroa, Victor 184<P>9 "Borinkee" in Hawai'i&#58; Rodney Morales Rides the Diaspora Wave to Transregional Imperial Struggle Maritza Stanchich Stanchich, Maritza 201<P>10 Tato Laviera's Parody of La carreta&#58; Reworking a Tradition of Docility John Waldron Waldron, John 221<P>Pt. IV Home<P>11 Writing Home&#58; Mapping Puerto Rican Collective Memory in The House on the Lagoon Kelli Lyon Johnson Johnson, Kelli Lyon239<P>12 Translating "Home" in the Work of Judith Ortez Cofer Joanna Barszewska Marshall Marshall, Joanna Barszewska 256<P>13 Getting There and Back&#58; The Road, the Journey, and Home in Nuyorican Diaspora Literature Solimar Otero Otero, Solimar 274<P>Pt. V Gender<P>14 Identity of the "Diasporican" Homosexual in the Literary Periphery Enrique Morales-Diaz Morales-Diaz, Enrique 295<P>15 Manuel Ramos Otero's Queer Metafictional Resurrection of Julia de Burgos Betsy A. Sandlin Sandlin, Betsy A. 313<P>16 Subverting the Mainland&#58; Transmigratory Biculturalism in U.S. Puerto Rican Women's Fiction Mary Jane Suero-Elliott Suero-Elliott, Mary Jane 332<P>Index 355
408Ethnic ModernismWerner Sollors0<p><b>Werner Sollors</b> is Henry B. and Anne M. Cabot Professor of English Literature and Professor of African and African American Studies at Harvard University.</p>Werner Sollorsethnic-modernismwerner-sollors97806740309160674030915$19.97PaperbackHarvard University PressNovember 2008ReprintModernism - Literary Movements, Literary Criticism - General & Miscellaneous, 20th Century American Literature - General & Miscellaneous - Literary Criticism, Society & Culture in Literature, Literary Criticism - U.S. Fiction & Prose Literature - General3366.10 (w) x 9.20 (h) x 0.90 (d)<p>In the first half of the twentieth century, the United States moved from the periphery to the center of global cultural production. At the same time, technologies of dissemination evolved rapidly, and versions of modernism emerged as dominant art forms. How did African American, European immigrant, and other minority writers take part in these developments that also transformed the United States, giving it an increasingly multicultural self-awareness? This book attempts to address this question in a series of innovative and engaging close readings of major texts by Gertrude Stein, Mary Antin, Jean Toomer, O. E. Rölvaag, Nathan Asch, Henry Roth, Richard Wright, Zora Neale Hurston, Pietro di Donato, Jerre Mangione, John Hersey, and Leo Szilard, as well as briefer examinations of many other authors and works, against the background of international political developments, the rise of modernism in the visual arts, and the ascendancy of Ernest Hemingway as a model for prose writers.</p> <p>In many of Werner Sollors’s sensitive readings, single sentences and paragraphs serve as the representative formal units of prose works, while throughout <i>Ethnic Modernism</i> the trolley (now a cute-seeming object of nostalgia) emerges with surprising frequency as a central thematic emblem of modernity.</p><p><P>In the first half of the twentieth century, the United States moved from the periphery to the center of global cultural production. At the same time, technologies of dissemination evolved rapidly, and versions of modernism emerged as dominant art forms. How did African American, European immigrant, and other minority writers take part in these developments that also transformed the United States, giving it an increasingly multicultural self-awareness? This book attempts to address this question in a series of innovative and engaging close readings of major texts by Gertrude Stein, Mary Antin, Jean Toomer, O. E. R&ouml;lvaag, Nathan Asch, Henry Roth, Richard Wright, Zora Neale Hurston, Pietro di Donato, Jerre Mangione, John Hersey, and Leo Szilard, as well as briefer examinations of many other authors and works, against the background of international political developments, the rise of modernism in the visual arts, and the ascendancy of Ernest Hemingway as a model for prose writers. <P>In many of Werner Sollors&rsquo;s sensitive readings, single sentences and paragraphs serve as the representative formal units of prose works, while throughout <i>Ethnic Modernism</i> the trolley (now a cute-seeming object of nostalgia) emerges with surprising frequency as a central thematic emblem of modernity.</p><ol><br> <li>Introduction</li><br> <li>Gertrude Stein and &ldquo;Negro Sunshine&rdquo;</li><br> <li>Ethnic Lives and Lifelets</li><br> <li>Ethnic Themes, Modern Themes</li><br> <li>Mary Antin&#58; Progressive Optimism against Odds</li><br> <li>Who is &ldquo;American&rdquo;?</li><br> <li>American Languages</li><br> <li>&ldquo;All the past we leave behind&rdquo;? Ole E. R&ouml;lvaag and the Immigrant Trilogy</li><br> <li>Modernism, Ethnic Labeling, and the Quest for Wholeness&#58; Jean Toomer&rsquo;s New American Race</li><br> <li>Freud, Marx, Hard-Boiled</li><br> <li>Hemingway Spoken Here</li><br> <li>Henry Roth&#58; Ethnicity, Modernity, and Modernism</li><br> <li><i>Brrrrrrriiiiiiiiiiiiiiiiiiiiinng!</i> The Clock, the Salesman, and the Breast</li><br> <li>Immigrant Literature and Totalitarianism</li><br> <li>Was Modernism Anti-Totalitarian?</li><br> <li>Facing the Extreme</li><br> <li>Grand Central Terminal</li><br></ol><ul><br> <li>Chronology</li><br> <li>Notes</li><br> <li>Bibliography</li><br> <li>Acknowledgments</li><br> <li>Index</li><br></ul>
409Recollections of the Early Republic: Selected AutobiographiesJoyce Appleby0Joyce Applebyrecollections-of-the-early-republicjoyce-appleby97815555330141555533019$23.94PaperbackNortheastern University PressJanuary 1997Historical Biography - United States - 19th Century, Historical Biography - United States - Colonial & 18th Century, American Literature Anthologies, 18th Century American History - General & Miscellaneous, 19th Century American History - Biography3006.08 (w) x 9.22 (h) x 0.92 (d)Situated within a broader historical context by the editor's commentary, these narratives by pioneer housewives, former slaves, and entrepreneurs reflect the dramatic economic, social, political, and religious transformations taking place in the infant republic.<p><P>Colorful memoirs from a wide range of Americans just after the nation's birth.</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Further Reading</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Map of the United States, 1800-1860</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">John Ball, 1794-1884</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Daniel Drake, 1785-1852</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Julia Anne Hieronymus Tevis, 1799-1879</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Charles Ball, 1785[?]-1837</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chester Harding, 1792-1866</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lucy Fletcher Kellogg, 1793-1878</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chauncey Jerome, 1793-1868</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Allen Trimble, 1783-1870</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Harriet B. Cooke, 1786-post-1858</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Alfred M. Lorrain, 1790-1860</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD></table>
410The Best American Magazine WritingClay Felker0Clay Felkerthe-best-american-magazine-writingclay-felker9781586480097158648009X$14.36PaperbackPublicAffairsDecember 2000Other Media, Journalism, American Literature Anthologies1210L4320.96 (w) x 5.50 (h) x 8.50 (d)A discerning collection of great magazine pieces drawn from the nominees for the prestigious National Magazine Awards. <p>In the world of magazines, no recognition is more highly coveted than an "Ellie," the National Magazine Award presented by the American Society of Magazine Editors to the best of the American magazines. The Awards are the magazine equivalents to the Pulitzer Prizes of the newspaper industry. Each year, hundreds of editors-in-chief, journalism professors, and art directors winnow more than a thousand submissions to about seventy-five nominees in categories such as Reporting, Feature Writing, Profiles, Public Interest, Essays, Reviews and Criticism. Interest in the nominees is keen, and this collection will allow people both in the magazine world and beyond to find in one place, read, and admire the year's best. It is a wonderful, browsable volume of interest to writers and readers who appreciate magazine writing and journalism at its highest level.</p> <p>The American Society of Magazine Editors (ASME) is the professional organization for senior editors of consumer magazines and business publications which are edited, published, and sold in the United States. It sponsors the National Magazine Awards which are administered by the Columbia University Graduate School of Journalism.</p><p>A discerning collection of great magazine pieces drawn from the nominees for the prestigious National Magazine Awards.<p>In the world of magazines, no recognition is more highly coveted than an "Ellie," the National Magazine Award presented by the American Society of Magazine Editors to the best of the American magazines. The Awards are the magazine equivalents to the Pulitzer Prizes of the newspaper industry. Each year, hundreds of editors-in-chief, journalism professors, and art directors winnow more than a thousand submissions to about seventy-five nominees in categories such as Reporting, Feature Writing, Profiles, Public Interest, Essays, Reviews and Criticism. Interest in the nominees is keen, and this collection will allow people both in the magazine world and beyond to find in one place, read, and admire the year's best. It is a wonderful, browsable volume of interest to writers and readers who appreciate magazine writing and journalism at its highest level.<p> The American Society of Magazine Editors (ASME) is the professional organization for senior editors of consumer magazines and business publications which are edited, published, and sold in the United States. It sponsors the National Magazine Awards which are administered by the Columbia University Graduate School of Journalism. <p></p><h3>KLIATT</h3><p>What a good idea this is! This collection reprints winners of the National Magazine Award sponsored by the American Society of Magazine Editors (ASME). Since this anthology emphasizes reporting and analysis, there is no overlap with the older series The Best American Essays, which emphasizes the personal essay. In another refreshing choice, the book contains only one celebrity interview, a genre that dominates so many of our magazines. Some of the essays are horrifying&#58; Richard Preston's piece on smallpox, Vanity Fair reports on torture and genocide in Yugoslavia, and the longest essay in the book, Kenneth Cain's report on the civil war in Liberia. Others are touching, including Gary Smith's Sports Illustrated rumination on a photograph taken in the Texas Christian University locker room minutes before the 1957 Cotton Bowl. In all the reportorial pieces, precise detail and intelligent analysis are evident, none more so than in Bryan Hayes's fascinating piece from The Sciences on the elaborate astronomical clock of the Strasbourg Cathedral, an essay subtitled "When one millennium's bright ideas become inscrutable legacies for the next." The winners also include three excellent short stories, all from The New Yorker, including a funny and moving story of sexual frustration, "The Barber's Unhappiness" by George Saunders, and Jhumpa Lahiri's charming story of Bengali immigrants to London, "The Third and Final Continent." Another category represented here is movie and book reviews. Teenage readers might be especially interested in Tom Carson's critique of Saving Private Ryan, first published in Esquire. Young people, especially those who don't regularly read general interest magazines,will find some intriguing surprises here. The ASME hopes to make this collection of prizewinners an annual event. Long may the series flourish. KLIATT Codes&#58; SA&#151;Recommended for senior high school students, advanced students, and adults. 2000, Perseus/Public Affairs, 400p, notes, 21cm, 00-057583, $14.00. Ages 16 to adult. Reviewer&#58; Michael P. Healy; English Teacher, Wood River H.S., Hailey, ID, May 2001 (Vol. 35 No. 3)</p><article> <h4>KLIATT</h4>What a good idea this is! This collection reprints winners of the National Magazine Award sponsored by the American Society of Magazine Editors (ASME). Since this anthology emphasizes reporting and analysis, there is no overlap with the older series The Best American Essays, which emphasizes the personal essay. In another refreshing choice, the book contains only one celebrity interview, a genre that dominates so many of our magazines. Some of the essays are horrifying: Richard Preston's piece on smallpox, Vanity Fair reports on torture and genocide in Yugoslavia, and the longest essay in the book, Kenneth Cain's report on the civil war in Liberia. Others are touching, including Gary Smith's Sports Illustrated rumination on a photograph taken in the Texas Christian University locker room minutes before the 1957 Cotton Bowl. In all the reportorial pieces, precise detail and intelligent analysis are evident, none more so than in Bryan Hayes's fascinating piece from The Sciences on the elaborate astronomical clock of the Strasbourg Cathedral, an essay subtitled "When one millennium's bright ideas become inscrutable legacies for the next." The winners also include three excellent short stories, all from The New Yorker, including a funny and moving story of sexual frustration, "The Barber's Unhappiness" by George Saunders, and Jhumpa Lahiri's charming story of Bengali immigrants to London, "The Third and Final Continent." Another category represented here is movie and book reviews. Teenage readers might be especially interested in Tom Carson's critique of Saving Private Ryan, first published in Esquire. Young people, especially those who don't regularly read general interest magazines,will find some intriguing surprises here. The ASME hopes to make this collection of prizewinners an annual event. Long may the series flourish. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2000, Perseus/Public Affairs, 400p, notes, 21cm, 00-057583, $14.00. Ages 16 to adult. Reviewer: Michael P. Healy; English Teacher, Wood River H.S., Hailey, ID, May 2001 (Vol. 35 No. 3) </article> <article> <h4>Library Journal</h4>The first of a planned annual publication, this collection of 15 award-winning magazine pieces that appeared during 1999 is drawn from a field of 1,483 entries in the National Magazine Awards. The judges retained by the American Society of Magazine Editors, based at Columbia University, narrowed the field to 82 finalists in a variety of categories. Long-time magazine editor Felker, now a journalism professor at the University of California, Berkeley, played a major role in choosing the winners included here. Though the book is a welcome beginning, a long-standing annual collection from the American Society of Newspaper Editors (e.g., 1999 Best Newspaper Writing, Bonus Bks., 1999) does it much better. How? By including interviews with the winning writers as well as commentary from first-rate teachers of writing. There are other quibbles with this magazine collection: too many of the pieces are from large, easy-to-obtain magazines (e.g., Esquire, Sports Illustrated, Vanity Fair, The New Yorker); too many of the writers--13 of 15--are men; and the mixing of three fiction with 12 nonfiction pieces gives the collection a strange aura. Quibbles aside, these provocative works ought to appeal to a diverse readership. Recommended for public and academic libraries.--Steve Weinberg, Univ. of Missouri Journalism Sch., Columbia Copyright 2001 Cahners Business Information. </article>
411Blacklegs, Card Sharps, and Confidence MenThomas Ruys Smith0Thomas Ruys Smithblacklegs-card-sharps-and-confidence-menthomas-ruys-smith97808071363620807136360$39.95HardcoverLouisiana State University PressMay 2010Literary Criticism, American<p>In 1836 Benjamin Drake, a midwestern writer of popular sketches for newspapers of the day, introduced his readers to a new and distinctly American rascal who rode the steamboats up and down the Mississippi and other western waterways&ugrave;the riverboat gambler. These men, he recorded, &ocirc;dress with taste and elegance; carry gold chronometers in their pockets; and swear with the most genteel precision. . . . Every where throughout the valley, these mistletoe gentry are called by the original, if not altogether classic, cognomen of &aelig;Black-legs.A&AElig;&ouml; In Blacklegs, Card Sharps, and Confidence Men, Thomas Ruys Smith collects nineteenth-century stories, sketches, and book excerpts by a gallery of authors to create a comprehensive collection of writings about the riverboat gambler. Long an iconic figure in American myth and popular culture but, strangely, one that has never until now received a book-length treatment, the Mississippi River gambler was a favorite character throughout the nineteenth century&ugrave;one often rich with moral ambiguities that remain unresolved to this day. In the absorbing fictional and nonfictional accounts of high stakes and sudden reversals of fortune found in the pages of SmithA&AElig;s book, the voices of canonized writers such as William Dean Howells, Herman Melville, and, of course, Mark Twain hold prominent positions. But they mingle seamlessly with lesser-known pieces such as an excerpt from Edward WillettA&AElig;s sensationalistic dime novel Flush FredA&AElig;s Full Hand, raucous sketches by anonymous Old Southwestern humorists from the Spirit of the Times, and colorful accounts by now nearly forgotten authors such as Daniel R. Hundley and George W. Featherstonhaugh. Smith puts the twenty-eight selections in perspective with an Introduction that thoroughly explores the history and myth surrounding this endlessly fascinating American cultural icon. While the riverboat gambler may no longer ply his trade along the Mississippi, Blacklegs, Card Sharps, and Confidence Men makes clear the ways in which he still operates quite successfully in the American imagination.</p>
412Modern American Prose: Fifteen Writers + 15John Clifford0John Clifford, Robert DiYanni, Robert DiYanni, Robert DiYannimodern-american-prosejohn-clifford97800701139610070113963$69.60PaperbackMcGraw-Hill Higher EducationJanuary 19933rd EditionPoetry, American<p>Modern American Prose,3/e,includes four essays each of fifteen major American essayists and one essay by each of fifteen important American writers,allowing students to see the range of a writer's work and the creative nature of the essay. Excellent rhetorical apparatus (introductions and questions) provides a means more analytical and evaluative reading. The broad collection of writers and works gives students an introduction to the nature and power of the essay as a genre,plus a better sense of writers' individual and varied voices.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thematic Table of Contents</TD><TD WIDTH="10%" ALIGN="RIGHT">xv</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rhetorical Table of Contents</TD><TD WIDTH="10%" ALIGN="RIGHT">xix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT">xxi</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editors' Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">xxv</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">James Baldwin</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Autobiographical Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Discovery of What It Means to Be an American</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If Black English Isn't a Language, Then Tell Me, What Is?</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes of a Native Son</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Joan Didion</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marrying Absurd</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The White Album</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miami</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Salvador</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Write</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Keeping a Notebook</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Annie Dillard</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jest and Earnest</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Living Like Weasels</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transfiguration</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Skating</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Writing Life</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Loren Eiseley</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Long Loneliness</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Judgment of the Birds</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dance of the Frogs</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Running Man</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">Ellen Goodman</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Being a Journalist</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Company Man</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It's Failure, Not Success</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tapestry of Friendships</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Male Direction</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Stephen Jay Gould</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prologue</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Flaws in a Victorian Veil</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Women's Brains</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Evolution as Fact and Theory</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">Maxine Hong Kingston</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Name Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Discovery</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wild Man of the Green Swamp</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Silence</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">Barry Lopez</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stone Horse</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Clamor of Justification</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Children in the Woods</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Perspective</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">John McPhee</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Los Angeles against the Mountains</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pirates, Stowaways, Drugs</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pineys</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Swiss at War</TD><TD WIDTH="10%" ALIGN="RIGHT">324</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">Richard Selzer</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pen and the Scalpel</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Knife</TD><TD WIDTH="10%" ALIGN="RIGHT">339</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Masked Marvel's Last Toehold</TD><TD WIDTH="10%" ALIGN="RIGHT">345</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Imelda</TD><TD WIDTH="10%" ALIGN="RIGHT">351</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">Lewis Thomas</TD><TD WIDTH="10%" ALIGN="RIGHT">367</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Iks</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lives of a Cell</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Tucson Zoo</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Err Is Human</TD><TD WIDTH="10%" ALIGN="RIGHT">381</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Late Night Thoughts on Listening to Mahler's Ninth Symphony</TD><TD WIDTH="10%" ALIGN="RIGHT">386</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">Barbara Tuchman</TD><TD WIDTH="10%" ALIGN="RIGHT">391</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Search of History</TD><TD WIDTH="10%" ALIGN="RIGHT">394</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Idea and the Deed</TD><TD WIDTH="10%" ALIGN="RIGHT">401</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Death</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Is History a Guide to the Future?</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">Alice Walker</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brothers and Sisters</TD><TD WIDTH="10%" ALIGN="RIGHT">434</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Choice: A Tribute to Dr. Martin Luther King, Jr.</TD><TD WIDTH="10%" ALIGN="RIGHT">439</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beauty: When the Other Dancer Is the Self</TD><TD WIDTH="10%" ALIGN="RIGHT">443</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Search of Our Mothers' Gardens</TD><TD WIDTH="10%" ALIGN="RIGHT">452</TD><TR><TD WIDTH="20%">15</TD><TD WIDTH="70%">E. B. White</TD><TD WIDTH="10%" ALIGN="RIGHT">465</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Essayist</TD><TD WIDTH="10%" ALIGN="RIGHT">468</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sea and the Wind That Blows</TD><TD WIDTH="10%" ALIGN="RIGHT">471</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Death of a Pig</TD><TD WIDTH="10%" ALIGN="RIGHT">477</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ring of Time</TD><TD WIDTH="10%" ALIGN="RIGHT">486</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Once More to the Lake</TD><TD WIDTH="10%" ALIGN="RIGHT">493</TD><TR><TD WIDTH="20%">16</TD><TD WIDTH="70%">Tom Wolfe</TD><TD WIDTH="10%" ALIGN="RIGHT">505</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Las Vegas</TD><TD WIDTH="10%" ALIGN="RIGHT">508</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Only One Life</TD><TD WIDTH="10%" ALIGN="RIGHT">518</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pump House Gang</TD><TD WIDTH="10%" ALIGN="RIGHT">524</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Right Stuff</TD><TD WIDTH="10%" ALIGN="RIGHT">541</TD><TR><TD WIDTH="20%">17</TD><TD WIDTH="70%">Other Voices</TD><TD WIDTH="10%" ALIGN="RIGHT">559</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Feminism, the Body, and the Machine</TD><TD WIDTH="10%" ALIGN="RIGHT">561</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Friends, Foes, and Working Animals</TD><TD WIDTH="10%" ALIGN="RIGHT">579</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword to The Broken Cord</TD><TD WIDTH="10%" ALIGN="RIGHT">587</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Parable of the Cave; or, In Praise of Watercolors</TD><TD WIDTH="10%" ALIGN="RIGHT">599</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What I Think, What I Am</TD><TD WIDTH="10%" ALIGN="RIGHT">605</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How It Feels to Be Colored Me</TD><TD WIDTH="10%" ALIGN="RIGHT">609</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Have a Dream</TD><TD WIDTH="10%" ALIGN="RIGHT">615</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Siege of Chicago</TD><TD WIDTH="10%" ALIGN="RIGHT">621</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Being a Cripple</TD><TD WIDTH="10%" ALIGN="RIGHT">631</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Voice of the Looking-Glass</TD><TD WIDTH="10%" ALIGN="RIGHT">645</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Way to Rainy Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">651</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Macho Time</TD><TD WIDTH="10%" ALIGN="RIGHT">657</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Complexion</TD><TD WIDTH="10%" ALIGN="RIGHT">663</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Safe at Home</TD><TD WIDTH="10%" ALIGN="RIGHT">669</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On AIDS</TD><TD WIDTH="10%" ALIGN="RIGHT">681</TD></TABLE>
413A Beginner's Guide to Critical Reading: An Anthology of Literary TextsRichard Jacobs0Richard Jacobsa-beginners-guide-to-critical-readingrichard-jacobs97804152346890415234689$35.95PaperbackTaylor & Francis, Inc.April 2001Literary Criticism, General<p>The combination of fascinating texts, critically up-to-the minute readings and Richard Jacob's engaging, lively approach makes this a book every fan or student of literature should own. Jacobs has assembled an invaluable collection of literary texts and provides accompanying commentaries designed to help you contextualize your own responses. <br> This Introductory work brings together interesting texts and engaging commentary. In his commentaries, Richard Jacobs explains some of the most crucial issues in literary studies today; includes advice for those wishing to read more about a particular issue or critical approach; and reveals, through his obvious enjoyment of the texts he discusses, that literary studies can be pleasurable and energizing for everyone. <br> Written with freshness, insight, and humor, this guide will prove invaluable on your literary and critical journeys. Texts examined include&#58; <i>The Merchant of Venice</i>, <i>Paradise Lost</i>, <i>Gulliver's Travels</i>, <i>Wuthering Heights</i>, "The Yellow Wallpaper," <i>The Turn of the Screw</i> and <i>The Secret Agent</i>.</p>Acknowledgements<br> Introduction<br> 1. Wyatt's "They flee from me"&#58; Sexual Politics and Metrical History<br> 2. Shakespeare's The Merchant of Venice&#58; Framing the Outsiders<br> 3. Shakespeare's Troilus and Cressida&#58; Men Reading and Writing a Woman<br> 4. Shakespeare's Sonnets&#58; Courtly Patronage and the Homoerotic<br> 5. Milton's Paradise Lost&#58; Republican Politics and the Canon<br> 6. Marvell, Winstanley, Milton&#58; Gardens, Communes, and Losing Paradise<br> 7. Swift's Gulliver's Travels&#58; Colonialism and Eden Lost again<br> 8. Johnson and Others&#58; Toryism, The Slave-Trade, Poverty, Being and Reading a Character<br> 9. Wordsworth's Poems of Boyhood&#58; Myths of Initiation in Revolutionary Times<br> 10. Bronte's Wuthering Heights&#58; Three-Volume Novels, Centers, and Loss<br> 11. Melville's Bartleby&#58; The Crisis of Interpretation<br> 12. Dickinson's Poems&#58; Women Writing the Inexpressible<br> 13. Dickens's Our Mutual Friend&#58; Between Men, Education, and Law<br> 14. Carroll's "Alice" Books&#58; Remembering the Love-Gift<br> 15. Wilde's The Happy Price&#58; Sex and Politics in the Fairy-Tale<br> 16. Gilman's "The Yellow Wallpaper"&#58; The Woman's Body, Hysteria, Intertextuality<br> 17. James's The Turn of the Screw&#58; Desire in Loss and the Reader-Response<br> 18. Conrad's The Secret Agent&#58; Journeying into Political Vision<br> 19. Green's Living&#58; The Working Class in Modernism and the Search for the Father<br> 20. Rhys's Good Morning, Midnight&#58; Women in Colonialism and Framed in Exhibition<br> 21. Williams's Drama&#58; Realism in the Theater, Policing the Allowable on Stage and in Film<br> 22. Hill's "September Song"&#58; The Modern Poet inHistory, The Poem's right to Exist<br> 23. Beckett's Not I&#58; Challenging the Audience with a Life, Lost<br> 24. Bishop and Berryman's Poems&#58; How to Lose, and Loss in This Book<br> Appendix&#58; Ovid's "Narcissus"<br>
414For a Living: The Poetry of WorkNicholas Coles0Nicholas Coles, Nicholas Colesfor-a-livingnicholas-coles97802520641040252064100$26.00PaperbackUniversity of Illinois PressMarch 1995Poetry, English, Irish, Scottish, Welsh
415What's Nature Worth?: Narrative Expressions of Environmental ValuesTerre Satterfield0<p>Terre Satterfield is a research scientist with Decision Research in Oregon; she also teaches in the Resource Management and Environmental Studies graduate program at the University of British Columbia.</p>Terre Satterfield (Editor), Scott Slovicwhats-nature-worthterre-satterfield97808748079050874807905$2.07PaperbackUniversity of Utah PressMarch 2004U.S. & Canadian Authors - Interviews, 20th Century American Literature - General & Miscellaneous - Literary Criticism, Oral Tradition & Storytelling, Rhetoric, Natural Literature & History, Literary Criticism - General & Miscellaneous, Regional Environmen3206.00 (w) x 9.00 (h) x 0.80 (d)<p>Based on either written or oral interviews with a dozen prominent environmental writers, <i>What’s Nature Worth?</i> 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.</p><p>Typically, environmental economists place monetary values on elements of the environmental, so they can be bought and sold like everything else in a proper capitalist world. As a contrast, Satterfield (culture, risk, and the environment; U. of British Columbia) and Slovic (literature and the environment, U. of Nevada-Reno) present conversations about the value of the environment with literary figures, followed in each case by readings further exploring the themes that emerge. Annotation &copy;2004 Book News, Inc., Portland, OR</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: What's Nature Worth?</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Inciting Story: Narrative as the Mirror of Audience Values</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Questionnaire Responses from William Kittredge</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Advice and Counsel: Respecting the Sources of Wisdom</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Simon J. Ortiz</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Where the Power Lies: Seeking the Intuitive Language of Story</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Terry Tempest Williams</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Beyond Here Lie Only Dragons: Thoughts on Wild Places and Vigorous Language</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Gregory McNamee</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Story as Common Ground</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Alison Hawthorne Deming</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">Making Stories out of Everything: Valuing the Ordinary</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Ofelia Zepeda</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">The Building Blocks of Storied Expression: Advice from a Teacher of Writing</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Questionnaire Responses from Richard Shelton</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">From Image to Event: Considering the Relations between Poetry and Prose as Conveyors of Environmental Values</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with John Daniel</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">Photo and World: The Power of Suggestion in Visual and Verbal "Language"</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Stephen Trimble</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Packing Information in the Form of Story: Viewing Narrative from the Perspective of Science</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Robert Michael Pyle</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">Telling It Slant: The Value of Narrative Indirection</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Questionnaire Responses from Bruce Berger</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">Thriving on Ambiguity: Latency, Indirection, and Narrative</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Conversation with Gary Paul Nabhan</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">A Concluding Conversation</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Editors</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD></TABLE>
416New Playwrights: The Best Plays of 2001D. L. Lepidus0D. L. Lepidus (Editor), Michael Kinghornnew-playwrightsd-l-lepidus9781575252971157525297X$1.99PaperbackSmith & Kraus, Inc.July 2003Drama Anthologies, American Drama, American Literature Anthologies352<article> <h4>Jack Helbig</h4>New playwrights, indeed. Of the six represented here, only Douglas Carter Beane, author of the screwy off-Broadway hit As Bees in Honey Drown, could be said to be anything like a nationally known name, and then only among hardcore theater devotees. The rest quickly prove with the quality of their plays that they, too, deserve similar attention. For Chagrin Falls, a smart, moving portrait of a town economically dependent on a nearby maximum security prison, Mia McCullough certainly does, as does Howard Michael Gould for Diva, a look at the making and unmaking of a sit-com that is funnier and more honest than most of what appears on the box. Ironically, neither of these plays, editor Lepidus notes, has been produced in New York. Not that New York production guarantees anything. Evan Smith's all-too-real comic look at graduate-school mind games, Psych, premiered at the well-regarded Playwrights Horizon and yet is no better known than Chagrin Falls. With any luck, however, this anthology will help these writers gain much-deserved broader audiences.<br> —<i>Booklist</i> </article> <article> <h4>Library Journal</h4>These series aim to collect the creme de la creme of contemporary American drama. The annual "Best Plays" series has been in production under various names and various stellar editors since 1920, when Broadway really was Broadway. Recently, Jenkins (theater studies, NYU) took over and inaugurated a format change: omit play excerpts in favor of commissioned essays that re-create the theatergoing experience; this 82d edition follows suit. Of course, 9/11 marred the 2001-02 season, but there was superior drama to be had, such as Edward Albee's The Goat, or Who Is Sylvia?, Suzan-Lori Parks's Topdog/Underdog, and Mary Zimmerman's Metamorphoses. Frequently, the contributors muse on the potential effects of the terrorist attacks on play scripts. Wide-ranging theater statistics-a hallmark of the series-remain, which give the book a reference bent. There's also a survey of off-Broadway and off-off-Broadway shows, as well as lists of prizes, casts, and a description of plays produced in the regional nonprofit theaters outside New York City. This is, most unfortunately, the last edition to feature the drawings of Al Hirschfeld, who passed away last January. Like Jenkins's volume, these fourth and fifth installments in the "New Playwrights" series are useful for documenting the state of dramatic writing, maybe more so because Lepidus considers regional theater in addition to Broadway productions. By his account, grimness rules the day. Of the 14 plays reprinted in both volumes, only Douglas Carter Beane's Music from a Sparkling Planet (2001) lightens the mood, but Noises Off it isn't. The other selections-e.g., Naomi Iizuka's 36 Views and Anne Nelson's The Guys-are at least interesting and topical and, at most, absorbing. But if theater is life, then where are the women? In total, four plays call for only one female actor, and two others have no roles at all for women. As disconcerting as this is, "New Playwrights" is valuable for introducing up-and-comers and is therefore recommended for larger drama collections. With more built-in appeal, "Best Plays" can be recommended more widely.-Larry Schwartz, Minnesota State Univ., Moorhead Copyright 2004 Reed Business Information. </article>
417New Playwrights: The Best Plays of 2004D. L. Lepidus0<p>D.L. LEPIDUS is a freelance critic and editor who has covered the New York theater scene for more than twenty-five years. Since 1993, his work has appeared in theater columns for Chelsea Clinton News and the Westsider.</p>D. L. Lepidus (Editor), Rosary O'Neillnew-playwrightsd-l-lepidus97815752542411575254247$19.95PaperbackSmith & Kraus, Inc.May 2005New EditionDrama, American Literature Anthologies, General & Miscellaneous Drama, Anthologies4115.35 (w) x 8.50 (h) x 1.00 (d)Foreword, D. L. Lepidus <br> Introduction, Rosary O'Neill<br> <br> The Beard of Avon, Amy Freed <br> Bee-luther-hatchee, Thomas Gibbons <br> The Love Song of J. Robert Oppenheimer, Carson Kreitzer <br> Living Out, Lisa Loomer <br> Intimate Apparel, Lynn Nottage <br> Book Group, Marisa Smith <br> The Story, Tracey Scott Wilson <br> <br> Rights and Permissions <br>
418More New York Stories: The Best of the City Section of The New York TimesConstance Rosenblum0<p><strong>Constance Rosenblum</strong>, most recently the author of the Habitats column published in the Real Estate section of <em>The New York Times</em>, was a longtime editor of the paper’s City section and a former editor of the <em>Times</em>’s Arts and Leisure section. She is the author of <em>Boulevard of Dreams: Heady Times, Heartbreak, and Hope Along the Grand Concourse in the Bronx</em>.</p>Constance Rosenblummore-new-york-storiesconstance-rosenblum97808147765510814776558$14.22PaperbackNew York University PressNovember 2010Social Sciences - General & Miscellaneous, American Literature Anthologies, General & Miscellaneous Biography, General & Miscellaneous Literature Anthologies, Mapped Categories - Literature3205.90 (w) x 8.90 (h) x 0.80 (d)<p>What do Francine Prose, Suketu Mehta, and Edwidge Danticat have in common? Each suffers from an incurable love affair with the Big Apple, and each contributed to the canon of writing New York has inspired by way of the <i>New York Times City</i> Section, a part of the paper that once defined Sunday afternoon leisure for the denizens of the five boroughs. Former City Section editor Constance Rosenblum has again culled a diverse cast of voices that brought to vivid life our metropolis through those pages in this follow-up to the publication <i>New York Stories</i> (2005).</p> <p>The fifty essays in <b>More New York Stories</b> unite the city's best-known writers to provide a window to the bustle and richness of city life. As with the previous collection, many of the contributors need no introduction, among them Kevin Baker, Laura Shaine Cunningham, Dorothy Gallagher, Colin Harrison, Frances Kiernan, Nathaniel Rich, Jonathan Rosen, Christopher Sorrentino, and Robert Sullivan; they are among the most eloquent observers of our urban life. Others are relative newcomers. But all are voices worth listening to, and the result is a comprehensive and entertaining picture of New York in all its many guises.</p> <p>The section on "Characters'' offers a bouquet of indelible profiles. The section on “Places”takes us on journeys to some of the city's quintessential locales. “Rituals, Rhythms, and Ruminations” seeks to capture the city's peculiar texture, and the section called “Excavating the Past” offers slices of the city's endlessly fascinating history.</p> <p>Delightful for dipping into and a great companion for anyone planning a trip, this collection is both a heart-warming introduction to the human side of New York and a reminder to life-long New Yorkers of the reasons we call the city home.</p><p><P>This anthology contains fifty memorable stories from New York Times' award-winning City Section. The line-up of contributing authors includes Francine Prose, Kevin Baker, Jonathan Rosen, Laura Shaine Cunningham, Christopher Sorrentino, Suketu Mehta, and Nathaniel Rich. The pulse of a great city in sculpted prose.</p><h3>Publishers Weekly</h3><p>For 16 years, local news and quirky, personal stories found a home in the (now defunct) City section of the Sunday New York Times. Former section editor Rosenblum gathers 50 of the best pieces of the post September 11 era by masters of the form including Edwidge Danticat and Francine Prose. Roy Hoffman's remembrance of a West Village buddy with cerebral palsy who was forced to confine his world to the few blocks he could navigate is complemented by Saki Knafo's tribute to a group of aging amateur athletes who've been playing basketball together for 33 years and David McAninch's appreciative travelogue of the "forgotten" cityscape of lunch counters, taverns, and cigar shops--all odes to a New York less romanticized and more real. Tragedies--like the story of giving a homeless man buried in the city's potter's field a proper family funeral--are squeezed like subway passengers between droller accounts of, say, the weekly lunch ritual of the New Yorker's wry cartoonists. Organized thematically into such categories as "Characters" and "Rituals, Rhythms and Ruminations," this rich sampling delivers. (Nov.)</p><article> <h4>From Barnes & Noble</h4><p>This anthology contains fifty memorable stories from New York Times' award-winning City Section. The line-up of contributing authors includes Francine Prose, Kevin Baker, Jonathan Rosen, Laura Shaine Cunningham, Christopher Sorrentino, Suketu Mehta, and Nathaniel Rich. The pulse of a great city in sculpted prose.</p> </article> <article> <h4>Publishers Weekly</h4>For 16 years, local news and quirky, personal stories found a home in the (now defunct) City section of the Sunday New York Times. Former section editor Rosenblum gathers 50 of the best pieces of the post–September 11 era by masters of the form including Edwidge Danticat and Francine Prose. Roy Hoffman's remembrance of a West Village buddy with cerebral palsy who was forced to confine his world to the few blocks he could navigate is complemented by Saki Knafo's tribute to a group of aging amateur athletes who've been playing basketball together for 33 years and David McAninch's appreciative travelogue of the "forgotten" cityscape of lunch counters, taverns, and cigar shops--all odes to a New York less romanticized and more real. Tragedies--like the story of giving a homeless man buried in the city's potter's field a proper family funeral--are squeezed like subway passengers between droller accounts of, say, the weekly lunch ritual of the New Yorker's wry cartoonists. Organized thematically into such categories as "Characters" and "Rituals, Rhythms and Ruminations," this rich sampling delivers. (Nov.) </article><article> <h4>Library Journal</h4>The New York Times printed its last issue of its City Section in May 2009 after 16 years of featuring slices of life in Manhattan and the other four boroughs of New York. Like New York Stories—also edited by the section's former editor, Rosenblum (Boulevard of Dreams: Heady Times, Heartbreak, and Hope Along the Grand Concourse in the Bronx)—this commemorative collection captures the essence of New York's distinctive urban life. Fifty intriguing and heartfelt essays are divided into four sections—"Characters," "Places in the City's Heart," "Rituals, Rhythms, and Ruminations," and "Excavating the Past." The book includes contemporary and historical reflections on the people, places, and spirit of the city. While most of the section's essays were written by Times staffers, this collection also features contributions from well-known authors like Edwidge Danticat, Jonathan Rosen, and Nathaniel Rich. VERDICT For fans of the Big Apple and the New York Times.—Donna Marie Smith, Palm Beach Cty. Lib. Syst., FL </article>
419LatinaLillian Castillo-speed0Lillian Castillo-speedlatinalillian-castillo-speed97806848024040684802406$17.97PaperbackSimon & Schuster Adult Publishing GroupAugust 1995Latinos - General, Women Authors - Literature Anthologies, Peoples & Cultures - American Anthologies, Hispanic & Latin American Literature Anthologies, American Literature Anthologies2880.66 (w) x 5.50 (h) x 8.50 (d)Latina brings together a remarkable selection of writings, gathering essays, short stories, and excerpts from novels that have attracted a wide readership and critical praise, as well as original pieces by lesser-known authors. Many of the works here draw on the special experience of being a member of a minority group; all speak to the universal human condition. The contributors include such well-known names as Sandra Cisneros, Julia Alvarez, Denise Chavez, Ana Castillo, Cristina Garcia, and Sandra Benitez. Mexican Americans, Cubans, Puerto Ricans, Dominicans, and other women of the Americas are all represented. They write of their heritage; of their lives in an often alienating land; of the joys and sorrows of their particular communities; and of their political concerns, their hopes, and their dreams. <p>Memorable and moving fiction and thoughtful and provocative nonfiction--mainstream works by both well-known and emerging Latina writers--focus on themes of heritage, lives in an often alienating land, political concerns, hopes, and dreams. Contributors include Sandra Cisneros, Julia Alvarez, Ana Castillo, and others. </p><p>Latina brings together a remarkable selection of writings, gathering essays, short stories, and excerpts from novels that have attracted a wide readership and critical praise, as well as original pieces by lesser-known authors. Many of the works here draw on the special experience of being a member of a minority group; all speak to the universal human condition. The contributors include such well-known names as Sandra Cisneros, Julia Alvarez, Denise Chavez, Ana Castillo, Cristina Garcia, and Sandra Benitez. Mexican Americans, Cubans, Puerto Ricans, Dominicans, and other women of the Americas are all represented. They write of their heritage; of their lives in an often alienating land; of the joys and sorrows of their particular communities; and of their political concerns, their hopes, and their dreams.</p><h3>Publishers Weekly</h3><p>Sampling works from over 30 contemporary female Latin writers, this is a worthwhile and fashionable digest. The stories, recollections, letters and essays range widely in topic, tone, style and quality. Unfortunately, most of the strongest pieces are buried deep in the book. Among them, the story ``Personality Fabulosa'' by Monica Palacios captures with deceptive levity a heavy crush at the moment it develops into mutual courtship. Also terrific, Lucha Corpi's essay, ``Epiphany: The Third Gift'' depicts a tomboy distressing her traditional parents, who find solace in her bookishness: "`When you educate a man,' my father would often tell my younger sister and me, `you educate an individual. But when you educate a woman, you educate the whole family.'" Mary Helen Ponce's ``Just Dessert'' deftly portrays a disastrous dinner date, as the woman futilely tries to concentrate on the man's gorgeous lips and ignore the bigotry coming out of them. The stories of Cristina Garca, Aurora Levins Morales, Kathleen Ann Gonzlez and Judith Ortiz Cofer also work brilliantly. Less successfully, other writers rely too much on their ethnicity for interest rather than intrinsic merit. For example, Esmeralda Santiago's excerpt comes across as politically correct and facile: ``Americanos talk funny when they speak Spanish.'' By and large, however, the several gems in this collection outweigh the weak parts. (Aug.)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mother's Mexico</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Facing the Mariachis</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Place Where the Sea Remembers</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lourdes Puente</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Puertoricanness</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Remembering Lobo</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tierra a Tierra</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rosario Magdaleno</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">That Was Living</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How Pancho Was Nearly Late to His Own Funeral</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Twist and Shout</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miss Clairol</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snow</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Name for Cebolla</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grand Slam</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Letters Home</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Only Daughter</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Polaroids</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marta del Angel</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fresh Fruit</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Just Dessert</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Personality Fabulosa</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Art in America con Acento</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Singing to Cuba</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Enedina's Story</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epiphany: The Third Gift</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Borderlands/La Frontera: The New Mestiza</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From When I Was Puerto Rican</TD><TD WIDTH="10%" ALIGN="RIGHT">257</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From In Search of Bernabe</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From MotherTongue</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Place of the Dead</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD></table><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Sampling works from over 30 contemporary female Latin writers, this is a worthwhile and fashionable digest. The stories, recollections, letters and essays range widely in topic, tone, style and quality. Unfortunately, most of the strongest pieces are buried deep in the book. Among them, the story ``Personality Fabulosa'' by Monica Palacios captures with deceptive levity a heavy crush at the moment it develops into mutual courtship. Also terrific, Lucha Corpi's essay, ``Epiphany: The Third Gift'' depicts a tomboy distressing her traditional parents, who find solace in her bookishness: "`When you educate a man,' my father would often tell my younger sister and me, `you educate an individual. But when you educate a woman, you educate the whole family.'" Mary Helen Ponce's ``Just Dessert'' deftly portrays a disastrous dinner date, as the woman futilely tries to concentrate on the man's gorgeous lips and ignore the bigotry coming out of them. The stories of Cristina Garca, Aurora Levins Morales, Kathleen Ann Gonzlez and Judith Ortiz Cofer also work brilliantly. Less successfully, other writers rely too much on their ethnicity for interest rather than intrinsic merit. For example, Esmeralda Santiago's excerpt comes across as politically correct and facile: ``Americanos talk funny when they speak Spanish.'' By and large, however, the several gems in this collection outweigh the weak parts. (Aug.) </article>
420Word VirusWilliam S. Burroughs0<p>A wanderer and a literary experimentalist, William S. Burroughs is the Beat writer who outlived most of his contemporaries to become the literary symbol of a dispossessed, rock n' roll mentality. His rollercoaster existence made for good semifictional reading, but he also innovated the narrative form with his fragmentary, brash style.</p>William S. Burroughs, James Grauerholz (Editor), Ira Silverberg (Editor), Ira Silverberg (Editor), James Grauerholzword-viruswilliam-s-burroughs9780802136947080213694X$10.08PaperbackGrove/Atlantic, Inc.June 2000Fiction, American Literature Anthologies, US & Canadian Literary Biography5766.07 (w) x 9.07 (h) x 1.60 (d)<i>Word Virus: The William S. Burroughs Reader</i> brings together selections of Burroughs' most important and challenging work — beginning with his very early writing (including a chapter from his and Jack Kerouac's never-before-seen collaborative novel, <i>And the Hippos Were Boiled in Their Tanks</i>) and following his trajectory through <i>My Education: A Book of Dreams</i>. <i>Word Virus: The William S. Burroughs Reader</i> follows major themes in Burroughs' oeuvre while also serving up a sampling of his darkly hilarious "routines," and is edited to serve as a tool for the scholar as well as an overview of his entire body of work for the general reader.<h1><font size="+3">Word Virus</font></h1> <font size="+2"><b>The William S. Burroughs Reader</b></font> <hr noshade size="1"> <font size="+1"><b>By Williams S. Burroughs</b></font> <h4><b>Grove Atlantic, Inc.</b></h4> <font size="-1"><b>Copyright © 1998</b></font> <font size="-1"><b>The William S. Burroughs Trust<br> All right reserved.</b></font><br> <font size="-1"><b>ISBN: 0-8021-3694-X</b></font> <br> <hr noshade size='1'> <br> <h3>Chapter One</h3> from the adding machine <p>THE NAME IS BURROUGHS</p> <p>The name is Bill Burroughs. I am a writer. Let me tell you a few things about my job, what an assignment is like.</p> <p>You hit Interzone with that grey anonymously ill-intentioned look all writers have.</p> <p>"You crazy or something walk around alone? Me good guide. What you want Meester?"</p> <p>"Well uh, I would like to write a bestseller that would be a good book, a book about real people and places ..."</p> <p>The Guide stopped me. "That's enough Mister. I don't want to read your stinking book. That's a job for the White Reader." The guide's face was a grey screen, hustler faces moved across it. "Your case is difficult frankly. If we put it through channels they will want a big piece in advance. Now I happen to know the best continuity man in the industry, only handles boys he likes. He'll want a piece of you too but he's willing to take it on spec."</p> <p>People ask what would lead me to write a book like <i>Naked Lunch</i>. One is slowly led along to write a book and this looked good, no trouble with the cast at all and that's half the battle when you can find your characters. The more far-out sex pieces I was just writing for my own amusement. I wouldput them away in an old attic trunk and leave them for a distant boy to find ... "Why Ma this stuff is terrific-and I thought he was just an old book-of-the-month-club corn ball."</p> <p>Yes I was writing my bestseller ... I finished it with a flourish, fading streets a distant sky, handed it to the publisher and stood there expectantly.</p> <p>He averted his face ... "I'll let you know later, come around, in fact. Always like to see a writer's digs." He coughed, as if he found my presence suffocating.</p> <p>A few nights later he visited me in my attic room, leaded glass windows under the slate roof. He did not remove his long black coat or his bowler hat. He dropped my manuscript on a table.</p> <p>"What are you, a wise guy? We don't have a license on this. The license alone costs more than we could clear." His eyes darted around the room. "What's that over there?" he demanded, pointing to a sea chest.</p> <p>"It's a sea chest."</p> <p>"I can see that. What's in it?"</p> <p>"Oh, nothing much, just some old things I wrote, not to show anybody, quite bad really ..."</p> <p>"Let's see some of it."</p> <p>Now, to say that I never intended publication of these pieces would not be altogether honest. They were there, just in case my bestseller fell on the average reader like a bag of sour dough-I've seen it happen, we all have: a book's got everything, topical my God, the scene is present-day Vietnam (Falkland Islands!) seen through a rich variety of characters ... How can it miss? But it does. People just don't buy it. Some say you can put a curse on a book so the reader hates to touch it, or your book simply vanishes in a little swift of disinterest. So I had to cover myself in case somebody had the curse in; after all, I am a professional. I like cool remote Sunday gardens set against a slate-blue mist, and for that set you need the Yankee dollar.</p> <p>As a young child I wanted to be a writer because writers were rich and famous. They lounged around Singapore and Rangoon smoking opium in a yellow pongee silk suit. They sniffed cocaine in Mayfair and they penetrated forbidden swamps with a faithful native boy and lived in the native quarter of Tangier smoking hashish and languidly caressing a pet gazelle.</p> <p>I can divide my literary production into sets: where, when and under what circumstances produced. The first set is a street of red brick three-story houses with slate roofs, lawns in front and large back yards. In our back yard my father and the gardener, Otto Belue, tended a garden with roses, peonies, iris and a fish pond. The address is 4664 Pershing Avenue and the house is still there.</p> <p>My first literary endeavor was called "The Autobiography of a Wolf," written after reading <i>The Biography of a Grizzly</i>. In the end this poor old bear, his health failing, deserted by his mate, goes to a valley he knows is full of poison gas. I can see a picture from the book quite clearly, a sepia valley, animal skeletons, the old bear slouching in, all the old broken voices from the family album find that valley where they come at last to die. "They called me the Grey Ghost.... Spent most of my time shaking off the ranchers." The Grey Ghost met death at the hands of a grizzly bear after seven pages, no doubt in revenge for plagiarism.</p> <p>There was something called <i>Carl Cranbury in Egypt</i> that never got off the ground.... Carl Cranbury frozen back there on yellow lined paper, his hand an inch from his blue steel automatic. In this set I also wrote westerns, gangster stories, and haunted houses. I was quite sure that I wanted to be a writer.</p> <p>When I was twelve we moved to a five-acre place on Price Road and I attended the John Burroughs School which is just down the road. This period was mostly crime and gangster stories. I was fascinated by gangsters and like most boys at that time I wanted to be one because I would feel so much safer with my loyal guns around me. I never quite found the sensitive old lady English teacher who molded my future career. I wrote at that time Edgar Allan Poe things, like old men in forgotten places, very flowery and sentimental too, that flavor of high school prose. I can taste it still, like chicken croquettes and canned peas in the school dining room. I wrote bloody westerns too, and would leave enigmatic skeletons lying around in barns for me to muse over ...</p> <p>"Tom was quick but Joe was quicker. He turned the gun on his unfaithful wife then upon himself, fell dead in a pool of blood and lay there drawing flies. The vultures came later ... especially the eyes were alike, a dead blue opaqueness." I wrote a lot of hangings: "Hardened old sinner that he was, he still experienced a shudder as he looked back at the three bodies twisting on ropes, etched against the beautiful red sunset." These stories were read aloud in class. I remember one story written by another boy who later lost his mind, <i>dementia praecox</i> they called it: "The captain tried to swim but the water was too deep and he went down screaming, 'Help, help, I am drowning.'"</p> <p>And one story, oh very mysterious ... an old man in his curtained nineteen-twenties Spanish library chances on a forgotten volume and there written in letters of gold the single word "ATHENA." ... "That question will haunt him until the house shall crumble to ruins and his books shall moulder away."</p> <p>At the age of fourteen I read a book called <i>You Can't Win</i>, being the life story of a second-story man. And I met the Johnson Family. A world of hobo jungles, usually by the river, where the bums and hobos and rod-riding pete men gathered to cook meals, drink canned heat, and shoot the snow ... black smoke on the hip behind a Chink laundry in Montana. The Sanctimonious Kid: "This is a crooked game, kid, but you have to think straight. Be as positive yourself as you like, but no positive clothes. You dress like every John Citizen or we part company, kid." He was hanged in Australia for the murder of a constable.</p> <p>And Salt Chunk Mary: "Mary had all the no's and none of them ever meant Yes. She received and did business in the kitchen. Mary kept an iron pot of salt chunk and a blue coffee pot always on the woodstove. You eat first and then you talk business, your gear slopped out on the kitchen table, her eyes old, unbluffed, unreadable. She named a price, heavy and cold as a cop's blackjack on a winter night. She didn't name another. She kept her money in a sugar bowl but nobody thought about that. Her cold grey eyes would have seen the thought and maybe something goes wrong on the next day, Johnny Law just happens by or Johnny Citizen comes up with a load of double-ought buckshot into your soft and tenders. It wouldn't pay to get gay with Mary. She was a saint to the Johnson Family, always good for a plate of salt chunk. One time Gimpy Gates, an old rod-riding pete man, killed a bum in a jungle for calling Salt Chunk Mary an old fat cow. The old yegg looked at him across the fire, his eyes cold as gunmetal ... 'You were a good bum, but you're dogmeat now.' He fired three times. The bum fell forward, his hands clutching coals, and his hair catching fire. Well, the bulls pick up Gates and show him the body: 'There's the poor devil you killed, and you'll swing for it.' The old yegg looked at them coldly. He held out his hand, gnarled from years of safe-cracking, two fingers blown off by the 'soup'. 'If I killed him, there's the finger pulled the trigger and there's the tendon pulled the finger.' The old yegg had beaten them at their own game."</p> <p>This inspired me to write some crime stories ... "'Here's to crime!' he shouted and raised a glass of champagne, but he crumpled like a pricked balloon as the heavy hand of Detective Sergeant Murphy fell on his shoulder." ... "Joe Maguire regarded the flushed face of the dealer with disfavor. 'A coke bird,' he decided. 'Better cut him off the payroll; get coked up and shoot a good client.'"</p> <p>I did a short story too, with a trick ending about this gangster who goes to a fortune-teller ... "'This man is a criminal,' she thought shrewdly, 'a gangster, perhaps ... he must have made enemies.' 'I see danger,' she said. The man's face twitched-he needed to snow. 'I see a man approaching ... he has a gun ... he lifts the gun ... he-' With an inarticulate cry the man leapt to his feet and whipped out an automatic, spitting death at the fortune-teller ... blood on the crystal ball, and on the table, a severed human hand."</p> <p>After reading Eugene Aram's <i>Dream</i>-which I committed to memory and recited to the class in sepulchral tones-I wrote a series about murderers who all died of brain fever in a screaming delirium of remorse, and one character in the desert who murdered all his companions-sitting there looking at the dead bodies and wondering why he did it. When the vultures came and ate them he got so much relief he called them "the vultures of gold" and that was the title of my story, <i>The Vultures of Gold</i>, which closed this rather nauseous period.</p> <p>At fifteen I was sent to the Los Alamos Ranch School for my health, where they later made the first atom bomb. It seemed so right somehow, like the school song ...</p> <p><i>Far away and high on the mesa's crest Here's the life that all of us love best Los Allll-amos.</i></p> <p>Far away and high on the mesa's crest I was forced to become a Boy Scout, eat everything on my plate, exercise before breakfast, sleep on a porch in zero weather, stay outside all afternoon, ride a sullen, spiteful, recalcitrant horse twice a week and all day on Saturday. We all had to become Boy Scouts and do three hours a week of something called C.W.-Community Work-which was always something vaguely unpleasant and quite useless too, but A.J. said it was each boy's cooperative contribution to the welfare and maintenance of the community. We had to stay outdoors, no matter what, all afternoon-they even timed you in the john. I was always cold, and hated my horse, a sulky strawberry roan. And the C.W. was always hanging over you. There were crew-leaders, you understand, many of them drunk with power-who made life hell for the crew.</p> <p>This man had conjured up a whole city there. The school was entirely self-sufficient, raised all the food, etcetera. There was a store, a post office, and one of the teachers was even a magistrate. I remember once he got a case which involved shooting a deer out of season and he made the most of it, went on for days. He had founded the school after he quit the Forest Service because some inspirational woman told him "Young man, there is a great constructive job waiting for you and if you don't do it now you will only have to do it later under much more difficult circumstances." So he rubbed a magic lamp of contributions ... "I know what's best for boys," he said, and those Texas oilmen kicked in.</p> <p>What I liked to do was get in my room against the radiator and play records and read the Little Blue Books put out by Haldeman-Julius, free-thinker and benevolent agnostic ... Remy de Gourmont ... Baudelaire ... Guy de Maupassant ... Anatole France ... and I started writing allegories put in a vaguely Oriental setting, with dapper jewel thieves over the wine, engaged in philosophical discussions I prefer not to remember.</p> <p>"To observe one's actions with detachment while making them as amusing as possible seems to me ..."</p> <p>"Very interesting," said the imperturbable detective popping up from behind a potted rubber plant. "You are all under arrest."</p> <p>I had a bad rep with the other boys ... "burns incense in his room ... reading French books ..." Later at Harvard during summer trips to Europe I started satirical novels about the people I met; one of them begins "'But you see I don't know much about love,' she said coyly, twisting an old-fashioned."</p> <p>Then I had an English period, gentlemen adventurers and all that ...</p> <p>"My god, that poor old chief!" He broke down sobbing.</p> <p>The other looked at him coldly and raised an eyebrow: "Well after all, Reggie, you didn't expect him to <i>give</i> us the emeralds, did you?"</p> <p>"I don't know what I expected, but not that <i>piranha</i> fish!"</p> <p>"It was much the easiest and most convenient method."</p> <p>"I can't stick it, Humphreys. Give me my share. I'm clearing off."</p> <p>"Why certainly." He took seven magnificent emeralds from the side pocket of his yellow silk suit and placed them on the table. With a quiet smile he pushed four stones to Reggie.</p> <p>Reggie was touched. "I mean, hang it all, it was your idea, Humphreys, and you did most of the work."</p> <p>"Yes Reggie, you funked it."</p> <p>"Then why?"</p> <p>"I am thinking of Jane."</p> <p>Reggie made a hasty exit, "I can't thank you enough" over his shoulder. Humphreys leaned forward, looking at the three emeralds quizzically.</p> <p>"You'll be missing your mates, won't you now? ... Ali!"</p> <p>"Yes master."</p> <p>"A white man has just left. He is carrying four green stones. I want those stones, do you understand Ali?"</p> <p>"Yes master I understand."</p> <p>Exit Ali, fingering his kris.</p> <p>And <i>then</i> I read Oscar Wilde. Dorian Gray and Lord Henry gave birth to Lord Cheshire, one of the most unsavory characters in fiction, a mawkishly sentimental Lord Henry ...<br> <br> <i>Continues...</i><br> </p> <blockquote> <hr noshade size='1'> <font size='-2'>Excerpted from <b>Word Virus</b> by <b>Williams S. Burroughs</b> Copyright © 1998 by The William S. Burroughs Trust. Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br> Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.</font> <hr noshade size='1'> </blockquote><p><p>With the publication of Naked Lunch in 1959, William Burroughs abruptly brought international letters into the postmodern age. Beginning with his very early writing (including a chapter from his and Jack Kerouac's never-before-seen collaborative novel), Word Virus follows the arc of Burroughs's remarkable career, from his darkly hilarious "routines" to the experimental cut-up novels to Cities of the Red Night and The Cat Inside. Beautifully edited and complemented by James Grauerholz's illuminating biographical essays, Word Virus charts Burroughs's major themes and places the work in the context of the life. It is an excellent tool for the scholar and a delight for the general reader. Throughout a career that spanned half of the twentieth century, William S. Burroughs managed continually to be a visionary among writers. When he died in 1997, the world of letters lost its most elegant outsider.<p></p><h3>Entertainment Weekly</h3><p>Burroughs junkies...will appreciate the excerpts from an unpublished novel cowritten with Jack Kerouac.</p>He is a writer of enormous richness whose books are a kind of attempt to blow up this cozy conspiracy, to allow us to see the truth.<br>&#151;(J.G. Ballard)<article> <h4>Entertainment Weekly</h4>Burroughs junkies...will appreciate the excerpts from an unpublished novel cowritten with Jack Kerouac. </article> <article> <h4>Entertainment Weekly</h4>Burroughs junkies...will appreciate the excerpts from an unpublished novel cowritten with Jack Kerouac. </article><article> <h4>Mark Luce</h4><i>Word Virus: The Williams S. Burroughs Reader</i> finally brings the author's actual writing back to the forefront. In their selections, editors James Grauerholz and Ira Silverberg highlight the many faces of Burroughs: the narrative pioneer, the sardonic stand-up, the asexual Tiresias-like seer, and, in what may be a surprise to many, the humanist....Apocalyptic, carnal and raw, Burroughs' work bridges the epiphanies of modernism with the Foucaultian cool of postmodernism. He stretches modernist forms and grammar like narrative silly putty, prefiguring the sly mischief of postmodern writers such as Thomas Pynchon and William Gibson....Word Virus [is] a fantastic, weird, disturbing and intriguing tribute to an inimitable American voice.<br> — <i>Salon</i> </article>
421American Fantastic Tales: Terror and the Uncanny from the 1940s to NowPeter Straub8<p><P>PETER STRAUB is the <i>New York Times</i> bestselling author of more than a dozen novels. Two of his most recent, <i>Lost Boy Lost Girl</i> and <i>In the Night Room,</i> are winners of the Bram Stoker Award. He lives in New York City.</p>Peter Straubamerican-fantastic-talespeter-straub97815985304831598530488$25.73HardcoverLibrary of AmericaOctober 2009Fiction, American Literature Anthologies, Fiction Subjects7505.18 (w) x 8.16 (h) x 1.25 (d)The second volume of Peter Straub's pathbreaking two-volume anthology <i>American Fantastic Tales</i> picks up the story in 1940 and provides persuasive evidence that the decades since then have seen an extraordinary flowering. While continuing to explore the classic themes of horror and fantasy, successive generations of writers—including Shirley Jackson, Ray Bradbury, Charles Beaumont, Stephen King, Steven Millhauser, and Thomas Ligotti—have opened up the field to new subjects, new styles, and daringly fresh expansions of the genre's emotional and philosophical underpinnings. For many of these writers, the fantastic is simply the best available tool for describing the dislocations and newly hatched terrors of the modern era, from the nightmarish post-apocalyptic savagery of Harlan Ellison's "I Have No Mouth, and I Must Scream" to proliferating identities set deliriously adrift in Tim Powers' "Pat Moore." <p>"At its core," writes editor Peter Straub, "the fantastic is a way of seeing." In place of gothic trappings, the post-war masters of the fantastic often substitute an air of apparent normality. The surfaces of American life—department store displays in John Collier's "Evening Primrose," tar-paper roofs seen from an el train in Fritz Leiber's "Smoke Ghost," the balcony of a dilapidated movie theater in Tennessee Williams' "The Mysteries of the Joy Rio"—become invested with haunting presences. The sphere of family life is transformed, in Davis Grubb's "Where the Woodbine Twineth" or Richard Matheson's "Prey," into an arena of eerie menace. Dramas of madness, malevolent temptation, and vampiristic appropriation play themselves out against the backdrop of modern urban life in John Cheever's "Torch Song" and Shirley Jackson's unforgettable "The Daemon Lover."</p> <p>Nearly half the stories collected in this volume were published in the last two decades, including work by Michael Chabon, M. Rickert, Brian Evenson, Kelly Link, and Benjamin Percy: writers for whom traditional genre boundaries have ceased to exist, and who have brought the fantastic into the mainstream of contemporary writing.</p> <p>The 42 stories in this second volume of <i>American Fantastic Tales</i> provide an irresistible journey into the phantasmagoric underside of the American imagination.</p><p>The second volume of Peter Straub's pathbreaking two-volume anthology <i>American Fantastic Tales</i> picks up the story in 1940 and provides persuasive evidence that the decades since then have seen an extraordinary flowering. While continuing to explore the classic themes of horror and fantasy, successive generations of writers&#151;including Shirley Jackson, Ray Bradbury, Charles Beaumont, Stephen King, Steven Millhauser, and Thomas Ligotti&#151;have opened up the field to new subjects, new styles, and daringly fresh expansions of the genre's emotional and philosophical underpinnings. For many of these writers, the fantastic is simply the best available tool for describing the dislocations and newly hatched terrors of the modern era, from the nightmarish post-apocalyptic savagery of Harlan Ellison's "I Have No Mouth, and I Must Scream" to proliferating identities set deliriously adrift in Tim Powers' "Pat Moore."<p> "At its core," writes editor Peter Straub, "the fantastic is a way of seeing." In place of gothic trappings, the post-war masters of the fantastic often substitute an air of apparent normality. The surfaces of American life&#151;department store displays in John Collier's "Evening Primrose," tar-paper roofs seen from an el train in Fritz Leiber's "Smoke Ghost," the balcony of a dilapidated movie theater in Tennessee Williams' "The Mysteries of the Joy Rio"&#151;become invested with haunting presences. The sphere of family life is transformed, in Davis Grubb's "Where the Woodbine Twineth" or Richard Matheson's "Prey," into an arena of eerie menace. Dramas of madness, malevolent temptation, and vampiristic appropriation play themselves out against the backdrop of modern urban life in John Cheever's "Torch Song" and Shirley Jackson's unforgettable "The Daemon Lover."<p> Nearly half the stories collected in this volume were published in the last two decades, including work by Michael Chabon, M. Rickert, Brian Evenson, Kelly Link, and Benjamin Percy: writers for whom traditional genre boundaries have ceased to exist, and who have brought the fantastic into the mainstream of contemporary writing.<p> The 42 stories in this second volume of <i>American Fantastic Tales</i> provide an irresistible journey into the phantasmagoric underside of the American imagination.</p><h3>Publishers Weekly</h3><p>Starred Review. <P>In this second installment, Straub ventures onto somewhat more adventurous ground. His selections bring readers completely up to date with the genre, featuring tales from even the newest writers, such as M. Rickert and Joe Hill. This thorough anthology is likely to replace Fraser and Wise's 1944 Great Tales of Terror and the Supernatural as a lib. It foreshadows the careers of writers who may very well turn out to be classics. Straub's reach is admirably broad, bringing to light worthy but under the radar talents such as Jane Rice and Jack Snow, both pulp writers who flourished briefly at the beginning of the "modern" era. Yet, he leaves room for the more mainstream writers: Jerome Bixby, Donald Wandrei, Fritz Leiber, Richard Matheson, and Poppy Z. Brite alongside Shirley Jackson, Paul Bowles, Joy Carol Oates, and Truman Capote. Straub incorporates such writers with originality: choosing, for example, to use Tennessee Williams' "The Mysteries of the Joy Rio" for once rather than his more common "The Vengeance of Nitocris." The anthology has genuinely imaginative writing and editorial vision. <BR>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p><article> <h4>From Barnes & Noble</h4>Like its companion volume, this Library of America hardcover contains 750 pages of classic tales of horror, hauntings, terrifying obsessions, and unearthly presences. The lineup of American Gothic masters includes Tennessee Williams, John Cheever, Jack Finney, Shirley Jackson, Paul Bowles, Ray Bradbury, Vladimir Nabokov, Harlan Ellison, Richard Matheson, Isaac Bashevis Singer, Joyce Carol Oates, Stephen King, Michael Chabon, Steven Millhauser, Brian Evenson, and Kelly Link. </article> <article> <h4>Publishers Weekly</h4>Starred Review. <p>In this second installment, Straub ventures onto somewhat more adventurous ground. His selections bring readers completely up to date with the genre, featuring tales from even the newest writers, such as M. Rickert and Joe Hill. This thorough anthology is likely to replace Fraser and Wise's 1944 Great Tales of Terror and the Supernatural as a lib. It foreshadows the careers of writers who may very well turn out to be classics. Straub's reach is admirably broad, bringing to light worthy but under the radar talents such as Jane Rice and Jack Snow, both pulp writers who flourished briefly at the beginning of the "modern" era. Yet, he leaves room for the more mainstream writers: Jerome Bixby, Donald Wandrei, Fritz Leiber, Richard Matheson, and Poppy Z. Brite alongside Shirley Jackson, Paul Bowles, Joy Carol Oates, and Truman Capote. Straub incorporates such writers with originality: choosing, for example, to use Tennessee Williams' "The Mysteries of the Joy Rio" for once rather than his more common "The Vengeance of Nitocris." The anthology has genuinely imaginative writing and editorial vision.<br> Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p> </article><article> <h4>Black Gate</h4>Fortunately, a perfectly apropos choice landed on my doorstep last month, compliments of the Library of America. Peter Straub's two-volume American Fantastic Tales, subtitled Terror and the Uncanny, is one of those genre-defining collections, a banquet of spooky fall reading that will likely last me months. And just like Thanksgiving, it's unapologetically American in focus.<br> <br> </article> <article> <h4>Globe and Mail</h4>Normally when one uses the phrase "essential reading" in a review, one qualifies it: "Title X is essential reading for people who . . . " There's no such qualification here: American Fantastic Tales is essential reading. Full stop. Every story is rewarding in its own right, but the overall effect of the volumes is staggering. The familiar stories, including Charlotte Perkins Gilman's The Yellow Wall Paper and Harlan Ellison's I Have No Mouth, And I Must Scream stand alongside horror writing from figures not normally known for such writing, including Vladimir Nabokov and Michael Chabon, and a new generation of writers unfamiliar to those whose experience of horror stories ended with their adolescence, including Kelly Link and Caitlin Kiernan. <br> <br> </article>
422Christmas in MinnesotaMarilyn Ziebarth0<p><P><b>Marilyn Ziebarth</b> is an editor at the Minnesota Historical Society Press. <b>Brian Horrigan</b> is an award-winning author and an exhibit developer at the Minnesota Historical Society.</p>Marilyn Ziebarth (Editor), Brian Horriganchristmas-in-minnesotamarilyn-ziebarth97808735154290873515420$24.95HardcoverMinnesota Historical Society PressNovember 2005Holidays, Religious, Regional American Anthologies, Literature Anthologies - General & Miscellaneous, American Literature Anthologies2087.25 (w) x 9.25 (h) x 0.80 (d)<p>Like the warmth of a cabin fireplace and the twinkle of lights along the edge of a frozen lake, <i>Christmas in Minnesota</i> evokes memories of hoidays long ago.</p> <p>Familiar traditions echo across the years in funny, poignant, and surprising ways. The communal feast is the focus in the 1870s when a family welcomes a Swedish traveler to their cozy sod house on the prairie. The annual holiday pageant is at the heart of a moving story by Faith Sullivan about a schoolgirl frightened by her role in the spotlight. The spirit of giving is the theme as Evelyn Fairbanks, chronicler of St. Paul’s Rondo neighborhood, remembers the stranger who made Christmas possible after her father’s untimely death in the 1930s. A dad struggles to reconnect with his son during this time of togetherness in a touching story by novelist Jon Hassler. A Civil War drummer boy prepares for a makeshift holiday while on duty with the First Minnesota. Essayist Bill Holm reflects on the joyous and burdensome ritual of composing the annual Christmas letter.</p> <p>&nbsp;</p> <p>These stories and many more, accompanied by vintage recipes, advertisements, photos, and decorations, recreate the excitement and spirit of Minnesota’s own Yuletide cheer.&nbsp;</p><p><P>Like the warmth of a cabin fireplace and the twinkle of lights along the edge of a frozen lake, <i>Christmas in Minnesota </i>evokes memories of hoidays long ago.<br><br>Familiar traditions echo across the years in funny, poignant, and surprising ways. The communal feast is the focus in the 1870s when a family welcomes a Swedish traveler to their cozy sod house on the prairie. The annual holiday pageant is at the heart of a moving story by Faith Sullivan about a schoolgirl frightened by her role in the spotlight. The spirit of giving is the theme as Evelyn Fairbanks, chronicler of St. Paul&#8217;s Rondo neighborhood, remembers the stranger who made Christmas possible after her father&#8217;s untimely death in the 1930s. A dad struggles to reconnect with his son during this time of togetherness in a touching story by novelist Jon Hassler. A Civil War drummer boy prepares for a makeshift holiday while on duty with the First Minnesota. Essayist Bill Holm reflects on the joyous and burdensome ritual of composing the annual Christmas letter. <P>&nbsp; <P>These stories and many more, accompanied by vintage recipes, advertisements, photos, and decorations, recreate the excitement and spirit of Minnesota&#8217;s own Yuletide cheer.&nbsp;<br><br></p><P>Contents <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Introduction by Brian Horrigan&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ix <P>&nbsp; <P>1&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Finding Christmas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Christmas Chronicles&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Hugo Nisbeth, Christmas Eve in a Sod House&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Mary Dodge Woodward, &#8220;No sound of joyous Christmas bells&#8221;&nbsp;&nbsp;&nbsp; 00 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Works Progress Administration, &#8220;In the American fashion&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Melvin L. Frank, &#8220;Screaming their excited delight&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Justine Kerfoot, Christmas on the Gunflint 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Florence Page Jaques, &#8220;A Christmas tree for birds&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Wendell Anderson, &#8220;Once again it is Christmas&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000<P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Robert Treuer, &#8220;Where are the trees?&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <P>2&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Celebrating the Holidays&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Faith Sullivan, &#8220;They want to hear a story&#8221;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Roger MacDonald, &#8220;Like the haunting croon of Goodman&#8217;s clarinet&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Lorna Landvik, &#8220;This is my favorite part&#8221;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Garrison Keillor, Celebrating Christmas in Lake Wobegon&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Charles Flandrau, &#8220;Christmas . . . is really a terrible day&#8221;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Charles M. Schulz, &#8220;Off the hook&#8221;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Cathy Mauk, &#8220;It&#8217;s the light&#8221; &nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jonis Agee, The Christmas Question&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Lee Mero, Christmas in the City&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp; <P>3&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Coming Home&nbsp; <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; F. Scott Fitzgerald, &#8220;My Middle West&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Walter O&#8217;Meara, &#8220;You could hear sleigh bells&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jerry Fearing, &#8220;Closer to the ground&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Bill Holm, &#8220;My December duty&#8221;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Louie Anderson, &#8216;&#8220;How much for this tree without limbs&#8221;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Barton Sutter, Afterthoughts on Christmas Trees&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Emily Carter, Cold Feet&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp; <P>4&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Giving Season&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Beatrice Fines, The Gift of Oranges&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Maud Hart Lovelace, Betsy, Tacy, and Tib Go Christmas Shopping&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000<b></b> <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; An Anonymous Lady, What a Christmas Shopper Found&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Harrison Salisbury, &#8220;A day of excitement, of joy&#8221;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Celia Tauer, &#8220;I dreamed I was in New Ulm&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Evelyn Fairbanks, Daddy&#8217;s Gift&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cheri Register, &#8220;One more saving grace&#8221;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Sam Cook, In Stitches&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Susan Allen Toth, A Cut-Glass Christmas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Maura Stanton, Gifts&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Samuel Hynes, &#8220;Promises of bright, warm days coming&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Kevin Kling, &#8220;Something &#8216;different&#8217;&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp; <P>5&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Eating and Making Merry&nbsp;&nbsp;&nbsp; <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Vilhelm Moberg, &#8220;A Christmas for their souls&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Civil War soldiers, &#8220;Strange and unusual holidays&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Otis Terpening, &#8220;Come and eat, eat&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Shirley Schoonover, &#8220;Celebration and saunas&#8221; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Nick Fauchald, The Kookie Never Krumbles&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Helen Hoover, Dinner Guests&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Susan Hauser, Coins of the Realm&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Colleen Kruse, Mickey&#8217;s Diner&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;A Minnesota Christmas Eve Feast&nbsp;&nbsp;&nbsp; 000 <P>&nbsp; <P>6&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Family Matters&nbsp;&nbsp;&nbsp; <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Syl Jones, Santi Claw&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Sinclair Lewis, Carol&#8217;s Christmas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Carol Bly, An Adolescent&#8217;s Christmas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Robert Bly, Driving My Parents Home at Christmas&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Michael Fedo, &#8220;Everybody smile&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Jon Hassler, &#8220;How am I doing, Dad?&#8221;&nbsp; 000 <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Letters, &#8220;I will never forget&#8221;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000 <P>&nbsp; <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Epilogue&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Noah Adams, Light, Darkness, Night&nbsp;&nbsp;&nbsp; 000 <P>&nbsp; <P>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Sources&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 000
423Iowa, the Definitive Collection: Classic and Contemporary Readings by Iowans, for IowansZachary Michael Jack0Zachary Michael Jackiowa-the-definitive-collectionzachary-michael-jack97818881603831888160381$24.28PaperbackIce Cube PressJune 2009United States History - Midwestern Region, American Literature Anthologies5326.00 (w) x 9.00 (h) x 1.50 (d)
424Friction, Volume 7: Best Gay Erotic FictionJesse Grant0<p><P>Jesse Grant has edited many erotica anthologies, most recently Fast Balls&#58; Erotic Tales of America's Favorite Pasttime.</p>Jesse Grantfriction-volume-7jesse-grant97815558382701555838278$1.99PaperbackAlyson BooksFebruary 2004Fiction, American Literature Anthologies, Anthologies, Gay & Lesbian Studies, Fiction Subjects3685.40 (w) x 8.50 (h) x 0.80 (d)<p>The <i>Friction</i> series of gay erotica presents the sexiest work of the top writers from the country’s most popular gay erotic magazines. It contains the best of thousands of stories published in the past year. The stories in this collection are, simply put, the hottest in print.</p> <p><b>Jesse Grant</b> is a writer and editor. He edited <b>Men for All Seasons</b> and has been the coeditor of the <i>Friction</i> series since the second volume.</p><p><P>The best gay erotic fiction from the top gay men's magazines.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT">vii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Over the Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vulnerable Youth</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Quads of Death</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Act of Contrition</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Politically Incorrect</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Man Amplified, Man Squared</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meet in the Middle</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Army Green</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All Soaped Up</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bitch</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Help</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shrinks</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Making the Team</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where the Buffalo Roam</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lucky Night</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Payback</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wrought Iron Lace</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trailer Park Punk</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Friday Night at the Calvary Hotel</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Just Looking</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Long Haul</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Story of O. Henry, or The Gifts of the Leathermen</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Limo Scene</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Box Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sex Piggy in the Middle</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sticks and Balls</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arkansas Heat</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sea Where It's Shallow</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Special Delivery</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">6 Inches of Separation</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Downward Spiral</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tail Spin</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cornered in the Closet</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Artful Fur</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dear Bobby</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Muscling In</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">CU1</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Piggy</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributor Biographies</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Publication Information</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD></TABLE>
425A Kentucky ChristmasGeorge Ella Lyon0George Ella Lyon (Editor), Harriette Simpson Arnow, Dianne Aprilea-kentucky-christmasgeorge-ella-lyon97808131227930813122791$28.00HardcoverUniversity Press of KentuckyOctober 20031st EditionReligion, Holidays<p><P>"Table of Contents A celebration of holiday poetry, fiction, essays, recipes, and songs by more than sixty of the Bluegrass state's finest writers. Gathered here are writings from some of the legendary voices of Kentucky &#151; and the nation &#151; as well as original Christmas stories and poetry from some of the state's emerging talents. Among the contributors to this handsome collection are Kentucky's visionaries, storytellers, historians, singers, cooks, children's authors, and poets, including all five Kentucky Poet Laureates. A delight for anyone interested in Kentucky literature, history, or traditions, A Kentucky Christmas promises to be a wonderful holiday gift, a treasured family keepsake, and a necessary addition for libraries and for personal collections.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Greeting</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Louisville's First Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Social Life and Diversions</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Little Bit of Santa Claus</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Chapter 12, The Heart of the Hills</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas and Old Christmas in Appalachia</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jack Hunts Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Animals That Night</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ganders Marry</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Pure Magic and Old Friendship, Creeker</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Asakawa Christmas Party</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas, Down Home</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Home for Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At Years End</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Winter Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mother's Christmas Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jingle Bells, Shotgun Shells</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Time Like Now</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Birds' Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hunting for a Christmas Tree After Dark</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drawing Names</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Believe in Santa Claus</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Turtle</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas on Lizard Ridge</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Red Taffeta Dress</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gift</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Winteriese</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Present</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bread</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Every Day</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">December 24, 1959</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">By Special Starlight</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Comes to Lord Calvert</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Proof of Mother's Puddings</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All the Right Ingredients</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Fruit Salad, Iva's Christmas Cake, and Snow Cream</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Gift: A Memoir</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">VI, 1991</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Eve, 3 P.M.</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Christmas Lesson</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Little Bitty Baby</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Wonder as I Wander</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bad Winter, 1975</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Chapter 17, Borrowed Children</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shooting Star</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Advent</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Winter Wren at Solstice</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">December 25, 1949-December 31, 1949</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Cardinals</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the House of the Lord</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Chapter 10, Newfound</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snow Arithmetic</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Presence of Snow in the Tropics</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prayer for the New Year</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Alene</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Visit</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mistletoe</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters From the Karst</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hey, You Ain't Supposed to Wear Clothes Under Your Nightgown</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Master Time</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From God's Oddling: The Story of Mick Stuart, My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Uncle Bob</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Domestic</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">VI, 1988</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Waking before Light</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When She Came to Mercy</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Epiphany at Midnight: January 20, 1994</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Morning</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Christmas Lamb</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Icon</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">St. Ann's Kitchen Door: Mis-en-Scene</TD><TD WIDTH="10%" ALIGN="RIGHT">302</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Too Wise Men</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bound into the Mystery</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Holy Season</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">James Still</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Further Reading</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reprint Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD></TABLE>
426The Little Big Book of CaliforniaNatasha Tabori Fried0<p><P>Natasha Tabori Fried is Managing Editor of Welcome Enterprises. She has co-edited The Little Big Book of Chills and Thrills, The Little Big Book of America, and The Little Big Book of New York for Welcome Books. She lives in New York City.</p>Natasha Tabori Fried (Editor), Lena Taborithe-little-big-book-of-californianatasha-tabori-fried97819321837021932183701$22.48HardcoverWelcome EnterprisesApril 2005Regional American Anthologies3526.93 (w) x 6.71 (h) x 1.64 (d)<p>Full of observations natives will appreciate, but also the ideal souvenir for tourists, this book is designed with vintage art and packed with literary excerpts, poems, facts, songs, quotes, legends, and recipes celebrating the Golden State.</p> <p>Literary Excerpts for authors such as Joan Didion, Jack London, John Steinbeck, and Amy Tan.</p> <p>Poems by the likes of Robert Hass, John Muir, and Walt Whitman.</p> <p>Fact Spreads including Famous Californians, Moments in History, Earthquakes, and Surf's Up.</p> <p>Song Lyrics including " I Left My Heart in San Francisco, "California Girls," and "San Andreas Fault."</p> <p>Legends and Lore of everything you ever wanted to know about California, including the building of San Francisco's bridges, the Gold Rush, the Water Wars, and Hollywood.</p> <p>Recipes for California nouveau classics like BBQ Chicken Pizza, California Rolls, and Chinese Chicken Salad join more traditional fare such as Crab Louis and Fish Tacos.</p> <p>Vintage Americana postcard and paper ephemera that illustrates eras of time gone by.</p><p><P>Full of observations natives will appreciate, but also the ideal souvenir for tourists, this book is designed with vintage art and packed with literary excerpts, poems, facts, songs, quotes, legends, and recipes celebrating the Golden State.<br><br>Literary Excerpts for authors such as Joan Didion, Jack London, John Steinbeck, and Amy Tan.<br><br>Poems by the likes of Robert Hass, John Muir, and Walt Whitman.<br><br>Fact Spreads including Famous Californians, Moments in History, Earthquakes, and Surf's Up.<br><br>Song Lyrics including &quot; I Left My Heart in San Francisco, &quot;California Girls,&quot; and &quot;San Andreas Fault.&quot;<br><br>Legends and Lore of everything you ever wanted to know about California, including the building of San Francisco's bridges, the Gold Rush, the Water Wars, and Hollywood.<br><br>Recipes for California nouveau classics like BBQ Chicken Pizza, California Rolls, and Chinese Chicken Salad join more traditional fare such as Crab Louis and Fish Tacos.<br><br>Vintage Americana postcard and paper ephemera that illustrates eras of time gone by.</p>
427New Playwrights: The Best Plays of 2005D. L. Lepidus0<p>D. L. LEPIDUS is a freelance critic and editor who has covered the New York theater scene for more than twenty-five years.</p>D. L. Lepidus (Editor), Brian Morinew-playwrightsd-l-lepidus97815752544631575254468$18.76PaperbackSmith & Kraus, Inc.May 20061st EditionDrama Anthologies, American Drama, American Literature Anthologies3525.40 (w) x 8.40 (h) x 0.80 (d)Comfort Women by Chungmi Kim: A Korean-American woman is forced to confront her past deeds as a prostitute slave of the Japanese military during World War II.<p>Comfort Women by Chungmi Kim: A Korean-American woman is forced to confront her past deeds as a prostitute slave of the Japanese military during World War II.</p>The Learning Curve by Rogelio Martinez Produced on Theatre Row in NYC. An insightful look at student unrest on a major college campus in the 1960s, and its continuing impact on our world today. <br>Comfort Women by Chungmi Kim Produced by Urban Stages. A Korean-American woman is forced to confront her past deeds as a sex slave of the Japanese military during World War II. <br>String of Pearls by Michele Lowe Produced by Primary Stages. The strange story of a pearl necklace, and its impact upon the lives of several women over time. <br>Swimming in the Shallows by Adam Bock Extended-run hit from Off-Broadway's Second Stage. A whimsical comedy about love. What do you do if the man of your dreams is, literally, a shark? <br>Everything Will Be Different by Mark Schultz Produced by Soho Rep. A troubled teenaged girl retreats more and more into her own fantasy world. <br>Texas Homos by Jan Buttram Produced by Abingdon Theatre Co. Two leading citizens of a small Texas city, both married, get arrested for soliciting sex in the men's room of a local park, and try to find a way to beat the rap.<p>
428Tenderheaded: A Comb-Bending Collection of Hair StoriesJuliette Harris0<p><P><B>Juliette Harris</B> (right) is the editor of <I>International Review of African-American Art,</I> published by Hampton University Museum in Virginia. She has also written award-winning television and film documentaries.</p>Juliette Harris (Editor), Pamela Johnson, Ntozake Shangetenderheadedjuliette-harris97806710475660671047566$18.07PaperbackSimon & Schuster Adult Publishing GroupJanuary 2002ReprintBeauty & Grooming, American Literature Anthologies, Anthologies3206.46 (w) x 0.85 (h) x 9.22 (d)<p>What could make a smart woman ignore doctor's orders?</p> <p>What could get a hardworking employee fired from her job?</p> <p>What could get a black woman in hot water with her white boyfriend?</p> <p>In a word...</p> <p><b>HAIR.</b></p> <p>When does a few ounces feel like a few tons? When a doctor advises a black woman to start an exercise program and she wonders how she can do it without breaking a sweat. When an employer fires her for wearing a cultural hairstyle that's "unprofessional," and she has to go to court to plead for her job. When she's with her man, and the moment she's supposed to let loose, she stops to secure her head scarf so he doesn't disturb the 'do.</p> <p><b>TENDERHEADED?</b></p> <p>Yes, definitely. All black women are, in one way or another.</p> <p>The issue is not only about looking good, but about feeling adequate in a society where the beauty standards are unobtainable for most women. <i>Tenderheaded</i> boldly throws open the closet where black women's skeletons have been threatening to burst down the door. In poems, essays, cartoons, photos, and excerpts from novels and plays, women and men speak to the meaning hair has for them, and for society. In an intimate letter, A'Leila Perry Bundles pays tribute to her great-grandmother, hair-care pioneer Madam C.J. Walker, who launched a generation of African-American businesswomen. Corporate consultant Cherilyn "Liv" Wright interviews men and women on the hilarious ways they handle "the hair issue" between the sheets. Art historian Henry John Drewal explores how hairstyles, in Yoruba culture, indicate spiritual destiny, and activist Angela Davis questions how her message of revolution got reduced to a hairstyle.</p> <p> <i>Tenderheaded</i> is as rich and diverse as the children of the African diaspora. With works by Toni Morrison, Alice Walker, bell hooks, Henry Louis Gates Jr., and other writers of passion, persuasion, and humor — this is sure to be one of the most talked-about books of the year.</p><p class="null1">From <i>Tenderheaded:</i> Pillow Talk</p> <blockquote class="null2">We try to create hair that is touchable — like the commercials tell us we should — while secretly hoping he won't touch it. Often our hair is an illusion — a look achieved with gobs of gook, or an imported tress, stitched in like the hem of a dress. A guise we put on and take off. Intimacy is a high price to pay for it.</blockquote> <p class="null1">LOVE ADVICE FROM THE EBONY ADVISOR</p> <p>In the September 1988 issue of <i>Ebony</i> magazine, a woman sought counsel from the publication's "Ebony Advisor." In her letter, "K.A.G." of Copperas Grove, Texas, said that she had a good marriage, but a problem threatened it: after nine years of having her hair chemically straightened, she wanted to let the perm grow out. But her man resisted. "My husband feels that I will become undesirable to him and has said that he might leave me if I do [let my perm grow out]. I'd hate to lose him or leave him because of this, but I dislike the trouble and illusion straightening my hair brings me. I long to be free of chemicals and I wish he would accept me 'naturally.'"</p> <p>The "Ebony Advisor" conceded that the woman had the right to change her style but recommended that, since exercising her right would jeopardize her marriage, she should continue with the chemicals. The advisor reminded the reader that beauty is in the eye of the beholder, and told her that if her husband said, "Don't go changing," she should mind him. It's not much to pay to "keep the gleam in his eye gleaming."</p> <p class="null1">SPLITTING HAIRS</p> <blockquote><i>On the one hand brothers have made a transition [to natural styles], and yet they don't expect the same of their women. They still want their women to be Asian women dipped in chocolate.</i> <p>— Peggy Dillard Toone, Natural Hair Care Pioneer</p> </blockquote> <p>IF YOU LET ME MAKE LOVE TO YOU, THEN WHY CAN'T I TOUCH YOUR HAIR?</p> <p><i>Cherilyn "Liv" Wright</i></p> <p>In 1970 Ronnie Dyson, the precocious black teenage star of the counterculture Broadway musical <i>Hair,</i> recorded the Top Forty hit "If You Let Me Make Love to You, Then Why Can't I Touch You?" While the irony and poignancy of the lyric might have been lost on some, at the time it struck this black college junior as profound.</p> <p>It was from the dustbin of memory, then, that I heard the now-late Dyson singing in my ear as Angie, the twenty-something black receptionist at my client's office, told me that she had trained her boyfriend not to touch her hair while they were making love. I had complimented her on her freshly done, magazine-ready hairdo, which had been chemically straightened, tinted light brown, and augmented by straight, shoulder-length human hair that had been tightly woven to her scalp. Just brushing her forehead, and barely touching her eyebrow, was a flirtatious wisp of a curl.</p> <p>"Can I touch it?" I asked.</p> <p>"Sure," she said.</p> <p>The wisp was as hard as a rock! "How did they get it to go like that?" I blurted.</p> <p>"I dunno," she shrugged. "I guess they used gel or something, and then put me under the dryer to bake it in."</p> <p>"Special occasion?"</p> <p>"I'm going to see my boyfriend for the weekend."</p> <p>"Well, what are you going to do about your hair when you and your boyfriend are doing 'the wild thing'?" I continued to probe. "Won't he think your hair is too stiff?"</p> <p>"Oh, no, no, no, he knows he'd better not touch my hair!" she replied emphatically. "It costs me too much money. Oh, no, no, no, you have to train these men right away."</p> <p>I couldn't believe my ears! Was it her tender age that caused her to place such a high priority on her hair? And didn't this hands-off-the-hair policy offend her boyfriend? Perplexed, I cornered an older black female associate for a sanity check.</p> <p>"I'm worried about Angie," I said. "She's got a guy she's serious about, and she won't let him touch her hair when they make love! How does she expect to be really intimate with him?"</p> <p>"Where have you been?" my colleague responded brutally. "There's nothing wrong with Angie. She's got a strategy that's working for her, and she's got plenty of company. You've obviously never talked to your girlfriends about what they do when they get together with their men. Black men do not expect to have their hands in our hair when we make love. Ask them."</p> <p>She was right. I didn't have a clue. How many of my friends had given the hands-off message to their sex partners? And what did the menfolk have to say about all this? I picked up the phone and called one of my closest friends.</p> <p>TRUDY'S EXTENSIONS</p> <p>Trudy, a legal secretary, has been my friend since the fifth grade. We got our ears pierced about the same time, started menstruating about the same time, and debriefed one another after our "first time" with a boy. There isn't much we don't know about each other. Or so I thought.</p> <p>"No, Mike doesn't touch my hair. I don't tell him not to in so many words, but I know he gets the point. The trick is to make your hair look touchable, but to make sure they don't actually touch it."</p> <p>I was a maid of honor at Trudy's wedding ten years ago. Her husband, Mike, is a big lug of a guy who absolutely adores her. Long ago, I encouraged her to choose him over the other men she'd been dating. I told her that when they were both a hundred years old, and she forgot to take out her dentures before falling asleep, he would be the kind of guy to take them out for her and put them in a cup on the night table beside the bed.</p> <p>"You have no idea what I went through to get a style that would work for me on our honeymoon," she said. "I wanted my hair to look free and playful when we were on the beach. But I wanted it to look elegant when we dressed for dinner on the ship. Remember how I had it done for the wedding?"</p> <p>I confessed that I didn't. All I could remember was that the sweltering heat had ruined everyone's hairdo.</p> <p>"I asked the beautician to give me some extensions because Mike and I were going on this honeymoon cruise and I didn't want to have to worry about my hair. I wanted to be able to use the pool and enjoy the beach when the ship stopped at one of the islands. I told her I wanted braids that would take me from the wedding ceremony to a sexy afternoon on the beach with my husband. She said she'd give me extensions that I could either pin up or wear long. For the wedding, she pinned the extensions way up on my head to give me height and a very regal look, remember?"</p> <p>In the wedding pictures her hair is swept up into a Madame Pompadour-like tower, making Trudy, who normally stands five-foot-two, look almost as tall as her six-foot-four husband.</p> <p>"The hairdresser also showed me how to remove the pins and wear it in a long style. I wanted to be able to fool around with Mike on the beach, make love with him in the water, and not have a problem. You know what I'm saying?"</p> <p>I pictured Trudy as a bronze-toned cross between Bo Derek and Esther Williams, skipping across some Caribbean beach with Mike lumbering behind in hot pursuit.</p> <p>"So the beautician braided extra hair into the extensions to make them a little thicker, and to hold them in place. If my hair got wet, no big deal, right? Well what she neglected to tell me was that when those extensions get wet, you're carrying another twenty pounds of weight on your head! And 100 percent human hair, when it's woven into heavy braids like that, doesn't dry for a real long time.</p> <p>"So there I am that night dining with my husband at the captain's table, trying to sit up straight and keep my head from falling into my swordfish. It was a mess, girl!"</p> <p>HARRIET'S WEAVE</p> <p>I called Harriet next. Trudy and I used to hang out with her in high school. She was always one of our more glamorous friends. Harriet knows all the "in" places to get your hair done and always has the trendiest style.</p> <p>She likes to think of herself as a seductress.</p> <p>"I love the feel of a man's fingers massaging my scalp, but you can't let him do that when you have a weave," said Harriet when I put the question to her. "You want the intimacy, but you just can't. If the men like all this long hair, they need to be appreciative of what you've done to get it to look that way. But, don't get me wrong now, they don't need to know every little thing!"</p> <p>"What do you mean when you say every little thing?" I ask.</p> <p>"You know what I'm talking about. You have this fabulous weave, and he starts to run his fingers through it. But what it feels like to him, though, is that you have these tracks in your head! And then you hear him say, 'Oops.' And when you feel him slowly pulling his hands away, you know you've been found out! And you know what he's thinking. So then I start thinking about what he's thinking."</p> <p>With all those imaginary voices in her head, I'm wondering if Harriet has ever had a real orgasm!</p> <p>"When it comes to my hair," she says, pulling me back into the conversation, "I believe that some things are better left unsaid. My philosophy is to deal with the situation on a need-to-know basis only. If he's talking about marriage and giving me a ring, then okay, I'll take him backstage and show him how the hair routine was put together."</p> <p>"You've really thought this whole thing out, haven't you?" I prompt her.</p> <p>"Look, whatever it takes. My cousin Lossie's been married three years and still hasn't told her husband that that's not her real hair!"</p> <p>MARK'S WIFE</p> <p>It was time to get a male perspective on the situation, so I called Mark, a bona fide husband of more than twenty years. A suburban, Republican business owner, Mark is married to Jean, a public-sector administrator, who chemically relaxes her hair and never misses her semimonthly salon appointments. Mark and I have been friends for a long time and can talk about anything. I asked him about the hair rules in his household.</p> <p>"The fellas always say that there are two things you can't get a black woman to do in bed: one is to perform oral sex and the other is to let you touch her hair. I'm very clear that I'm not supposed to touch my wife's hair."</p> <p>"How do you feel about that?" I ask.</p> <p>"I don't know, but I can tell you — and don't hate me for this, Cherilyn — that all black men basically want the same thing: light skin, light eyes, and long hair." (Don't hate me for this, Mark, but take a hike! Just because we can talk about anything, doesn't mean you should!)</p> <p>"For some reason, though," he continued, "I've always been a little different. I prefer dark-brown-skinned women like my wife, but I've got to have the hair, see? And my wife knows it. She has beautiful hair, and it always looks great! So she can really play me, see? When it looks like I'm going to touch her hair, she'll say, 'C'mon, Mark, I just had my hair done, and I want it to last for a while. You want me to look nice for you, don't you?' So I leave her alone."</p> <p>I'm curious now. Mark and his wife have four children, so I know that they have had a connubial liaison or two over the past couple of decades. "What does she do about her hair when the two of you finally get together?" I inquire.</p> <p>"She puts on a scarf so her hair doesn't get messed up."</p> <p>"All the time?"</p> <p>"Yeah, mostly. Sometimes, if it's the day before her appointment with the hairdresser, or if we're on vacation, she'll make love without the scarf. It's almost like a concession from her, though."</p> <p>"Is that all right with you?" I probe.</p> <p>"Not really, but it's not worth it for me to make a big issue out of it. After twenty years of marriage, I've learned to pick my battles. If I'm asking her to give me all 999 positions in the <i>Kama Sutra,</i> I'm willing to settle for the stupid scarf."</p> <p>I ask Mark how many scarves his wife has in her bedtime repertoire and if he knows what any of them look like. He says she has two, and yes, he kinda knows what they look like, but no, he can't exactly describe them to me.</p> <p>I try to picture a romantic scene in Mark's household. I know that when couples make love (at least the way they show it on <i>All My Children),</i> there is a certain heightened emotional moment. The two lovers — lying side by side, gazing deeply into one another's eyes — pierce through those liquid windows of the soul to seduce each other with the "look." I ask Mark what he's thinking when he gazes at his wife during their concupiscent moment, and sees these scarves.</p> <p>"It's funny," he says, "but I don't even notice the scarf. What I'm really looking at when I gaze into her face is its impeccable symmetry, the perfect brown depth of her skin, and her eyes locked into mine. My wife doesn't always want to make eye contact with me when we make love, but when she does, and when we really connect with each other, Lord, I'm a happy man! No, after all these years of marriage, I don't even see the scarf anymore. It's just always been there."</p> <p>A neat, two-decade-long ménage-à-trois, I think to myself: Mark, his wife, and her scarf.</p> <p>STEPHANIE'S HIGH-MAINTENANCE LOOK</p> <p>My Generation X friend Stephanie, who has just turned thirty, has her own headwrap strategy. She has an exciting job in the entertainment industry in Los Angeles and spends her evenings after work at "listening parties" hosted by record producers and at screenings hosted by film companies. She's looking for a husband and would prefer a love connection with a man in her field. She tells me that because it is so "competitive" out there, any woman who is serious about her marriage-mission needs to be serious about looking good.</p> <p>When I told her about Angie training her boyfriend not to touch her hair, Stephanie told me about her efforts to "break in" a new boyfriend. "I'd had my eye on this man for a long time, right? We kept running into one another at some of the parties I go to after work, and eventually we started to date. I'd already had him over for dinner, and this was going to be my first evening at his place. We hadn't been intimate yet, but I had the feeling that this might be the night. So I knew that everything had to be correct. Manicure. Pedicure. Massage. Waxing. And, of course, The Hair.</p> <p>"It took me all day to get my hair the way I wanted it. I had to drive to the salon. Wait my turn. Shampoo. Condition. Trim. Set. Dry. Style. Drive home. That's eight hours. A whole day! So I knew that, no matter what happened at his house, it was going to be a don't-touch-my-hair evening. So, when he and I started to fool around in his living room and I told him not to touch my hair, he said, 'You've got to be kidding!' And, of course, it killed the whole mood."</p> <p>"What happened then?" I asked.</p> <p>"Nothing. We just sat and listened to music. I had brought some ice cream, so we ate that and watched a video."</p> <p>"Was there an encore? I mean, did you see him again?"</p> <p>"Yeah. We were basically all right with each other. So, the next time, I brought my do rag with me."</p> <p>"The one with the magic powers?" I giggle because all black women have a faithful servant that holds our hair in place like nothing else.</p> <p>"Yeah, that one. I've had it since college, and I took it in case I wanted to tie up my hair," she said, grinning from ear to ear. "But my date saw the do rag and broke out with 'What's that thing for?'</p> <p>"I said, 'Never mind,' and put it away. It was funny though, because when I unwrapped the condom and started to put it on him, he said the same thing, 'What's that?' And I had to really tell him that if we were going to hang together, he was gonna have to wear his rain boots! I told him that I might be willing to compromise on the do rag, but definitely not on the boots."</p> <p>AL'S WIFE</p> <p>At sixty-two, Al is divorced from his wife of thirty years, and dates only the twenty-something Angies and Generation X Stephanies. "Women over forty want to talk," he explains, "especially the ones who went to college. But the younger ones? They'll sit and listen to a guy like me as long as I keep buying things for them."</p> <p>I realize that with Al I have descended much lower on the food chain than I had intended. But I do want to hear what he has to say on the subject of hair and the art of making love. I know that Al's wife would have been part of the press 'n' curl, pre-chemical-straightener generation, and I ask him whether she'd had rules about not touching her hair.</p> <p>"My stuck-up wife? Noooooo, you couldn't touch her hair!" He gestures wildly.</p> <p>I ask whether he thinks this rule about hair is widespread and whether the younger women he dates let him touch their hair.</p> <p>"No, I haven't had a problem with that, and I don't really think it's too widespread. Lemme see. Of the five hundred women I've slept with [Is he trying to impress someone?] only about five wouldn't let me touch their hair. Yeah, that's about right."</p> <p>I'm preparing to build my statistical model from Al's sample (5 out of 500 is 1 percent). Then a pang of humility strikes, and Al begins to scale back his Wilt Chamberlain pretensions. "Well, maybe it was closer to four hundred. But I know it was definitely more than three hundred, 'cause one time I counted."</p> <p>(If you say so, Al.)</p> <p>He starts talking about his wife's hair again: "Nope. Could not touch it. She was so uptight about it that when we were lying there in the bed next to each other, she would actually ask me not to breathe so hard in her direction! Told me it would mess up her hair."</p> <p>Of course! I totally understand where Al's wife is coming from. It's right there in any high school chemistry book. You can look it up. The chemical composition of human exhalation is CO2 and H2O, or carbon dioxide and water vapor. There is no scientific term, however, for the chemical reaction that occurs when water makes contact with African hair that's been pressed and curled. So, for generations, black women have settled for the prosaic expression, "My hair went back."</p> <p>I wasn't sure where our hair went when it "went back" until I read a health and beauty book written in the mid-1970s by black supermodel Naomi Simms. She concludes her brief discourse on "The Heat Method of Hair Straightening" by informing the reader that, if the straightened hair is exposed to water, steam, or excessive humidity, it will return to its "original configuration."</p> <p>So there it was. Al's wife was trying to keep the excessive humidity of her husband's breath from returning her hair to its original configuration! I asked Al what he said when she told him not to breathe on her. He grinned devilishly, as if enjoying some private joke. "I told her that if she'd just stop talking, and put her head down to a place where it could really do me some good, she wouldn't have to worry about my breathing on her hair."</p> <p>LORNA'S HAIR ROLLERS</p> <p>Unlike Al's wife, my friend Lorna is a black women who loves oral sex. She grew up during a time when a teenage girl was able to remain "technically" a virgin while giving blow jobs like crazy at the drive-in movie. She's been married to Craig since she was in her early twenties. They are in their forties now and haven't lost any of their heat.</p> <p>"I don't know where that character came from," said all-the-way-from-New Orleans Lorna, after I told her Al's story, "but these men complain even when you do go down there to try to make them feel good."</p> <p>Lorna has slept in hair rollers every night since she was in high school, and her good-natured husband, Craig, has accustomed himself to conjugal bliss with a human porcupine. "He calls it my 'bedroom furniture,'" Lorna says, sucking her teeth and mocking offense. She's referring to her inventory of curling implements that reads like a quarter-century of discount hair-care catalogs: wire mesh rollers, large juice cans, small juice cans, sponge curlers, metal rollers, magnetic rollers, pastel-colored plastic rollers in graduated sizes, rollers with Velcro, rollers that twist, rollers that bend in half, rollers with teeth. And Craig's privates have had their share of violent encounters with them all.</p> <p>"I try to be real careful," Lorna insisted, "but it seems like somehow something's always happening. Craig keeps asking me why all the things I put on my head have such a sharp edge, but they really don't. It just depends on how you move around."</p> <p>For years, Craig's nemesis was the pink plastic pin made by the Goody Company to hold the wire mesh rollers in place. "He was always fussing with me about how these little pink pins kept getting stuck in his creases. I had no idea what he was talking about! What kinda creases? All I know is that when I was down there foolin' around, these little pins seemed like they always wanna fall out. Shoot, here I was gettin' him off! I know he didn't hardly think I was gonna let him go limp on me to try and track down some pins to see where they went."</p> <p>YVONNE'S WIG</p> <p>Yvonne never rolls her hair. She's a wig person. And now that I think about it, I may never have seen her real hair. Yvonne is the kind of woman who sends her wigs out for shampooing as often as she sends her silk blouses to the dry cleaners. I asked her about her lovemaking strategy.</p> <p>"You must never let them touch the Wendy," Yvonne said, preening.</p> <p>"What's the Wendy?" I asked.</p> <p>"Your Wendy, girl! Your hair. I always name my wigs Wendy. Every generation of black women has had their Wendy, and, like American Express, you don't leave home without her. Wendy used to be a fall, a long braid, a chignon, a wig, even (Lord have mercy) an Afro wig! Today, Wendy can be a weave, extensions, locks."</p> <p>I never knew Yvonne to be an armchair philosopher, but I was compelled by her thesis.</p> <p>"A black girl learns very early that she is either a 'hair-have' or a 'hair-have-not.' And when your hair doesn't grow quickly, you have to attract the man you want by any means necessary. You have to learn to hold your own because you're competing with all the other girls — black ones, white ones, Asian ones, Spanish ones, Native American ones — who have hair."</p> <p>This is the second time in my little survey that someone has mentioned competition with other women as one of her motivating concerns.</p> <p>"So when I was at the Rhythm 'n' Blues Foundation Awards last winter, I noticed that everybody was wearing a Wendy, and said to myself, 'This is my crowd.' Yeah, this was the wig crowd. We grew up knowing that that wasn't Tina Turner's real hair, or puh-leese, Diana Ross's! These women have been our models since we were kids. They're stars. And when you're wearing your Wendy, you're a star, too. I know I feel like one. You tell yourself, my hair is my little secret. And if a woman is good in bed and puts a freak on for her man, he won't even think about touching her hair!"</p> <p>Indeed, Yvonne had earned somewhat of a reputation for putting her legendary "freak" on a roster of men that read like the Rhythm 'n' Blues Hall of Fame. As a teenager in Harlem, she was a regular visitor backstage at the Apollo Theatre, where she was permitted to stand in the wings while the major attractions performed. At first her innocent flirtations led to teen fantasies that Smokey Robinson and David Ruffin were singing their love songs just for her. By the time she was in her early twenties, however, she had become a regular in the stars' dressing rooms and in their hotel suites. After the midnight show, wearing Wendy like a crown, Yvonne would strut out the stage door, escorted by her conquest du jour, and duck into one of the black limousines parked along West 126th Street.</p> <p>"When I used to make bubble baths for a romantic evening, especially when my date wanted to relax in the tub after the last show, I'd be sure to hold Wendy just above the water line — like an invisible barrier — to keep her dry. With both of us having such a good time, why would he need to touch the Wendy? Really. Hey, I could freak in a tub full of water, and not wet a single strand! I'd be thinking that whoever used to own this hair can't possibly be having as much fun as I am!"</p> <p>WALTER'S MORNING AFTER</p> <p>The latter-day Wendy, the weave, seems not to have survived the marathon night my friend Walter spent with his date, Janet. Walter is the garden-variety "nice guy" who is always complaining that he can't find a "nice lady." He's an easygoing, laid-back type who says that he's looking for a steady companion. He thought that Janet was the one.</p> <p>"I know that some women are funny about their hair. But this one time when Janet and I were really getting into it, she stopped cold and told me that if I messed up her hair, I'd have to pay for it. I thought she was joking, and I tried to say something smart like: 'Oh, so now it's dinner, a movie and a trip to the hair salon!' She didn't laugh, though; she was serious. I didn't want to be the one to ruin the whole night, so I went with the flow and said, 'Okay, baby, no problem.'"</p> <p>I asked Walter how he felt when Janet told him that he'd have to pay for her hair. Frankly, I was surprised that he had been caught off guard by her straightforward request for reimbursement. I'd have thought that, at this stage in their relationship, she would have already "trained" him, or they would have somehow handled the issue. Walter told me that by the time Janet presented her ultimatum, he was too aroused to negotiate better terms for himself, and he was prepared to concede whatever was necessary to score the touchdown.</p> <p>"It was great, though," Walter mused, savoring the memory. "We were into each other all night long, having a real good time. But when we woke up the next morning, I felt something funny on the sheet. I reached underneath my behind, and there was all this hair! Everywhere! All over the bed, all over the floor. Wads of it! I looked at her and she looked at me, and we both started laughing. Next thing I know we're crawling around on all fours scooping up hair. I never felt so stupid in my whole life. Here I was picking up all this hair, and putting it in a pile on my dresser! So, I looked at her, and asked her what she wanted to do with it."</p> <p>She went ballistic:</p> <p>"What do I want to do with it? No, no. It's not what I want to do with it, it's what I'm going to do with it. I'm going to pack it up and take it to my hairdresser so she can sew it back on my head. What did you think I wanted to do with it?"</p> <p>"I was just asking, baby."</p> <p>"I hope you have a shopping bag? You don't think I'm going to walk down the street with my hands full of hair, do you?"</p> <p>Walter told me that, at that moment, the whole scene began to feel like punishment for some bad thing he had done a very long time ago.</p> <p>"So, in my bare feet, I go into the kitchen to look for a large bag. The floor's cold. I'm feeling guilty. I just want to pay her the money and go back to bed. I can't find a shopping bag but I figure that if I can give her one of my old shirts to use as a makeshift bag, I can calm her down. I go back to the bedroom to find a shirt. We wrap the wads of hair in the shirt, and tie the shirttail and sleeves together."</p> <p>Even now, as Walter tells me the story about the wads of hair, it's still hard for him not to laugh. What was not so funny for Walter, however, was the conversation he had with Janet about paying for her hair. He's an honorable guy, and meant it when he promised to pay for it.</p> <p>"How much do you need, Janet?"</p> <p>"Two hundred dollars."</p> <p>"You're joking."</p> <p>"No, I'm not. This is 100 percent human hair. Sterilized. This is quality, Walter!"</p> <p>Walter told me that he believed this was God's way of telling him something. But he wasn't sure exactly what. Two hundred dollars, he said, is a little less than the annual premium for his fire insurance. It was one hundred fifty gallons of gas for his car. One hundred Big Macs. A premium ticket to the NBA playoffs. A couple of shares of Microsoft stock.</p> <p>"But two hundred dollars to sew on some hair?" Walter asks me rhetorically. "That's ridiculous. I wouldn't care if it was hair from Her Majesty the Queen that had been sterilized in holy water drawn from the sacred fountains of St. Peter's Basilica in Rome!"</p> <p>I asked Walter what he said to Janet after she told him how much it cost.</p> <p>"I said, 'Okay, baby, no problem.' But I thought to myself, This is the last time I'm gonna pay to sew some hair into somebody's head. From now on when I meet a woman I think I could get interested in, I'm gonna say, 'Hi, my name is Walter. Excuse me, but do you mind my asking if that's your real hair?'"</p> <p>ARLENE'S CHOREOGRAPHY</p> <p>My friend Arlene told me that she learned her lesson about hair weaves the same way Janet did — the hard way. She teaches business English at a junior college, and always had a gift for styling her hair. Over the fifteen years that we've been friends, her hairstyles have ranged from natural to relaxed to cornrows to weaves. She says she's through with weaves forever but still likes to protect her hairstyle when she does the wild thing.</p> <p>"What I notice more than anything about my lovemaking is that, no matter what kind of style I have, I always keep my eyes open to make sure that my partner isn't coming for my head! I never let my head get in the way of the action."</p> <p>I ask Arlene what it feels like to be a sentry-on-duty while she's making love. It seems impossible to enjoy yourself while maintaining that kind of vigilance over your partner's moves.</p> <p>"It's not a problem, really," Arlene explains. "You learn to protect your hair by moving your neck back and forth, and swinging your head from side to side to avoid contact. You stay on top, and learn to master the superior position, that's all."</p> <p>"I see." I nod affirmatively with each of her well-orchestrated countermoves and wonder whether Arlene is a participant or an observer in this activity.</p> <p>"You mount and use your moves in a way that keeps the mood going," she continues. "Oh yeah, you really get into it. You're on top swinging around and around, and he ain't hardly thinking about touching your hair!"</p> <p>*LOVE POTIONS 1-4*</p> <p>Collected by Constance Johnson</p> <p><i>Ain't no reason to be lonely when you can draw a man right to you with these tried and true Love Drawing Spells. They come from the same folks who worked High John the Conquerer and invented seven varieties of mojo:</i></p> <ol> <li>Take a strand of his hair and put it in the Bible. After five days, take it out and put it in a perfume bottle. He will fall madly in love with you. (Now, after you get him, don't do nothing silly like taking the hair out of the perfume bottle!)</li> <li>Take two strands of hair from the man you be wanting and place each hair in the heel of each of your shoes. Now wear them for nine days. The hair will continue to grow, and just as it do, so will his love for you.</li> <li>Love relations been going poor lately? Take a pair of his old shoes and put some of your hair in 'em and wear 'em. That'll bring him on back to you. Remember now, the spell only last if you continue to wear the shoes. Take away the shoes or the hair from the shoes, he gone leave you again, so be careful.</li> <li>This one is a little trickier. It require that you know someone that got a mole on they head, and the mole gotta have hair growing out of it. Now what you do is to take some graveyard dirt and mix it with some hair from that mole. Now put it all in a little sack and carry it in your pocket. This also is a good luck charm. Adding a dime in with the graveyard dirt and a lock of a hair (from a woman if your intended is a woman, the opposite if your love object is a man). This will also make the other person want you.</li> </ol> <p>BATTLE OF THE WIGS</p> <p><i>George C. Wolfe</i></p> <p>In <i>The Colored Museum,</i> playwright George C. Wolfe personified the "good hair/bad hair" dialectic by pitting an Afro wig named Janine against a straight-haired wig named LaWanda, in an argument about which should be worn by a bald-headed woman. The woman, whose hair is a chemical casualty, is preparing for an important date with her boyfriend and needs all the help she can get.</p> <p>JANINE:</p> <blockquote>What do mean you ain't made up your mind! After all that fool has put you through, you gonna need all the attitude you can get and there is nothing like attitude and a healthy head of kinks to make his shit shrivel like it should! <p>That's right! When you wearin' me, you lettin' him know he ain't gonna get no sweet-talkin', comb-through-your-love without some serious resistance. No-no! The kink of my head is like the kink of your heart, and neither is about to be hot-pressed into surrender.</p> </blockquote> <p>LAWANDA:</p> <blockquote>That shit is so tired. The last time attitude worked on anybody was 1968. Janine, girl, you need to get over it and get on with it. (Turning to the Woman.) And you need to give the nigga a good-bye he will never forget. <p>I say give him hysteria! Give him emotion! Give him rage! And there is nothing like a toss of the tresses to make your emotional outburst shine with emotional flair.</p> <p>You can toss me back, shake me from side to side, all while screaming, I want you out of my life forever!!!</p> </blockquote> <p>JANINE:</p> <blockquote>Miss hunny, please! She don't need no Barbie doll dipped in chocolate telling her what to do. She needs a head of hair that's coming from a fo' real place.</blockquote> <p>LAWANDA:</p> <blockquote>Don't you dare talk about nobody coming from a "fo' real place," Miss Made-in-Taiwan!</blockquote> <p class="null1">ONLY YOU</p> <blockquote>Among the Maroons of South America's Suriname, one popular hairdo of the past was known as "come this evening" or "husband and wife"; a woman would create the pattern of intertwined braids only for a man she loved. <p>— Sally and Richard Price, <i>Afro-American Arts of the Suriname Rain Forest</i></p> </blockquote> <blockquote>"When I was in high school, I used to get girls by telling them, 'Come over to my house: I'll mess your hair up and fix it back again.'" <p>— Fred Parnell, Hairdresser, Brooklyn</p> </blockquote> <p>WHITE BOYFRIEND</p> <p><i>Evangeline Wheeler</i></p> <p>If he hadn't rushed me, I would have packed my favorite curling iron, the medium-size silver one with the black handle. It was too early in the morning to be running around looking for things. I was still too drowsy and irritable, moments after he got me out of a toasty bed on a chilly dawn. I didn't need to be hurried.</p> <p>We had planned a three-hour drive along the coast and a leisurely day at the ocean. Though I had looked forward to it the night before, by morning I had turned grumpy. So when he asked me at the blush of daybreak if I wanted to get dinner and a hotel room later that evening, I agreed, but wasn't clearheaded enough to pack a bag for the evening. I grabbed only a dress, a slip, some soft sandals, and some lipstick, and scurried behind him through the front door. When we had driven about a mile from the apartment, I remembered the curling iron, but he refused to go back for it, and we argued.</p> <p>It was the hair argument all over again. I couldn't count the number of times we'd had this discussion during our years together, but it was probably at least once a week. He was always curious about things like why African Americans didn't go to Woody Allen films, and what made our skin ashy, which he called "chalky." It was a black thing, and he was white. When the conversation turned to hair differences, he was so perplexed by what we sisters did to ours. "Why can't you just wash it and let the sun dry it?" he'd ask.</p> <p>He likened his hair to a dirt attractant, a repository of all the vehicle exhaust, air pollution, cigarette smoke, and ventilator dust that he encountered daily as he romped around San Francisco, where he lived. It disgusted him that I put a substance such as pomade that attracted dirt into my hair, and then didn't wash it out for several days. Obviously, he didn't understand black hair.</p> <p>"I can't get into bed at night without showering and washing my hair," he'd say, trying to make me feel dirty. "How can you go all week without a shampoo when you know all this greasy dirt is getting on your pillows and sheets at night?"</p> <p>To him, my use of a shower cap was contrary to cleanliness. "You step into a shower to wash up all over," he reasoned, "so it's stupid to cover up some of your dirty parts with plastic."</p> <p>As I would go on the defensive, explaining why I was dependent on the curling iron, or why my roots had a different texture from the hair on top, or why humidity is such a terribly destructive force, his message was seeping in. I heard him, I really heard him, and I felt the shame of what I was doing to myself. Why couldn't I simply step out into the world with my hair the way it was?</p> <p>HAGAR'S BLUES <i>Toni Morrison</i></p> <p><i>In a small town in Michigan in the early 1960s, Hagar, a young woman from an all-female family of social outcasts, desperately loves her well-to-do cousin, Macon ("Milkman") Dead. If she can make herself beautiful, she thinks, then maybe he will love her. So she sets off on a shopping spree.</i></p> <p>She bought a Playtex garter belt, I. Miller No Color hose, Fruit of the Loom panties, and two nylon slips — one white, one pink — one pair Joyce Fancy Free and one of Con Brio ("Thank heaven for little Joyce heels"). She carried an armful of skirts and an Evan-Picone two-piece number into the fitting room. Her little yellow dress that buttoned all the way down lay on the floor as she slipped a skirt over her head and shoulders, down to her waist. But the placket would not close. She sucked in her stomach and pulled the fabric as far as possible, but the teeth of the zipper would not join. A light sheen broke out on her forehead as she huffed and puffed. She was convinced that her whole life depended on whether or not those aluminum teeth would meet. The nail of her forefinger split and the balls of her thumbs ached as she struggled with the placket. Dampness became sweat, and her breath came in gasps. She was about to weep when the saleswoman poked her head through the curtain and said brightly, "How are you doing?" But when she saw Hagar's gnarled and frightened face, the smile froze.</p> <p>"Oh, my," she said, and reached for the tag hanging from the skirt's waist. "This is a five. Don't force it. You need, oh, a nine or eleven, I should think. Please. Don't force it. Let me see if I have that size."</p> <p>She waited until Hager let the plaid skirt fall down to her ankles before disappearing. Hagar easily drew on the skirt the woman brought back, and without further search, said she would take it and the little two-piece Evan-Picone.</p> <p>She bought a white blouse next and a nightgown — fawn trimmed in sea foam. Now all she needed was makeup.</p> <p>The cosmetics department enfolded her in perfume, and she read hungrily the labels and the promise. Myrurgia for primeval woman who creates for him a world of tender privacy where the only occupant is you, mixed with Nina Ricci's L'Air du Temps. Yardley's Flair with Tuvaché's Nectaroma and D'Orsay's Intoxication. Robert Piguet's Fracas, and Calypso and Visa and Bandit. Houbigant's Chantilly. Caron's Fleurs de Rocaille and Bellodgia. Hagar breathed deeply the sweet air that hung over the glass counters. Like a smiling sleepwalker she circled. Round and round the diamond-clear counters covered with bottles, wafer-thin disks, round boxes, tubes, and phials. Lipsticks in soft white hands darted out of the sheaths like the shiny red penises of puppies. Peachy powders and milky lotions were grouped in front of poster after cardboard poster of gorgeous grinning faces. Faces in ecstasy. Faces somber with achieved seduction. Hagar believed she could spend her life there among the cut glass, shimmering in peaches and cream, in satin. In opulence. In luxe. In love.</p> <p>It was five-thirty when Hagar left the store with two shopping bags full of smaller bags gripped in her hands. And she didn't put them down until she reached Lilly's Beauty Parlor.</p> <p>"No more heads, honey," Lilly looked up from the sink as Hagar came in.</p> <p>Hagar stared. "I have to get my hair done. I have to hurry," she said.</p> <p>Lilly looked over at Marcelline. It was Marcelline who kept the shop prosperous. She was younger, more recently trained, and could do a light press that lasted. Lilly was still using red hot irons and an ounce of oil on every head. Her customers were loyal but dissatisfied. Now she spoke to Marcelline, "Can you take her? I can't, I know."</p> <p>Marcelline peered deeply into her customer's scalp. "Hadn't planned on any late work. I got two more coming. This is my eighth today."</p> <p>No one spoke. Hagar stared.</p> <p>"Well," said Marcelline. "Since it's you, come on back at eight-thirty. But don't expect nothing fancy."</p> <p>"I'm surprised by you," Lilly chuckled when Hagar left. "You just sent two people away."</p> <p>"Yeah, well, I don't feel like it, but I don't want any trouble with that girl Hagar. No telling what she might do. She jump that cousin of hers, no telling what she might do to me."</p> <p>"That the one going with Macon Dead's boy?" Lilly's customer lifted her head away from the sink.</p> <p>"That's her. Ought to be shamed, the two of them. Cousins."</p> <p>"Must not be working out if she's trying to kill him."</p> <p>"I thought he left town."</p> <p>"Wouldn't you?"</p> <p>"Well, I know I don't want to truck with her. Not me."</p> <p>"She don't bother nobody but him."</p> <p>"Well, Pilate, then. Pilate know I turned her down, she wouldn't like it. They spoil that child something awful."</p> <p>"Didn't you order that fish from next door?"</p> <p>"All that hair. I hope she don't expect nothing fancy."</p> <p>"Call him up again. I'm getting hungry."</p> <p>"Be just like her. No appointment. No nothing. Come in here all late and wrong and want something fancy."</p> <p>She probably meant to wait somewhere. Or go home and return to Lilly's at eight-thirty. Yet the momentum of the thing held her — it was all of a piece. From the moment she looked into the mirror in the little pink compact she could not stop. It was as though she held her breath and could not let it go until the energy and busyness culminated in a beauty that would dazzle him. That was why, when she left Lilly's, she looked neither right nor left but walked on and on, oblivious of other people, street lights, automobiles, and a thunderous sky. She was thoroughly soaked before she realized it was raining and then only because one of the shopping bags split. When she looked down her Evan-Picone white-with-a-band-of-color skirt was lying in a neat half fold on the shoulder of the road, and she was far far from home. She put down both bags, picked the skirt up and brushed away the crumbs of gravel that stuck to it. Quickly she refolded it, but when she tried to tuck it back in the shopping bag, the bag collapsed altogether. Rain soaked her hair and poured down her neck as she stooped to repair the damage. She pulled out the box of Con Brios, a smaller package of Van Raalte gloves, and another containing her fawn-trimmed-in-sea-foam shortie nightgown. These she stuffed into the other bag. Retracing her steps, she found herself unable to carry the heavier bag in one hand, so she hoisted it up on her stomach and hugged it with both arms. She had gone hardly ten yards when the bottom fell out of it. Hagar tripped on Jungle Red (Sculptura) and Youth Blend, and to her great dismay, saw her box of Sunny Glow toppling into a puddle. She collected Jungle Red and Youth Blend safely, but Sunny Glow, which had tipped completely over and lost its protective disk, exploded in light peach puffs under the weight of the raindrops. Hagar scraped up as much of it as she could and pressed the wilted cellophane disk back into the box.</p> <p>Twice before she got to Darling Street she had to stop to retrieve her purchases from the ground. Finally she stood in Pilate's doorway, limp, wet, and confused, clutching her bundles in whatever way she could. Reba was so relieved to see her that she grabbed her, knocking Chantilly and Bandit to the floor. Hagar stiffened and pulled away from her mother.</p> <p>"I have to hurry," she whispered. "I have to hurry."</p> <p>Loafers sluicing, hair dripping, holding her purchases in her arms, she made it into her bedroom and shut the door. Pilate and Reba made no move to follow her.</p> <p>Hagar stripped herself naked there, and without taking time to dry her face or hair or feet, she dressed herself up in the white-with-a-band-of-color skirt and matching bolero, the Maidenform brassiere, the Fruit of the Loom panties, the no color hose, the Playtex garter belt and the Joyce Con Brios. Then she sat down to attend to her face. She drew charcoal gray for the young round eye through her brows, after which she rubbed Mango Tango on her cheeks. Then she patted Sunny Glow all over her face. Mango Tango disappeared under it and she had to put it on again. She pushed out her lips and spread Jungle Red over them. She put baby clear sky light to outwit the day light on her eyelids and touched Bandit to her throat, earlobes, and wrists. Finally she poured a little Youth Blend into her palm and smoothed it over her face.</p> <p>At last she opened the door and presented herself to Pilate and Reba. And it was in their eyes that she saw what she had not seen before in the mirror: the wet ripped hose, the soiled white dress, the sticky, lumpy face powder, the streaked rouge, and the wild wet shoals of hair. All this she saw in their eyes, and the sight filled her own with water warmer and much older than the rain. Water that lasted for hours, until the fever came, and then it stopped. The fever dried her eyes up as well as her mouth.</p> <p>She lay in her little Goldilocks'-choice bed, her eyes sand dry and as quiet as glass. Pilate and Reba, seated beside the bed, bent over her like two divi-divi trees beaten forward by a wind always blowing from the same direction. Like the trees, they offered her all they had: love murmurs and a protective shade.</p> <p>"Mama." Hagar floated up into an even higher fever.</p> <p>"Hmmm?"</p> <p>"Why don't he like my hair?"</p> <p>"Who, baby? Who don't like your hair?"</p> <p>"Milkman."</p> <p>"Milkman does too like your hair," said Reba.</p> <p>"No. He don't. But I can't figure out why. Why he never liked my hair."</p> <p>"Of course he likes it. How can he not like it?" asked Pilate.</p> <p>"He likes silky hair." Hagar was murmuring so low they had to bend down to hear her.</p> <p>"Silky hair? Milkman?"</p> <p>"He don't like mine."</p> <p>"Hush, Hagar."</p> <p>"Silky hair the color of a penny."</p> <p>"Don't talk, baby."</p> <p>"Curly, wavy, silky hair. He don't like mine."</p> <p>Pilate put her hand on Hagar's head and trailed her fingers through her granddaughter's soft damp wool. "How can he not love your hair? It's the same hair that grows out of his armpits. The same hair that crawls up out his crotch on up his stomach. All over his chest. The very same. It grows out of his nose, over his lips, and if he ever lost his razor it would grow all over his face. It's all over his head, Hagar. It's his hair too. He got to love it."</p> <p>"He don't love it at all. He hates it."</p> <p>"No he don't. He don't know what he loves, but he'll come around, honey, one of these days. How can he love himself and hate your hair?"</p> <p>"He loves silky hair."</p> <p>"Hush, Hagar."</p> <p>"Penny-colored hair."</p> <p>"Please, honey."</p> <p>"And lemon-colored skin."</p> <p>"Shhh."</p> <p>"And gray-blue eyes."</p> <p>"Hush now, hush."</p> <p>"And thin nose."</p> <p>"Hush, girl, hush."</p> <p>"He's never going to like my hair."</p> <p>"Hush. Hush. Hush, girl, hush."</p> <p>TRADITIONAL BLUES LYRIC</p> <p><i>She's a kinky headed woman</i></p> <p class="null3">And she keeps a combin' it all the time.</p> <p class="null3">She's a kinky headed woman</p> <p class="null3">And she keeps a combin' it all the time</p> <p class="null3">I can't stand nothing she done,</p> <p class="null3">She keeps good lookin' women on my mind.</p> <p>DEKAR'S TOUCH</p> <p><i>Pamela Johnson</i></p> <p>For twenty years Dekar Lawson has stroked black women's hair, admired their beauty, and lent an empathetic ear to their stories. I first met him a few years back when I needed my ends trimmed. At the time, he was working in Harlem at Peggy Dillard Toone's Turning Heads, one of the nation's first natural hair-care shops.</p> <p>A thin, attractive man with angular features, Dekar, forty, is a charmer. His manner — catching my eye and gently stroking my hair — was so seductive that I went home and wrote a short story (not knowing the spelling of his first name) called "The Wives of Dakar." For a hot moment, I wondered if he was really sparking me. Then I decoded it: His way was to make women feel wanted,</p> <p>special, beautiful under his touch. I figured he flirted with everybody, and that he'd cultivated a harem of customers, swirling around him, eager for their weekly fix. Some, I imagined, had no one else in their lives to touch them but Dekar.</p> <p>The next time I went back for a trim, easily a year later, Dekar had moved on. Still, I remained curious about him. Then one day I was talking to a friend and, oddly enough, Dekar's name came up in the conversation. He and Dekar were related. I got the number and called. Once again I needed a trim, but more than that, I wanted to hear a male stylist's insights about women.</p> <p>Dekar met me at the downstairs door, wearing a black-and-white-striped sweater, black slacks, and stylish Italian loafers, and escorted me up to his second-floor shop, Dekar Salon. I liked its exposed brick walls, smart black-and-white tiles, and floor-to-ceiling glass windows, which look out on a cluster of boutiques on Lexington Avenue on Manhattan's Upper East Side. Dekar and I sat in opposing chairs, and then he snipped my ends, telling me what I'd come to hear....</p> <p class="null3">My clientele is mostly black women. But about 10 percent of my clientele is European American. I've got a couple of Spanish girls, and a couple of Jewish ladies who come in to get relaxers. I've got a few men, a couple of them are Spanish; they get texturizers because they have that wavy, nappy hair, and they want to smooth it out.</p> <p class="null3">My clients don't usually confide in me, I'm more observant. You learn that with professional women, you don't ask them questions. I think it's because of the environment they work in; there they have to constantly watch their back and that [kind of caution] spills over into other relationships. But you can tell when they're kind of edgy; you can tell something's happening in their lives. Women who are blue collar, they'll talk to you. But I think in having this salon, which is more private [than the places I used to work], I have more intense conversations here....</p> <p class="null3">I love details, I love gossip, but I don't pry. Besides, some of the stuff they tell you hurts. They may be getting divorced or the husband or boyfriend is acting up. It hurts to see someone not treating them right.</p> <p class="null3">Sometimes things can get really emotional. During one period, when I worked in another shop, every Friday for about six months, at least one of my clients cried. My coworkers looked at me like, 'What are you doing to them?' I said I don't know. I thought something was wrong with me. I'd be talking to somebody and say something that hit them, maybe I'm massaging their scalp, and suddenly they were in tears.</p> <p class="null3">I think sometimes people hold it all in and then get in a situation where they can relax and somebody's stroking their head, and they start to think about [the incident that disturbed them] again....I've seen people really boo-hoo. Me, I'm very discreet, I just go get the tissue, turn them away from the mirror, and stand in front of them. I'm thinking, After this, I'm going to need a drink, because I don't like to see people cry.</p> <p>SOME LIKE IT SWEET</p> <p><i>I notice that women enjoy being fawned over. I guess we all do. I try to keep that in mind, and I try to go places where they do that for me, so I remember how good it feels. When I was younger I would tell my assistants that I was going to act annoyed when they interrupted me, like "Can't you see I'm busy taking care of this very important person?" But I stopped doing that; it was corny. Still it's true: I don't like to be interrupted; when I'm doing you, I'm just doing you. I don't like to be all over the place. If you want me to tell you some jokes about me, to take your mind off your world and just put it in my little frivolous one, fine. Or you can talk and I can listen, I like to listen. What I don't like is when there's tension around here because one woman thinks I'm paying another woman more attention than I'm paying her. Some people want all your attention. Bottom line is, I'm just doing a service.</i></p> <p class="null3">I do flirt though. But you can't flirt with really young women. They think you're serious. I'm like nah, I ain't serious — I'm flirting. I didn't call you at home, did I? But married women or older ladies, they know, and they flirt right back, because it's all within a safe confine. Some people are waiting for you to make the next move, but it's really in a box; it doesn't move any further than that. I don't flirt as much as I used to. People can confuse things. The way I look at women, and I do like looking at women — it can bring out certain emotions, I appreciate natural beauty and they can see that I like it, I'm not joking around about that, and some women are really beautiful.</p> <p class="null3">Some women use their beauty to get what they want. I tell them you better get something upstairs because if you're walking down the street and you fall and break your face, and you ain't getting paid, you're screwed. That's a really competitive world out there — people who play people by using their looks to get what they need. You're gonna get hurt in that game, because you play with a lot of guys who've got it like that. You're just a number. They can spend $500 on you a night; that's no money to them. You think you have the upper hand because he's spending money on you or giving you things, but he's got a couple of girls, and you're nothing to him. When you figure that out, it hurts.</p> <p>BLACK WOMEN AND WHITE WOMEN</p> <p><i>White women feel freer to say, "I want to look sexy. Make my hair sexy." Black women don't say that; they just say, "Make me look beautiful." White women use color as much as black women use relaxers. But they don't have as many options as black women. All they have is cut and color — the perm thing for them went out of style. Black women have got it all over them. There's nothing they can't do: wear it straight like them, wear it nappy, pin it up, roller set it, achieve all these different textures. It can be really short and natural or really short and permed. Black women can use color. They can get a lot of different looks, just by twisting the hair differently.</i></p> <p class="null3">Still, some black women really hate their hair. They go from salon to salon, trying to get it to do something it's not ever going to do. My opinion comes after I put my hands in your hair. I say, "This is what your hair says it likes to do. If you follow it, you'll be happy with the least amount of struggle." The more you make your hair do something it doesn't want to, the more you've got to work. It's best when someone comes to me and says, "Make my hair look better," because then I can just do what it takes.</p> <p class="null3">Most black women think white women got it easy; I personally think white people got more issues. They try to be more Anglo. They could be Polish, Italian, Greek, but they're trying to have a white Anglo-Saxon Protestant look. White women love blond because it's the color of youth, the color their hair was when they were five or ten. A lot of black people like Jada Pinkett Smith and RuPaul just use blond hair to have fun. They're not trying to be white. Neither are most black women who straighten their hair. For some black women, that's all they know; they've had their hair straightened since they were twelve. We're on that second generation of women who didn't grow up braiding their hair. They're eighteen, nineteen years old, and they can't braid or cornrow. They're not even familiar with their hair in its unpermed state. Some of them let the perm grow out for the first time as adults and go, "Wow, this is what it is? Give me the perm."</p> <p>KEEPING IT ALL COORDINATED</p> <p><i>The most I can do at once is three or four people. If I'm running behind, I call as many people as I can ahead of time and say, "Take your time because I'm not moving that fast today." The key to being able to take care of other people is to take care of your own personal needs before you come to work. If you don't take care of your needs, it's hard to be there for somebody else, 'cause you're trying to get soothed, too.</i></p> <p class="null3">Mostly I listen to my clients, but I'll also talk about myself. Some people like that sharing; it's all frivolous for me. I'll talk about something that happened to me. My daughter is definitely a topic; she hates that, though. But women like to hear about what I go through as a single parent. Also, anytime I have a big decision to make, I ask everybody's opinion all week long, and then I make my decision. One time I did it after the fact, though. I had bought my daughter this crazily stupidly expensive Gucci bag. It was a purse she could have at eighteen years old, twenty years old, twenty-five years old. It was a special design they did, and it was on sale. It was still expensive. I didn't know that purses cost that much money.</p> <p class="null3">So anyway, after I bought it, I took a survey with my clients. Half the women said, "You're foolish"; the other half were like, "See, your daughter's going to know that when some guy comes up to her, he's got to offer her the best because her father set the standard." The majority of the women who told me that were very confident. They don't take mess from nobody. A guy can't roll up on those women and say, "Oh, I'll let you ride in my Mercedes." They'd be like, "What does that mean? It might not even be yours."</p> <p class="null3">What I learned was that a woman who is not treated really special as a girl works through that her whole life. And there are so many guys out there that know her number and they use it. It makes women mistrustful. So I think my daughter knows now that a guy's got to come with the best. He's got to come with some smarts, some grace, some charm, some sincerity. He's gotta come like that.</p> <p>ON DATING CLIENTS</p> <p><i>I've dated a few clients. Two of them turned into long-term relationships, and we're still best friends. Except for one person, I'm still friends with everybody. I still do their hair. Some got married, some are in relationships, but we can still hang out. I don't like to date clients anymore, though, because if you happen to break up, she's out of here, and her friends go with her. It doesn't matter what happened. It doesn't matter how good you did their hair, they'll stand by their girl.</i></p> <p class="null3">There was this one lady who was gone for a while for another reason. When she came back, she was talking to me about coloring her hair. She was very particular. She asked a lot of questions, like, What is this you're using? I didn't catch it right away. But then I noticed that her hair had gone from curly to straight — and also that she had never asked me these kinds of questions before. Then it occurred to me that she was undergoing some kind of medical treatment.</p> <p class="null3">You have to be really sensitive to people, because they could start asking you all these questions, and you could start getting defensive and annoyed. They may not want you to know what's going on with them. Or they may not be sure that you'll be sensitive to it. For some people, I've actually gone to the hospital to do their hair. Usually you're just cutting it off.</p> <p class="null3">When my best friend died, I did her hair for the funeral. She was only thirty, and I didn't know she was that sick. I don't know whether it was cancer or what; she didn't want people to know. Doing hair under those circumstances is a special skill. The hair doesn't move the same. Death — it's a complete thing. It really touched me. It's very emotional. She was so cold, so cold. My hands were cold working on her. I tell you, enjoy life.</p> <p>A HAIR-FREE FUTURE</p> <p><i>I used to do my [four] sisters' hair when they came home for Christmas. Now they don't even ask me because they know I'm tired. On holidays, my usual position, before and after dinner, is asleep on the couch. So far I haven't had any health problems, but I have [hairstylist] friends who do. Their veins have fallen [in their legs] or their back gives out, because you're always working in a bent position, that's why I'm sitting in this chair like this. (He leans back against the chair with his feet up.) I require one day a week when I do nothing. Usually it's Sunday after church. I don't know how people do it — run seven days a week. I need to sit still.</i></p> <p class="null3">I think I've got another ten years left. Then I'll be ready for my second career. Maybe I'll go on to be a teacher or a therapist. Something where I can sit down. I think I want to sit down for the next twenty years.</p> <p>DON'T CHANGE A HAIR FOR ME</p> <blockquote>In the 1920s, during the sculptor Augusta Savage's stay in Paris, she straightened her hair with the flame from a Sterno cup and the straightening comb she'd brought with her from the United States. One day, a black girl from the Caribbean island of Martinique observed Savage and asked the artist to help her straighten her own bushy hair. The girl was getting ready for a big date with her French boyfriend, who seemed on the verge of proposing. Savage was happy to oblige. <p>Later that evening, however, there was a frantic pounding at the sculptor's door. There, the Martinican girl stood sobbing on the threshhold. Her Frenchman, she told Savage, had been furious about the appearance of her straightened hair, and had refused to be seen with her on the street. Now, she lamented, she was ruined forever.</p> <p>Savage soothed the girl and told her not to worry. With a quick dunk of the girl's head in water, her hair was back to its original, bushy state. The next day the girl was singing a happy tune again.</p> <p>— Blanche Ferguson, <i>Countee Cullen and the Negro Renaissance</i></p> </blockquote> <p>Copyright © 2001 by Pamela Johnson and Juliette Harris</p><p>What could make a smart woman ignore doctor's orders?<br> What could get a hardworking employee fired from her job?<br> What could get a black woman in hot water with her white boyfriend?<br> In a word... <br> <b>HAIR.</b> <p>When does a few ounces feel like a few tons? When a doctor advises a black woman to start an exercise program and she wonders how she can do it without breaking a sweat. When an employer fires her for wearing a cultural hairstyle that's "unprofessional," and she has to go to court to plead for her job. When she's with her man, and the moment she's supposed to let loose, she stops to secure her head scarf so he doesn't disturb the 'do. <i><b>TENDERHEADED?</b></i> Yes, definitely. All black women are, in one way or another.<br> <p>The issue is not only about looking good, but about feeling adequate in a society where the beauty standards are unobtainable for most women. Tenderheaded boldly throws open the closet where black women's skeletons have been threatening to burst down the door. In poems, essays, cartoons, photos, and excerpts from novels and plays, women and men speak to the meaning hair has for them, and for society. In an intimate letter, A'Leila Perry Bundles pays tribute to her great-grandmother, hair-care pioneer Madam C.J. Walker, who launched a generation of African-American businesswomen. Corporate consultant Cherilyn "Liv" Wright interviews men and women on the hilarious ways they handle "the hair issue" between the sheets. Art historian Henry John Drewal explores how hairstyles, in Yoruba culture, indicate spiritual destiny, and activist Angela Davis questions how her message of revolution got reduced to a hairstyle. Tenderheaded is as rich and diverse as the children of the African diaspora. With works by Toni Morrison, Alice Walker, bell hooks, Henry Louis Gates Jr., and other writers of passion, persuasion, and humor -- this is sure to be one of the most talked-about books of the year.</p><h3>Essence - Patrick Henry Bass</h3><p>In <i>Tenderheaded</i>, Pamela Johnson and Juliette Harris masterfully capture black women's quest for peace with their hair. The authors have gathered a cavalcade of literary stars and promising newcomers who share stories on a range of Black-hair topics, from the origins of Aunt Jemima to the politics of wearing natural hair in corporate cultures. </p><P><b>Contents</b><P>Ms. Strand Calls a Press Conference <P>Peace Be Still<P>NTOZAKE SHANGE<P><b>Heads of Steam</b><P>Madam C. J. Walker&#58; "Let Me Correct the Erroneous Impression That I Claim to Straighten Hair"<P>A'LELIA BUNDLES<P>The Hairdresser and the Scholar<P> MARK HIGBEE<P>Severed<P> ANNABELLE BAKER<P>It All Comes Down to the Kitchen<P> HENRY LOUIS GATES JR.<P>The Kink That Winked<P> CYNTHIA COLBERT<P>Tenderheaded, or Rejecting the Legacy of Being Able to Take It<P>MEG HENSON SCALES<P><b>Baby Hair</b> <P>Baby Hair<P> CONSTANCE NICHOLS<P>A Day at the Beach<P> KAY BROWN<P>Learning the Language of My Daughter's Hair<P> PETER HARRIS<P>Hair (R)evolution<P>CYNTHIA COLBERT<P>Things My Mother Never Taught Me<P> JACQUELYN LONG<P>Tenderheaded<P> NIKKY FINNEY<P>Cornrow Calculations (or Math Is Beauty)<P> TONI WYNN<P><b>Store-Bought Hair</b> <P>Fake<P> GERRIE SUMMERS<P>Planet Hair<P> LISA JONES<P>Hair Braiding, Miss?<P> TAIIA SMART<P>Madam Speaks<P> MARK RICHARD MOSS<P><b>Straight Talk</b> <P>Relax Your Mind!<P> JENYNE M. RAINES<P>When Black Hair Tangles with White Power<P> MARIAME KABA<P>Hot Comb<P> NATASHA TRETHEWEY<P>Straightening Our Hair<P> BELL HOOKS<P>A Rio Crime<P> LAURA SULLIVAN<P>A Short History of Early Hair Straightening<P> WILLIE MORROW<P>All-Time Top Hair Divas<P> JENYNE RAINES<P><b>Wrappers' Delight</b> <P>Under Cover<P> HALIMA TAHA<P>Grandma Blows Her Top<P> GLORIA WADE GAYLES<P>Uplift<P> LIDDY JONES<P>Bandanna<P> MICHAEL D. HARRIS<P>The Culture of Hair Sculpture<P> JULIETTE HARRIS<P><b>Pillow Talk</b> <P>If You Let Me Make Love to You, Then Why Can't I Touch Your Hair?<P>CHERILYN "LIV" WRIGHT<P>Battle of the Wigs<P> GEORGE C. WOLFE<P>White Boyfriend<P> EVANGELINEWHEELER<P>Hagar's Blues<P> TONI MORRISON<P>Dekar's Touch<P> PAMELA JOHNSON <P><b>When Worlds Collide</b> <P>The Curse (and Redemption) of Short Hair<P> THOMAS "TAIWO" DUVALL<P>Hair Hysteria<P> S. PEARL SHARP<P>Afro Images&#58; Politics, Fashion and Nostalgia<P> ANGELA Y. DAVIS<P>Daughters of Africa<P> EVANGELINE WHEELER<P>On Short Nappy Hair and the Business of Blackness&#58; From Ohio to South Africa<P> PAITRA D. RUSSELL<P>Smooth Heated Stones and Sunlight Soap<P> ROSALIE KIAH<P>Crowning Glories&#58; Hair, Head, Style, and Substance in Yoruba Culture<P>PHOTOS AND TEXT BY HENRY JOHN DREWAL<P>No Longer Stranded<P> IDARA E. BASSEY<P><b>Silver Foxes</b> <P>My Smart Gray Streak<P> YVONNE DURANT<P>Attitude at Seventy-Five<P>NAOMI LONG MADGETT<P>In Her Hair<P> S. PEARL SHARP<P>Homage to My Hair<P> LUCILLE CLIFTON<P>Something's Lost in Living Every Day<P> LEATHA SIMMONS MITCHELL<P>She Who Mirrors Me<P> RUBY DEE<P>Gray Strands<P> NAOMI LONG MADGETT<P><b>Locks and Keys</b> <P>Don't Even Pretend (The Saturn Poem)<P> PETER HARRIS<P>In the Kitchen<P> JEWELLE GOMEZ<P>The Call<P> TAMARA JEFFRIES<P>Clean Break<P> JILL NELSON<P>My Bold Black Statement<P> SUSAN L. TAYLOR<P>Post-Traumatic Tress Syndrome<P> DENISE L. DAVIS, M.D.<P>In Sickness and in Health<P> FRANKIE ALEXANDER<P>Oppressed Hair Puts a Ceiling on the Brain<P> ALICE WALKER<P>A Happy Nappy Hair-Care Affair<P> LINDA JONES<P><b>Ms. Strand Adjourns</b> <P><b>About the Contributors</b><br><article> <h4>Patrick Henry Bass</h4>In <i>Tenderheaded</i>, Pamela Johnson and Juliette Harris masterfully capture black women's quest for peace with their hair. The authors have gathered a cavalcade of literary stars and promising newcomers who share stories on a range of Black-hair topics, from the origins of Aunt Jemima to the politics of wearing natural hair in corporate cultures. <br> — <i>Essence</i> </article> <article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Ranging from the shaving of newborns to the coiffing of the dead, from the anecdotal to the scholarly, and from antebellum America to contemporary Africa, this remarkable array of writings and images illuminates black women's hair and its cultural meaning. Embracing all types of hair whether it's relaxed, worn in an Afro, has extensions woven in, is twisted into dreads or shaven off altogether the authors urge readers to respond to their own particular hair without judgment and to view it as an essential part of their personal space. They urge readers to be "tenderheaded" and complain when their scalp hurts, instead of stoically acting like a "strongblackwoman." While entries from famous authors such as Henry Louis Gates Jr., Lucille Clifton and Toni Morrison are often excerpted from previously published works, they gain new dimensions in this context. Yet it's the less well-known contributors who steal the show. Halima Taha, now a Muslim who covers her head, recalls being shunned as a teenager when she got her first Afro. Annabelle Baker explains how her undergraduate career at Hampton College in the 1940s was cut short the day she decided not to process her hair anymore. Yvonne Durant glorifies her grey hair, noting that it seems to have "upped" her I.Q. considerably "at least that's how I'm treated." Beyond the variety of contributors and the provocative quotes and historical tidbits sprinkled between the entries, it's the wealth of feeling rooted in hair that makes this volume so compelling. With its (s)nappy jacket and generous helpings of art and photos, this mini-encyclopedia should attract an avid audience. (Mar.) Copyright 2001 Cahners Business Information. </article>
429The Classic Hundred Poems: All-Time FavoritesWilliam Harmon0<p>WILLIAM HARMON is James Gordon Hanes Professor of the Humanities at the University of North Carolina at Chapel Hill, author of five books of poetry and editor of <i>A Handbook to Literature</i>. His most recent poetry has appeared in <i>Blink</i> and <i>Light</i>.</p>William Harmon (Editor), Various, Ensemble castthe-classic-hundred-poemswilliam-harmon97815988757821598875787$29.95Compact DiscHighBridge CompanyDecember 2007Unabridged selections; 6 hours on 5 CDsPoetry, Anthologies (multiple authors)<p><P>Imagine if Billboard compiled a list of the top 100 poems, chosen not by critics or professors but by the people themselves. That's the concept behind The Classic Hundred, and it works brilliantly. William Harmon found the 100 most anthologized poems in English, based on the ninth edition of The Columbia Granger's Index to Poetry&#151;the most objective measurement of greatness available, representing consensus among the editors of some 400 anthologies. Then he put them in order and prefaced each one with concise, erudite, often humorous commentary. The range of poets, subjects, and forms&#151;from Shakespeare to Frost, from love and death to crime and punishment, from sonnets to odes&#151;makes this an entertaining, enlightening, and indispensable aural guide to the finest verse in the English language.</p><h3>New York Times Book Review</h3><p>"Why did no one think of this before?"</p>
430The Best of Bamboo RidgeEric Chock0Eric Chock, Darrell H. Y. Lum, Lum Darrell H. Y.the-best-of-bamboo-ridgeeric-chock97809100430760910043078$1.99PaperbackBamboo Ridge PressJuly 1986American Literature Anthologies, General & Miscellaneous Literature Anthologies, Peoples & Cultures - Fiction3255.30 (w) x 8.40 (h) x 0.70 (d)<br> Poetry. Fiction. This anthology of fiction and poetry is a good introductory survey of Hawai'i literature. Selected from issues of the first eight years of BAMBOO RIDGE, The Hawaii Writers' Quarterly, it features the work of more than 50 writers and includes an introduction by the editors as well as an essay on Asian american literature in Hawai'i by Stephen Sumida.<p><P>This anthology of fiction and poetry is a good introductory survey of Hawaii literature. Selected from issues of the first eight years of Bamboo Ridge, The Hawaii Writers' Quarterly, it features the work of more than 50 writers and includes an introduction by the editors as well as an essay on Asian American literature in Hawaii by Stephen Sumida.</p><h3>Amerasia Journal</h3><p>Fish and fishing are inexhaustible metaphors for man's interaction with nature, and the selections in <i>The Best of Bamboo Ridge</i> using this metaphor show how it reflects the Hawaiian setting. "Bamboo Ridge Writing," in fact, means a literature that takes its shapes from the conjunction of Hawaii's land and water with the social landscape.</p><article> <h4>Amerasia Journal</h4>Fish and fishing are inexhaustible metaphors for man's interaction with nature, and the selections in <i>The Best of Bamboo Ridge</i> using this metaphor show how it reflects the Hawaiian setting. "Bamboo Ridge Writing," in fact, means a literature that takes its shapes from the conjunction of Hawaii's land and water with the social landscape. </article>
431InlandiaGayle Wattawa0Gayle Wattawa (Editor), Susan Straightinlandiagayle-wattawa97815971403791597140376$18.34PaperbackHeyday BooksOctober 2006Regional American Anthologies, American Literature Anthologies4486.10 (w) x 8.98 (h) x 1.15 (d)<p>Cultural Writing. Fiction. Poetry. Essays. INLANDIA puts a new literary region on the map. A land of dramatic landscapes and increasingly dynamic human developments, the Inland Empire is becoming much more than just "the area east of Los Angeles." As tract homes creep over desert areas once thought uninhabitable, the population of the region-comprised of Riverside and San Bernardino Counties-has roughly doubled in the last twenty years and is expected to do the same in the next twenty, making it one of the fastest growing regions in America. Unique in its own history and a microcosm of America at large, it is a land of startling racial, socio-economic, and ideological diversity that has long produced innovative and passionate writing. INLANDIA is a fascinating study of the journey of a people bound by geography yet striving for self-identity and artistic recognition, and of a land that is becoming both more prosperous and endangered. Over eighty writers are represented in the anthology, with material ranging from Indian stories and early explorers' narratives to pieces written by local emerging authors.</p><p>Yes, Virginia, there is a literary scene east of Los Angeles. Gayle Wattawa proves that point with this 400-page anthology of robust writings from Southern California locales east of L.A. Among this collection's greatest strengths is its authentic novelty: Many of the engaging pieces herein were crafted by writers unfamiliar to readers outside the region.</p><h3>Library Journal</h3><p>Inlandia, or the Inland Empire, constituting Riverside and San Bernardino counties in Southern California, is one of the fastest-growing regions in the United States. The term was first used in the 1950s to distinguish the region from the Los Angeles area, another Inland Empire with its own unique culture. The desert, the gangs, the tract housing, the ethnic mix: all these aspects of Inlandia and more are presented in this anthology, edited by Heyday acquisitions editor Wattawa and containing stories, essays, poems, and nonfiction. Like other Heyday anthologies (e.g., California Uncovered: Stories for the 21st Century), the pieces within are a mix of contemporary and older items and present both established and literary voices. This work also contains historical entries, such as excerpts from the diary of a Japanese American interned during World War II. Recommended for public libraries and for libraries collecting in American and/or California studies.-Terren Ilana Wein, Univ. of Chicago Divinity Sch. Copyright 2006 Reed Business Information.</p><article> <h4>From Barnes & Noble</h4>Yes, Virginia, there is a literary scene east of Los Angeles. Gayle Wattawa proves that point with this 400-page anthology of robust writings from Southern California locales east of L.A. Among this collection's greatest strengths is its authentic novelty: Many of the engaging pieces herein were crafted by writers unfamiliar to readers outside the region. </article> <article> <h4>Library Journal</h4>Inlandia, or the Inland Empire, constituting Riverside and San Bernardino counties in Southern California, is one of the fastest-growing regions in the United States. The term was first used in the 1950s to distinguish the region from the Los Angeles area, another Inland Empire with its own unique culture. The desert, the gangs, the tract housing, the ethnic mix: all these aspects of Inlandia and more are presented in this anthology, edited by Heyday acquisitions editor Wattawa and containing stories, essays, poems, and nonfiction. Like other Heyday anthologies (e.g., California Uncovered: Stories for the 21st Century), the pieces within are a mix of contemporary and older items and present both established and literary voices. This work also contains historical entries, such as excerpts from the diary of a Japanese American interned during World War II. Recommended for public libraries and for libraries collecting in American and/or California studies.-Terren Ilana Wein, Univ. of Chicago Divinity Sch. Copyright 2006 Reed Business Information. </article>
432Literary SavannahPatrick Allen0Patrick Allenliterary-savannahpatrick-allen9781892514011189251401X$16.95PaperbackHill Street Press, LLCJuly 2006Travel, Museums, Tours, Points of Interest<p><P>The statues of Savannah's Monument Square are silent. The status of the solemn girl in Bonaventure Cemetery &#151; made famous in John Berendt's now legendary book, <i>Midnight in the Garden of Good and Evil</i> &#151; cannot speak. Only Savannah's literary monuments can give voice to the rich and diverse history of one of America's greatest and most visited cities. Many have written about Savannah, but few have captured the true spirit of Southern grace most often associated with her history, as well as the mysteries and humor that await behind the walled gardens and gated homes. Whether born there or simply passing through, writers have been inspired by Savannah for centuries, and, in <i>Literary Savannah,</i> her stories are finally told.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from An Account of Carolina and Georgia (1732)</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Origin Legend of the Creek People (1735)</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from On Love (1736)</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1789)</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to Savannah's Hebrew Congregation (1790)</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Travels through North and South Carolina, Georgia, East and West Florida (1791)</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lament of the Captive (1815-1816)</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Pleasure and Pain: Reminiscences of Georgia in the 1840s (1850)</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to Kate Perry (1855)</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sut Blown Up With Soda (1857)</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Fast and Loose in Dixie (1880)</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Treasure Island (1883)</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Memoirs of Gen. W. T. Sherman, Written by Himself (1890)</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cotton Gin (1896)</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The American Scene (1907)</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Thousand Mile Walk to the Gulf (1916)</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Savannah Twice Visited (1919)</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memories of My Girlhood (1928)</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adrift in Georgia: Savannah (1930)</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword to Harriet Ross Colquitt's The Savannah Cook Book (1933)</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Damned Don't Cry (1939)</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Strange Moonlight (1950)</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The King of the Birds (1961)</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Matter of Vocabulary (1969)</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Beulah Land (1973)</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Lion's Share (1975)</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled song lyric (1976)</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Halloween (1978)</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Madeira and Moonshine (1979)</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Haunted Library (1984)</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sleeping with Soldiers (1985)</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Distant Lands (1987)</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Dangerous Lives of Altar Boys (1991)</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Midnight in the Garden of Good and Evil: A Savannah Story (1995)</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gambling, Liquor, and Vice (1994)</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Death of Tomochichi (1997)</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Return to Savannah (1998)</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD></TABLE>
433New Oxford Book of American Verse, Vol. 1Richard Ellmann0Richard Ellmann, Oxfordnew-oxford-book-of-american-verserichard-ellmann97801950205880195020588$1.99HardcoverOxford University Press, USAOctober 1976New EditionPoetry Anthologies, American Poetry, American Literature Anthologies11368.75 (w) x 5.88 (h) x 2.07 (d)Whether the reader reads from cover to cover or simply browses, this book provides access to the fertility of American invention and the subtlety of American thought.<p>Whether the reader reads from cover to cover or simply browses, this book provides access to the fertility of American invention and the subtlety of American thought.</p>
434Caroling DuskCountee Cullen0Countee Cullen (Editor), Countee Cullencaroling-duskcountee-cullen97808065134920806513497$15.45PaperbackKensington Publishing CorporationJanuary 1993ReprintPoetry, American Literature Anthologies, Anthologies2646.00 (w) x 9.00 (h) x 0.60 (d)This selection from the work of thirty-eight poets was made by Countee Cullen in 1927. His stated purpose at the time was to bring together a miscellany of deeply appreciated but scattered verse. <p>Beginning with the work of Paul Laurence Dunbar, who, though there were black poets before him, is generally credited as the first black poet to make a deep impression on the literary world, the book includes the writings of James Weldon Johnson, W. E. B. Du Bois, Jessie Faucet, Sterling A. Brown, Arna Bontemps, Langston Hughes, and Countee Cullen himself, to name only a few.</p> <p>Each poem includes poignant biographical notes written by the poets themselves, with the exception of the notes on Dunbar (written by his wife), Joseph S. Cotter, Jr. (written by his father), and Lula Weeden (written by her mother).</p> <p>Most of the poets became well known and widely published in the years that followed. These poems remain powerful statements of what it means to be human, whatever the race.</p> <p>Long out of print, "Caroling Dusk" is a valuable addition to the body of black literature. This is the first time the anthology has appeared in a paperback edition.</p><p>This selection from the work of thirty-eight poets was made by Countee Cullen in 1927. His stated purpose at the time was to bring together a miscellany of deeply appreciated but scattered verse. <P>Beginning with the work of Paul Laurence Dunbar, who, though there were black poets before him, is generally credited as the first black poet to make a deep impression on the literary world, the book includes the writings of James Weldon Johnson, W. E. B. Du Bois, Jessie Faucet, Sterling A. Brown, Arna Bontemps, Langston Hughes, and Countee Cullen himself, to name only a few. <P>Each poem includes poignant biographical notes written by the poets themselves, with the exception of the notes on Dunbar (written by his wife), Joseph S. Cotter, Jr. (written by his father), and Lula Weeden (written by her mother). <P>Most of the poets became well known and widely published in the years that followed. These poems remain powerful statements of what it means to be human, whatever the race. <P>Long out of print, "Caroling Dusk" is a valuable addition to the body of black literature. This is the first time the anthology has appeared in a paperback edition.</p><h3>Publishers Weekly</h3><p>Long out of print, this anthology--featuring work by figures such as W.E.B. DuBois and Langston Hughes--includes poignant biographical notes written for the most part by the poets themselves. (Feb.)</p><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Long out of print, this anthology--featuring work by figures such as W.E.B. DuBois and Langston Hughes--includes poignant biographical notes written for the most part by the poets themselves. (Feb.) </article>
435Literary Fort WorthJudy Alter0Judy Alter, director of TCU Press, is the author of several novels, short stories, and nonfiction for young readers. Her novel about Etta Place, <i>Butch, Sundance, and Me</i>, was published by Leisure Books in summer 2002. <p>James Ward Lee is professor emeritus and former chair of the English department and director of the Center for Texas Studies at the University of North Texas. He is the author of <i>Texas</i><i>, My</i> <i>Texas</i><i>,</i> <i>Classics of</i> <i>Texas</i> <i>Fiction</i><i>,</i> and <i>Adventures with a Texas Humanist</i>.</p>Judy Alter (Editor), James Ward Leeliterary-fort-worthjudy-alter97808756525350875652530$14.44PaperbackTexas Christian University PressMay 2002Regional American Anthologies4426.96 (w) x 9.98 (h) x 1.24 (d)Aware that some may see the title of this volume as an oxymoron, James Ward Lee argues in his “Argumentative Introduction” that for more than a century Fort Worth writers have written well about a city too often dismissed as a semi-rural cow town. Writers have celebrated its world of cattle and oil, to be sure, but many have seen other sides of Fort Worth—the country club set, the literati, the artists and artisans, the musicians, the intellectuals, and the whole minority sub-culture that has given a cosmopolitan tone to the Queen City of the Prairies. <p>Fort Worth is in many ways the most typical of Texas cities—proud of its slogan of “Cowtown and Culture.” People mingle as easily at the new Bass Hall, with its world-class visiting entertainers and the Van Cliburn Piano Competition, as they do at the White Elephant Saloon or the Cowtown Coliseum. They visit a museum complex unrivalled anywhere in the world for a city Fort Worth's size, and they attend the Southwest Exposition and Livestock Show.</p> <p>Lee and Judy Alter, both Fort Worth residents and well-known writers themselves, found passages in novels, short stories, and poetry that caught the city's atmosphere and odd bits of its history. And they found that some of the best writing done about Cowtown is journalistic rather than what is usually considered literary. There are articles by current and former members of the staff of the <i>Fort Worth Star-Telegram</i> and one particularly poignant piece about the last day of the old <i>Fort Worth Press</i>.</p> <p><i>Literary Fort Worth</i> is a literary smorgasbord, with something to appeal to almost any reader's taste. And literary? You bet!</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Argumentative Introduction: Does Fort Worth Ever Cross Your Mind?</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Micayla's Gathering</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Ballad for Sallie</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sue Ellen Learns to Dance</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Lords of the Earth</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Gamblers & Gangsters: Fort Worth's Jacksboro Highway in the 1940s and 1950s</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Inheritors</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Suite 850</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Harold Taft</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Watts and the Whirlwind</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Oak Leaves Blowing at Mount Olivet</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Showdown at the Amon Carter</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lady and the Calliope</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Slide</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tincey</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Words from a Wide Land</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stock Show Trip Teaches Lessons in Life</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Bank and a Shoal of Time</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Delbert McClinton: Twenty-Five Years of One-Night Stands</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stop the Press!</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Devil in Fort Worth, Texas</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Forest Park Zoo Caper</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thunder Road</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bizarre for the Course</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Texas vs. Davis: New, Sensational Discovery</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Westover Hills 76107</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Healing</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fairmount - pre-gentrification</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Loop</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">World War II on Cleckler Street</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Stories from the Barrio: A History of Mexican Fort Worth</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Neighborhood</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moncrief Radiation Center</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Mockingbird Near Elizabeth Hall</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Man Who Lives on Weather</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">He'd Walk a Mile for His Camel</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Keen Desire</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jazz Was Jumpin' at the Jim Hotel</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Remembering the Gangster Days</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It's with Good Reason that the Tallest Bur Oak in Texas is called The Hangin' Tree</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Western Hills Hotel was a National Draw</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Routes of Rock: The Clubs, the Schools, and the Cafeteria where Fort Worth Music History Was Made</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Smiting a Sinful World</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Texan Who Played Cowboy for America</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amon's Will Be Done</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">And Flights of Harlots Sing Thee to Thy Rest</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Fort Worth: A Frontier Triumph</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Prime Suspect</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From When Panthers Roared: The Fort Worth Cats and Minor League Baseball</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Where the River Bends</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Dead Tom Copeland</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beauty is Elsewhere</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fort Worth</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Baja Oklahoma</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Fast Copy</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Guts: Legendary Black Rodeo Cowboy Bill Pickett</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Billy Rose Presents ... Casa Manana</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brooklyn Heights - The Name Is Gone, but Memories Remain</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fifty-seven Years of Burgers, Done Leta's Way</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Call for Law and Disorder at the Albatross</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Magic Coins</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Thistle Hill, The History and the House</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Sweetie Ladd's Historic Fort Worth</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fort Worth in the Sixties</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A West Side Story</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Horseman, Pass By</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Fort Worth Star-Telegram: Where the West Begins</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Fort Worth that IS the Cowtown - Without Cows</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Grinning in His Mashed Potatoes</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From an unpublished memoir</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From North of the River, A Brief History of North Fort Worth</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Hundred Years of Heroes: A History of the Southwestern Exposition and Livestock Show</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fort Worth Through the Storefront Windows</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Reeder School</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Credit Union Is Needed Because of Banks' Greed</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Riverside Was Special Then, and Is Becoming So Again</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Fort Worth, a Novel</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Texas Signs On: The Early Days of Radio and Television</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From But Not For Love</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Cowtown</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Old River High</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ghost of Christmas Past</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">War in Our Time</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">University Drive</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You Can't Get There from Here</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Of Time and The Drag</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Reminiscences of the Early Days of Fort Worth</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Celebrity</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This Emerald Season</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">By Dawn's Early Light, It Looks Sleepy</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Jewish Stars in Texas</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From And Here's To Charley Boyd</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Colonial Parkway</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where the Western Begins</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD></TABLE>
436A River Through IllinoisDaniel V. Overturf0<p><p><p><B>Daniel Overturf </B>is an associate professor and former chair of the Department of Cinema and Photography at Southern Illinois University Carbondale and has worked as a photographer and teacher in New Mexico, Kansas, Nevada, and Alberta, Canada. <p>&#160;<p><B>Gary Marx</B> is a freelance writer and editor and an award-winning journalist now with the <I>Kansas City</I> <I>Star. </I>He has worked as a reporter, editor, and columnist at several newspapers in the Midwest<I>.</I><p><p></p>Daniel V. Overturf, Gary Marx, Bill Kurtisa-river-through-illinoisdaniel-v-overturf97808093276380809327635$37.42HardcoverSouthern Illinois University PressApril 20081st EditionNature, Marine Terrain, American Literature Anthologies, Travel - General & Miscellaneous, Aquatic Life & Sciences, U.S. Travel - States, Photography - Travel, Travel Photography, Natural Terrain25612.00 (w) x 9.00 (h) x 1.30 (d)<p><i>A River Through Illinois</i>, an innovative collaboration by journalist Gary Marx and award-winning photographer Daniel Overturf, carries readers down the 330-mile Illinois Waterway, from the urban landscape of Chicago to the state’s most rural areas. Combining literary impressions, history, and personal narrative with stunning color photographs, this remarkable book transports readers to places most have never been: three hundred feet below the city of Chicago in a TARP pump station, above the Illinois River in a lift-bridge operator’s hut, in the wheelhouse of a towboat pushing twenty thousand tons.</p> <p>The story of the river is told by the people who live along the waterway’s banks and work its course, who rely on it for their livelihoods, their recreation, and their spiritual sustenance. More than one hundred original color photographs and dozens of conversations with waterway residents, workers, and visitors capture the essence of the waterway, exposing its course and uncovering its past.</p> <p>Traveling through the Illinois &amp; Michigan Canal, Florence, Hardin, Lemont, and Chicago, readers discover a connection to a sense of place and to the early inhabitants of the state. Bar crews, lockmasters, engineers, and those whose memories stretch to the days of steamboats offer their views on the evolution and navigational importance of the waterway.</p> <p>Readers encounter such places as Pekin, LaGrange, Peru, and Joliet as a towboat works its way up the waterway that represents commerce and jobs, the challenge of living and working away from home, and following dreams.</p> <p>The book also introduces Chicago fishermen and wastewater engineers, a city bridge machinist and a marine police officer, who offer insights aboard a patrol boat on the Chicago River, inside a bascule bridge, and in a sailboat marina, revealing an engineering marvel upstream that creates an environmental nightmare downstream.</p> <p>From Mud Creek to Peoria Lakes, a biologist, an ecologist, and a hydrologist consider the edge of the watershed Meredosia, Chandlerville, Henry, the Kankakee River and its tributaries and discuss the changing nature of the river, including new threats such as sedimentation, and the loss of habitat. Hunters, commercial fishermen, and bridge tenders share their stories that demonstrate resiliency in the face of great change.</p> <p><i>A River Through Illinois</i> represents a unique blend of portraits, landscapes, panoramic 360-degree photographs, and personal narratives that create a cast of characters, including the river itself, who give voice to the life of this important waterway. &nbsp;</p><p><p><p><I>A River Through Illinois</I>, an innovative collaboration by journalist Gary Marx and award-winning photographer Daniel Overturf, carries readers down the 330-mile Illinois Waterway, from the urban landscape of Chicago to the state&#8217;s most rural areas. Combining literary impressions, history, and personal narrative with stunning color photographs, this remarkable book transports readers to places most have never been&#58; three hundred feet below the city of Chicago in a TARP pump station, above the Illinois River in a lift-bridge operator&#8217;s hut, in the wheelhouse of a towboat pushing twenty thousand tons. <p>The story of the river is told by the people who live along the waterway&#8217;s banks and work its course, who rely on it for their livelihoods, their recreation, and their spiritual sustenance. More than one hundred original color photographs and dozens of conversations with waterway residents, workers, and visitors capture the essence of the waterway, exposing its course and uncovering its past.<p>Traveling through the Illinois & Michigan Canal, Florence, Hardin, Lemont, and Chicago, readers discover a connection to a sense of place and to the early inhabitants of the state. Bar crews, lockmasters, engineers, and those whose memories stretch to the days of steamboats offer their views on the evolution and navigational importance of the waterway. <p>Readers encounter such places as Pekin, LaGrange, Peru, and Joliet as a towboat works its way up the waterway that represents commerce and jobs, the challenge of living and working away from home, and following dreams.<B></B><p>The book also introduces Chicago fishermen and wastewater engineers, a city bridge machinist and a marine police officer, who offer insights aboard a patrol boat on the Chicago River, inside a bascule bridge, and in a sailboat marina, revealing an engineering marvel upstream that creates an environmental nightmare downstream.<B></B><p>From Mud Creek to Peoria Lakes, a biologist, an ecologist, and a hydrologist consider the edge of the watershed Meredosia, Chandlerville, Henry, the Kankakee River and its tributaries and discuss the changing nature of the river, including new threats such as sedimentation, and the loss of habitat. Hunters, commercial fishermen, and bridge tenders share their stories that demonstrate resiliency in the face of great change.<p><I>A River Through Illinois</I> represents a unique blend of portraits, landscapes, panoramic 360-degree photographs, and personal narratives that create a cast of characters, including the river itself, who give voice to the life of this important waterway. &#160;<p><p></p><article> <h4>From Barnes & Noble</h4>Journalist Gary Marx and award-winning photographer Daniel Overturf have created a stirring word-and-picture celebration of the 330-mile Illinois Waterway, which extends from urban Chicago to the state's rural inner regions. Browsers of <i>A River Runs Through Illinois</i> will be first touched by Overturf's evocative pictures, more than 100 in number, but the text also sustains the spirit of this singular collaboration. Marx allows the story of the river to be told by the people who live closest to the waterway's banks; fishermen, wastewater engineers, environmentalists, old-timers. A book that bespeaks the rich history of the Prairie State. </article> <article> <h4>From the Publisher</h4><p>“<i>A River Through Illinois</i> is a wonderful interlacing of historical documentation and good old storytelling.&nbsp; This book imparts a heartfelt sense of place and life of the Illinois River.”—<b>Bonnie Speed</b>, director of the Michael C. Carlos Museum, Emory University</p> <p>“This long voyage of Daniel Overturf and Gary Marks is a testimony of their love of the river and the life around it.&nbsp; I highly recommend that you take this journey with them.”—<b>Photographer Mary Ellen Marks</b></p> <p>&nbsp;</p> <p>“<i>A River Through Illinois</i> is a wonderful, valuable, historical record of the area and its people.” <b>—Photographer Arnold Newman</b></p> <p>“Gary Marx tells this story with words that paint memorable pictures and Daniel Overturf with photos that speak with eloquence. . . . They remind us that this river does not just run through our state.&nbsp; It runs through our souls.”—<b>Dick Durbin, United States Senator from Illinois</b></p> </article>
437Don't Squat With Yer Spurs On! II, Vol. 2Texas Bix Bender0<p><p>Texas Bix Bender is the author of eighteen books, including the best-selling Don't Squat With Yer Spurs On series. He has written for television and radio shows, including Hee Haw, the Nashville Network's Tumbleweed Theater, and Riders Radio Theater. He lives in Nashville, Tennessee.<p></p>Texas Bix Bender, L. Bark'kariedont-squat-with-yer-spurs-on-iitexas-bix-bender97808790583260879058323$1.99PaperbackSmith, Gibbs PublisherSeptember 1997American Humor - Peoples & Cultures, American Literature Anthologies1284.25 (w) x 6.75 (h) x 0.35 (d)The Cowboy Code and other tips for the trail.<br>In sun and shade, be sure by your friends. Never swing a mean loop. Never do dirt to man nor animal. <p>The good thing about cowboying is that any boss will gladly give you eighteen hours to do your days work.</p> <p>If you find you're drinking most of your entertainment out of a can, it's time to look for your fun elsewhere.</p> <p>A stranger's business ain't yours.</p> <p>When cattle die standing up, it's hard times.<br> </p><p>By popular demand, Texas Bix Bender writes a sequel to his best-selling DON'T SQUAT WITH YER SPURS ON!, which became an immediate cowboy humor classic and has been reprinted 26 times. In this new book, Bender has written 125 funny quips for life. Here are some samples&#58; "A good pard will ride with you till hell freezes over, and a little while on the ice." "If you're ridin' a high horse, there ain't no way to get down off it gracefully." "Nature gave us all something to fall back on, and sooner or later we all land flat on it." "Never be too quick to criticize yourself. It's not fair to all your friends and relatives who are dying to do it for you."</p>
438The Maine Reader: The Down East Experience from 1614 to the PresentCharles Shain0Charles Shain, Samuella Shainthe-maine-readercharles-shain97815679207891567920780$15.71PaperbackGodine, David R. Publishers, Inc.January 1997United States History - Northeastern & Middle Atlantic Region, American Literature Anthologies5246.12 (w) x 9.44 (h) x 1.39 (d)<article> <h4>Library Journal</h4>Through prose, poetry, letters, essays, and art, this 1991 volume offers an intimate portrait of Maine. Contributors include Longfellow, Thoreau, John Burroughs, Sarah Jewett, Rockwell Kent, Amy Clampitt, Carolyn Chute, and numerous others. A delightful collection that has something for everyone. </article>
439Florida FrenzyHarry E. Crews0Harry E. Crewsflorida-frenzyharry-e-crews97808130072670813007267$12.79PaperbackUniversity Press of FloridaJune 1982FirstAmerican Essays, Regional American Anthologies1386.11 (w) x 8.99 (h) x 0.44 (d)<p>"Fourteen essays and articles and three short stories that will hit you right between the eyes. Crews writing is informed by a deep love of language, literature, nature, blood sports, and his own kind of people--namely rural, southern, hard-drinking, honest-measure hell-raisers. We are all lucky to have him to tell us about cockfighting, dogfighting, mending an injured hawk, becoming a great jockey, poaching gators, and taking ourselves much too seriously"--<i>Chicago Tribune</i></p> <p>"The author’s gifts include an elegant and easy style, a knack for telling a good story, and a wry and riotous sense of humor. . . . Unforgettable characters whose preoccupations evoke such memorable detail. Despite the concreteness of his descriptions, his sports cronies and the bar rats he encounters take on a universality in his graceful prose."--<i>Newsday</i><br> &nbsp;<br> In this collection of fiction and essays, Crews focuses on the people and places of Florida--full of natural wonders and other, grimier delights that make perfect grist for his forceful style, Southern Gothic sensibilities, and rowdy sense of humor. From poaching gators, to the Gatornationals, to cockfighting--a must-have collection for Harry Crews fans new and old.</p>
440Starting Today: 100 Poems for Obama's First 100 DaysRachel Zucker0<p><P>Rachel Zucker is the author of four books of poetry, including <i>Museum of Accidents</i> and <i>The Bad Wife Handbook</i>, and is coeditor, with Arielle Greenberg, of <i>Women Poets on Mentorship&#58; Efforts and Affections</i> (Iowa, 2008). She teaches poetry, is a certified labor doula, and is studying to become a childbirth educator. Arielle Greenberg is the author of <i>My Kafka Century</i> and <i>Given</i> and coeditor of the forthcoming <i>Gurlesque</i>, with Lara Glenum. She is an associate professor at Columbia College&ndash;Chicago.</p></p>Rachel Zucker (Editor), Arielle Greenbergstarting-todayrachel-zucker97815872987141587298716$18.20PaperbackUniversity of Iowa PressApril 20101Poetry, American Literature Anthologies, Anthologies, General & Miscellaneous Poetry2106.00 (w) x 8.90 (h) x 0.60 (d)<p>The result is a work that documents the political and personal events of those crucial days through a variety of contemporary poetic voices, from the ebullient to the admiring, from the pithy to the loquacious.</p> <p><br> Editors Rachel Zucker and Arielle Greenberg explain in their enthusiastic introduction: “In those jittery, pre-inaugural hours, it became clear to us that our exhilaration stemmed, in part, from the knowledge that we were not alone in our enthusiasm. We knew others felt called to action just as we were. That same afternoon we compiled an e-mail list of poets—friends, acquaintances, and folks we admire—from across the country and across generations. Could we get one hundred poets to commit to writing a new poem during the first one hundred carefully watched days of the new presidency? And could we get them to respond overnight, so that our project would coincide with Barack Obama beginning his job? Yes, we could! Poets wrote back immediately and with gusto.”</p> <p>Difficult to categorize but easy to enjoy, the poems in <i>Starting Today</i> offer something for every type of poetry reader, from the novice to the seasoned. This smart, timely collection offers a swirling portrait of the American Zeitgeist—a poetic reportage that demonstrates spontaneity, collaboration, immediacy, and accessibility.</p><h4>STARTING TODAY 100 POEMS FOR OBAMA'S FIRST 100 DAYS</h4> <hr noshade size='1'> <h4 class="null1">University of Iowa Press</h4> <b>Copyright © 2010</b> <b>University of Iowa Press<br> All right reserved.</b> <br> <b>ISBN: 978-1-58729-871-4</b> <br> <hr noshade size='1'> <br> <h4>Chapter One</h4> ELIZABETH ALEXANDER <b>Praise Song for the day 1 <i>day</i></b> Each day we go about our business, walking past each other, catching each other's eyes or not, about to speak or speaking. All about us is noise. All about us is noise and bramble, thorn and din, each one of our ancestors on our tongues. Someone is stitching up a hem, darning a hole in a uniform, patching a tire, repairing the things in need of repair. Someone is trying to make music somewhere, with a pair of wooden spoons on an oil drum, with cello, boom box, harmonica, voice. A woman and her son wait for the bus. A farmer considers the changing sky. A teacher says, <i>Take out your pencils. Begin.</i> We encounter each other in words, words spiny or smooth, whispered or declaimed, words to consider, reconsider. We cross dirt roads and highways that mark the will of some one and then others, who said I need to see what's on the other side. I know there's something better down the road. We need to find a place where we are safe. We walk into that which we cannot yet see. Say it plain: that manyhave died for this day. Sing the names of the dead who brought us here, who laid the train tracks, raised the bridges, picked the cotton and the lettuce, built brick by brick the glittering edifices they would then keep clean and work inside of. Praise song for struggle, praise song for the day. Praise song for every hand-lettered sign, the figuring-it-out at kitchen tables. Some live by love <i>thy neighbor as thyself, others by first do no harm or take no more than you need</i>. What if the mightiest word is love? Love beyond marital, filial, national, love that casts a widening pool of light, love with no need to preempt grievance. In today's sharp sparkle, this winter air, any thing can be made, any sentence begun. On the brink, on the brim, on the cusp, praise song for walking forward in that light. MATTHEW ROHRER <b>Poem 2 <i>day</i></b> On Tuesday at noon the sun suddenly came out I swear I said to my daughter something was happening but what and the stars don't care about us who we elect or when we listen to the radio and hear it say President Obama is going to shut down the prison the stars don't care they are forever exploding hydrogen atoms slowly depleting dying like us to them if they thought at all they'd think everything we do is in prison the president said we could write poems again saying "president" that people would have to think about not just understand like he said "science is coming, people" to which my son said "did he say science?" I said "I know it's hard to believe but the new president said science" MARTHA SILANO <b>His Springboard resolve 3 <i>day</i></b> For his firmness is most fog horn. For he's darning our fraying hem with fine thread; for he's following a plan. Be it a progression from detention to due process. Be it a declaration of Middle East and market collapse mazes unmazed. Be it settled. From this day forward, a little less fetus, a lot more science. From this day forward, more angles, more angels. In with the fluent, out with the foibles. In with the factual, out with the furrowed. In with fine-tuning, out with the cudgels. Today, the shimmery window of the immediate. More from those who pray in a mosque, in a temple. Less from the evangelical. More service, less fretting. More figuring, less guessing. More giving, less getting. No bitching. <p>Coming to a theatre near you, an outrageous congruity. Coming to that theatre, an unprecedented logic. Coming soon, endpoints. Soon to come, time frames.</p> <p>The sun is rising over rising water, over the desert's drying, over the dead and the dying. The sun is rising; let it inflame us.</p> <p>AIMEE NEZHUKUMATATHIL</p> <p><b>Overwinter 4 <i>day</i></b></p> <p>We have been waiting out the winter for eight years. I don't pretend to talk for you or my neighbors- but I have been given permission to speak on behalf of mollusks, insects, and various wily birds. This is the price and the pleasure of a new president: those who were hushed now feel like they can finally chatter and natter- flex wing and leg freely. The clutch of snails on the fence post near my house can finally unclench retreat to damp underboards of the tool shed. And I have it on good authority at least one spicebush and three swallowtails have promised to arrive a few weeks earlier from their Southern holiday. Those who overwintered have returned. Those who fell asleep are awake. I myself risk it all: I climb to the top of a blade of grass the aperture of my wingshell opens and closes and opens again.</p> <p>FANNY HOWE <b>Imagine All the People 5 <i>day</i></b> Imagine being unable to imagine another side. What would you be? A hill so steep you'd throw your thoughts against it? Segregated schools? A decider who never had to fight? Without advance imagination the people perish. Would you be a grandmother who keeps hands warm no matter where they're from? Or would you be a moth-like hat on the head of a singer lifting her higher and higher? Would you be a newspaper soldier, easy to burn? Would you choose to be something you can never change? Or would you hold up your arms during the metamorphosis?</p> <p>YVETTE THOMAS <b>Missing Metaphor for time 6 <i>day</i></b> Our last winter was furious. In the gray and yellow dawns we cowered we covered our heads. World buckled at the margins redrawn and drawn close we shook. No fruit fell. Hope is wind chimes and wind. Change is</p> <p>PATRICIA SMITH <b>Man, roll the Window down! 7 <i>day</i></b> On a slushed side street in the Bronx, a determined hustler attacks your smudged windshield with enterprise, sloshes the pane with old water and rocks a feverish squeegee before you can mouth the word <i>no</i>. Stunned at a sluggish stoplight, you have no choice but to force a smile, nod idly while he stretches the busy machine of his body across your hood and whips the gritty wet round and around. It's a second before you notice that his mouth is moving, that although he leapt to his task without warning, he is now attempting to converse as men do, to pass the time, to shoot the shit. You avoid the mouth, choosing instead to scan the dank street for anything. There is lots to see- stands tiled with cheap neon skullcaps, shuttered houses of praise, the fragrant entrance to Chicken, Ribs &amp; Such, a city-assed woman drilling her stilettos into concrete, the butcher shop with price tags pinned to sick meat. In other words, there is nothing to see. He's still draped across your Corolla, wiping, squeaking dry and mouthing. Damned insistent now, he thumps on your windshield and the light has changed now and behind you drivers toot elegant fuck yous. You scramble for your wallet because damn it, that's right, hell, you gotta pay the guy for the gray crisscross swiping that dims the chaos just enough. But what's the message of that mouth, he needs you to know something, inside the huge O of his wild miming there's a collision of collapsed teeth and you slide your window down to a symphony of horn and mad street spittle, and your hustler's message, what he had to get across before he let you pull away from that street light, <i>Obama! Obama! Obama! Obama!</i> he spurt screeches, his eyes fevered with whiskey and damn-it-all, no verbs or adornment, just <i>Obama!</i> as if his wiping little life is stuck on triumph, as if that's all anybody needs to know this day and as he leans in to roar his one-word stanza, damn the money, you see that every single one of those teeth, tilted and pushing for real estate in his mouth, every single one of them is a gold like you've never seen before.</p> <p>LYN LIFSHIN <b>Michelle's Citrine dress <i>8 days</i></b> color of where something growing starts. Spring. Clean and new. The place where a stem jolts up from what nourished and fed it. I think of tulips when I think of that dress, what's alive and sunny, sparkling and nothing like the yellow tulips I sent for what I knew could be a dying friend's dying day</p> <p>SASHA STEENSEN <b>Wintry Weather and Job Slaughter 9 <i>days</i></b> All our tales are tall: one week after the inauguration, the lost <i>n</i> in auger bores its hole in the frozen ground. Daily life is holy bedeviling. Who but a witness tree knew the axe is an American native? First thing today, I had my blood drawn. In the distant waiting room, <i>we have to start by listening</i>, the president says. To what? To what's been lost. Octuplets born today- that many more platelets to count, that many more ears to open, mouths to shut, jobs to lose, snows to shovel. All emotion that matters securely hidden buried in a bed of heartsease, fog and grown-over ferns the terrific green, still frozen, still freezing which doesn't mean hope isn't eight times hotter this time of year just eight times over and melting what? fear?</p> <p>My young saplings and their hatchlings.</p> <p>JOHN PAUL O'CONNOR <b>new time old time 10 <i>days</i></b> The unchosen have always been the starbeams for the poor, the tortured and beaten, the homeless, the suffocated. They have been the wind that bursts open poppies in an endless field, just as this morning the January wind blew the seeds of this poem jotted down with coffee 3 days before my daughter's 39th birthday. She is, at this moment, in a classroom downtown studying nursing, while her daughter, my little Izzie, sits at Wanda's Daycare spilling blocks onto the carpet with no awareness of the children's blood spilling in Congo while fathers' heads are crushed like brittle stone and mothers' bodies are torn open by monstrous attackers, children they, all written off as lost Africa, which will remain lost for the next 100 days as it has for the past 300 years. It's a tell of people my age when you hear us say, I've seen this before, Camelot and the revolution just around the corner. Today my around the corner is the Fine Fare, where I pick up milk, orange juice, and peanut butter for my girls before getting back to work. <i>I'm lucky to have work</i>, I've heard a dozen people tell me in the past week. The Dominican check-out girls have no union, though surely they thirst for something greater. I can't know. I don't speak their language. I am one of those who has sat at the bar with his whiskey, whispering to himself on an unchosen night, <i>I was born too late</i>, thinking I might have liked to have lived through the Depression and now it looks as if I will get my wish. But will I get my FDR? No I will get my Obama, the first president to have a name that begins with <i>O</i>. O, Obama, be not the chosen, but the unchosen of the unchosen revolution, not around the corner but here on St. Nicholas Avenue where the swollen tribes of unchosen are chanting, <i>Africa come home</i>, and raising their sunbroad arms to demand you be what they believe you are.</p> <p>LESLÉA NEWMAN <b>Prayer for a President 11 <i>day</i></b> At the first ball on the first night the first black president and the first lady danced the first dance while Beyoncé sang "At Last." At last this day had come At last this day had ended At last he held her in his arms and they were spinning around the dance floor elegant as the earth spinning around the sun And just for a moment she was just a woman in a fancy white dress dancing with her husband and just for a moment he was just a man in a crisp black tuxedo dancing with his wife and I was just one more American sitting in front of my TV wishing this first day and night could last forever as I danced myself up to bed, the prayer I'd been murmuring since morning spinning around my head: <i>keep them safe keep them safe keep them safe</i></p> <p>REBECCA WOLFF <b>The Most Famous Man in the World 12 <i>days</i></b> Are you like me jug ears of purpose defined positively by your positive action and the clear vision toward a common sense? It's just common sense. I feel you. You feel me. At least one other in this whole world famous to make ready in the event.</p> <p>MATTHEW ZAPRUDER</p> <p><b>Sad news 13 <i>days</i></b> We have some sad news this morning from Mars. But I'm thinking about lions. Someone said something salient and my head became a light bulb full of power exactly the shape of my head. Sinister thoughts at the Xerox machine. A chat with a retired torturer. Now the sharp blade. Apparently some solar wind pushed a few specklets of actually not red but gray Mars dust through the seal into the vacuum where the very tiny oiled hydraulics of the light from the distant future collector seized. What was it my brother said to me once? Like a vampire bat on a unicorn Change rides every moment. Houston is full of dead elephants and empty labs experimenting on silence, open any mouth and out blows some hope in a binary data stream.</p> <p>CORNELIUS EADY <b>Praise for the Inaugural Poet, January, 2009 14 <i>day</i></b> Perhaps it's an impossible task On an impossible day. A young poet Fixes her gaze along the plaza, Looks this latest version of America in the eyes, Looks in the camera at all the places we've touched Or torched. Sees who's come to this roll call: The out of the woodworks, the I never even dreamts, The I never thought I'd live this longs. Stands in the sharp report of weak January sun. The poet probably knows This family is hers. The poet probably knows Before she cuts history to forty-three lines, Before the capitol has more proof Of what bullets and ropes couldn't stop, She has to straighten her back. She needs to take A deep breath. A black woman is here. All the black women in her are here to sing.</p> <p><i>(Continues...)</i></p> <p><br> </p> <blockquote> <hr noshade size='1'> Excerpted from <b>STARTING TODAY 100 POEMS FOR OBAMA'S FIRST 100 DAYS</b> Copyright © 2010 by University of Iowa Press. Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br> Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site. <hr noshade size='1'> </blockquote><p><P><i>Starting Today</i> contains 100 poems written during&mdash;and responding to&mdash;Barack Obama&rsquo;s first 100 days in office. The poems included in this anthology, except for Elizabeth Alexander&rsquo;s inauguration poem, were all written no more than a day before they appeared on the popular blog &ldquo;Starting Today&#58; Poems for the First 100 Days&rdquo; . The result is a work that documents the political and personal events of those crucial days through a variety of contemporary poetic voices, from the ebullient to the admiring, from the pithy to the loquacious.</p></p><h3>Publishers Weekly</h3><p>This varied anthology began as a blog&mdash;the editors sent out a call to poets asking them to write original poems on an assigned day during the critical first 100 days of Obama's presidency, responding somehow to the day's news; the results were published daily online. The book that the blog became begins with Elizabeth Alexander's inaugural poem (&ldquo;Say it plain&#58; that many have died for this day&rdquo;) and continues with 99 other pieces by poets young and old, including Cornelius Eady, David Lehman, and Mark Doty. The poems range from the slyly earnest (&ldquo;I know/ it's hard to believe but/ the new president said science,&rdquo; writes Matthew Rohrer), the downright funny (&ldquo;I have 'invented' and am promoting a neologism/ for the perineum&#58; the boyband,&rdquo; writes Mark Bibbins in a poem you'll have to read to learn how it's tied to Obama), the hopeful (&ldquo;I think I feel my limbs again,&rdquo; says Brenda Shaughnessy) to, of course, the highly politicized, as in Thomas Sayers Ellis's &ldquo;First Grade, All Over Again&rdquo;&#58; &ldquo;This is not something/ the minority expects the majority/ to accept, reconciliation.&rdquo; While newer poetry readers might not recognize all the names, there's something here for everyone. (Apr.)</p><H4>Contents</H4> Foreword by Rita Dove....................xi <br> Introduction by Rachel Zucker & Arielle Greenberg....................xiii <br> Day 1&#58; Elizabeth Alexander, Praise Song for the Day....................1 <br> Day 2&#58; Matthew Rohrer, Poem....................3 <br> Day 3&#58; Martha Silano, His Springboard Resolve....................4 <br> Day 4&#58; Aimee Nezhukumatathil, Overwinter....................5 <br> Day 5&#58; Fanny Howe, Imagine All the People....................6 <br> Day 6&#58; Yvette Thomas, Missing Metaphor for Time....................7 <br> Day 7&#58; Patricia Smith, Man, Roll the Window Down!....................8 <br> Day 8&#58; Lyn Lifshin, Michelle's Citrine Dress....................10 <br> Day 9&#58; Sasha Steensen, Wintry Weather and Job Slaughter....................11 <br> Day 10&#58; John Paul O'Connor, New Time Old Time....................13 <br> Day 11&#58; Lesl&eacute;a Newman, Prayer for a President....................15 <br> Day 12&#58; Rebecca Wolff, The Most Famous Man in the World....................16 <br> Day 13&#58; Matthew Zapruder, Sad News....................17 <br> Day 14&#58; Cornelius Eady, Praise for the Inaugural Poet, January, 2009....................18 <br> Day 15&#58; Caroline Klocksiem, Do-Over Like Sky....................19 <br> Day 16&#58; Rachel Zucker, Dear Mr. President, I Thought You Should Know....................20 <br> Day 17&#58; BJ Soloy, Last Migration, a Dead, Common Yellow-....................21 <br> Day 18&#58; Cole Swensen, Taking Cover under the Sun....................23 <br> Day 19&#58; Laurel Snyder, The Greatest Public Works Program....................24 <br> Day 20&#58; Cate Marvin,Song of the Bad Bank....................26 <br> Day 21&#58; Michael Dumanis, Occasionally, I Write a Poem....................27 <br> Day 22&#58; Major Jackson, A General Theory of Interest & Money or Getting the Country in Bed....................28 <br> Day 23&#58; Erin Belieu, H. Res. 23-1&#58; Proposing the Ban of Push-Up Bras, Etc....................30 <br> Day 24&#58; Craig Morgan Teicher, When the Real American....................31 <br> Day 25&#58; David Lehman, February 12....................32 <br> Day 26&#58; Nin Andrews, Hoi Polloi....................33 <br> Day 27&#58; Diane Wald, Nonromantic Obama Valentine for America, February 14th, 2009....................34 <br> Day 28&#58; Lisa Samuels, At the Save the World Breakfast....................36 <br> Day 29&#58; Brian Teare, Citizen Strophes (Oakland)....................38 <br> Day 30&#58; Katy Lederer, I Think You Are a Good Manager....................41 <br> Day 31&#58; Joyelle McSweeney, Poem for Comrade Duch....................46 <br> Day 32&#58; Mark Doty, Skulls Are So Last Year....................48 <br> Day 33&#58; Elizabeth Scanlon, What People Say....................50 <br> Day 34&#58; Katie Ford, You Are No Messiah....................51 <br> Day 35&#58; Mark Bibbins, A Small Gesture of Gratitude....................52 <br> Day 36&#58; Lindsey Wallace, System Error....................56 <br> Day 37&#58; Todd Fredson, Air and Simple Things....................57 <br> Day 38&#58; Geraldine Kim, Ehhhbb, Ooo, Oommmoo, Eeeoooooooooo....................58 <br> Day 39&#58; Kevin Prufer, Behind the Barracks, after the War....................60 <br> Day 40&#58; David Roderick, In Some Places They Held Picnics....................61 <br> Day 41&#58; Joshua Marie Wilkinson, Poem for Barack Obama....................62 <br> Day 42&#58; John Beer, My Calamine Lotion....................64 <br> Day 43&#58; Ian Harris, Welcome to Hard Times....................65 <br> Day 44&#58; Nicole Cooley, Girl at the River....................67 <br> Day 45&#58; Erika Meitner, Slinky Dirt with Development Hat....................69 <br> Day 46&#58; Allison Joseph, Conservative Love in the Age of Obama....................71 <br> Day 47&#58; Linda Buckmaster, Harvest....................72 <br> Day 48&#58; Ann Fisher-Wirth, In Oxford, Mississippi....................73 <br> Day 49&#58; Jeff Encke, The Water in Which One Drowns Is Always an Ocean....................75 <br> Day 50&#58; Anne Waldman, Shadow for Obama....................77 <br> Day 51&#58; Marvin Bell, The Book of the Dead Man (Day 51)....................80 <br> Day 52&#58; Catherine Wagner, Oh....................82 <br> Day 53&#58; Leah Souffrant, Imperfect Plenty....................84 <br> Day 54&#58; Patricia Spears Jones, What the Fates Allow....................86 <br> Day 55&#58; Kazim Ali, Random Search....................88 <br> Day 56&#58; Wayne Koestenbaum, Sick Poem....................89 <br> Day 57&#58; Sally Ball, Racial Parable with No Black People....................91 <br> Day 58&#58; Carmen Gim&eacute;nez Smith, Hey, Obama....................92 <br> Day 59&#58; Patrick Culliton, Song....................93 <br> Day 60&#58; Catherine Barnett, Small Parable for the Sixtieth Day....................94 <br> Day 61&#58; Amy Lemmon, Audacious&#58; An Acrostic....................95 <br> Day 62&#58; Arielle Greenberg, Whose Mission It Is Only to Pray....................96 <br> Day 63&#58; Mendi Lewis Obadike, Parable of the Lucky Man....................98 <br> Day 64&#58; Jenny Factor, A Ghazal for Hope....................99 <br> Day 65&#58; Michael Morse, Void and Compensation (Wizards and Bulls)....................101 <br> Day 66&#58; Sarah Vap, Against One Another Like Glass....................104 <br> Day 67&#58; Brenda Shaughnessy, Citizen....................105 <br> Day 68&#58; Laura Mullen, Daisies....................106 <br> Day 69&#58; Elizabeth Hughey, The I Love You Bridge....................108 <br> Day 70&#58; A. Van Jordan, "The Farmers Have Won. Not Us."....................110 <br> Day 71&#58; Dara Wier, Salmagundi Algorithm....................111 <br> Day 72&#58; Tony Trigilio, I Picked Up That Strange Light Again....................112 <br> Day 73&#58; M&oacute;nica de la Torre, Onto the World Stage....................114 <br> Day 74&#58; Michele Battiste, What He Said....................115 <br> Day 75&#58; Susan Wheeler, Song of the G-20 Gone....................117 <br> Day 76&#58; Martha Collins, To Listen to Lead To....................118 <br> Day 77&#58; Betsy Fagin, "Not a Panacea but a Critical Step"....................119 <br> Day 78&#58; Jeanne Marie Beaumont, Rite (to Forge Armor for an Orphan)....................120 <br> Day 79&#58; Patricia Carlin, Thinking My Way Out of a Paper Bag....................121 <br> Day 80&#58; Chris Green, Today....................122 <br> Day 81&#58; Sean Thomas Dougherty, Elevator or Poem Written the Day after Not Showing Up for a Reading at an Embassy Official's House....................123 <br> Day 82&#58; Craig Arnold, Dear Steve....................125 <br> Day 83&#58; Kathrine Varnes, Some Kind of Secret Fruit....................127 <br> Day 84&#58; cin salach, The First Easter, 2009....................128 <br> Day 85&#58; Jen Hofer, who is speaking-nominal substances-who listening-anchor, bluster, filter-to whom listen-flattering machinations fluster the skies-substances-from the skies-operations fall-to be purchased-inked into existence-information conveyed, trucked, stowed, migrated-on the verge of....................130 <br> Day 86&#58; Becca Klaver, I Didn't Buy It....................133 <br> Day 87&#58; John Gallaher, There Are Many Theories about What Happened....................134 <br> Day 88&#58; Susan Briante, Letter to a Former Presidential Candidate....................135 <br> Day 89&#58; Paul Killebrew, Varieties of Religious Experience....................137 <br> Day 90&#58; Joshua Corey, When I Heard the Learn'd Spokesmen....................138 <br> Day 91&#58; Jason Schneiderman, Oracular....................139 <br> Day 92&#58; Joy Katz, How Poetry Saved America....................141 <br> Day 93&#58; Robin Beth Schaer, Endangerment Finding....................143 <br> Day 94&#58; Laynie Browne, Obama Ps (alm)....................144 <br> Day 95&#58; Sean Cole, Freehand....................145 <br> Day 96&#58; Prageeta Sharma, Stalked by a Prisoner of Texas....................146 <br> Day 97&#58; Pimone Triplett, Market Storm....................147 <br> Day 98&#58; Brenda Hillman, Guilt Armada....................148 <br> Day 99&#58; Jenny Browne, 24 Hour Roman Reconstruction Project....................150 <br> Day 100&#58; Thomas Sayers Ellis, First Grade, All Over Again....................151 <br> Biographies and Process Notes....................155 <br> Acknowledgments....................187 <br> Index....................189<br><article> <h4>Publishers Weekly</h4>This varied anthology began as a blog—the editors sent out a call to poets asking them to write original poems on an assigned day during the critical first 100 days of Obama's presidency, responding somehow to the day's news; the results were published daily online. The book that the blog became begins with Elizabeth Alexander's inaugural poem (“Say it plain: that many have died for this day”) and continues with 99 other pieces by poets young and old, including Cornelius Eady, David Lehman, and Mark Doty. The poems range from the slyly earnest (“I know/ it's hard to believe but/ the new president said science,” writes Matthew Rohrer), the downright funny (“I have 'invented' and am promoting a neologism/ for the perineum: the boyband,” writes Mark Bibbins in a poem you'll have to read to learn how it's tied to Obama), the hopeful (“I think I feel my limbs again,” says Brenda Shaughnessy) to, of course, the highly politicized, as in Thomas Sayers Ellis's “First Grade, All Over Again”: “This is not something/ the minority expects the majority/ to accept, reconciliation.” While newer poetry readers might not recognize all the names, there's something here for everyone. (Apr.) </article> <article> <h4>From the Publisher</h4><p>“I love this idea, and I love these poems. The poem-a-day breeziness of the work is instructive not only to poets but also to cultural and academic critics, and <i>Starting Today</i> will be an important cultural and historical document. The editors cast a wide net when considering poets for this project and then trusted the poets themselves to come up with quality work. In doing so, they have accomplished something amazing. Obama is known for assembling strong teams—and the editors have done this as well. The poets, representing various schools, approach their poetry ‘assignment’ with vigor, intelligence, and wit.”—Denise Duhamel, author, <i>Ka-Ching!</i> and <i>Two and Two</i></p> </article>
441Chattooga: Descending into the Myth of Deliverance RiverJohn Lane0<p><P>John Lane&#8217;s writing has been published in <i>Orion</i>, <i>American Whitewater</i>, <i>Southern Review</i>, <i>Terra Nova</i>, and <i>Fourth Genre</i>. His books include <i>Waist Deep in Black Water</i>, <i>The Woods Stretched for Miles</i>, and <i>Chattooga</i> (all published by Georgia), several volumes of poetry, and <i>Weed Time</i>, a gathering of his essays. Lane is an associate professor of English at Wofford College.</p>John Lanechattoogajohn-lane97808203277540820327751$26.14PaperbackUniversity of Georgia PressSeptember 2005ReprintNatural Terrain - Rivers, United States - Travel Essays & Descriptions - General & Miscellaneous, Southern U.S. - Travel, American Literature Anthologies2245.50 (w) x 9.00 (h) x 0.82 (d)"Before the novel and the film Deliverance appeared in the early 1970s, any outsiders one met along the Chattooga River were likely serious canoeists or anglers. In later years, untold numbers and kinds of people have felt the draw of the river's torrents, which pour down the Appalachians along the Georgia-South Carolina border. Because of Deliverance the Chattooga looms enigmatically in our shared imagination, as iconic as Twain's Mississippi - or maybe Conrad's Congo." This book is John Lane's search for the real Chattooga - for the truths that reside somewhere in the river's rapids, along its shores, or in its travelers' hearts. Lane balances the dark, indifferent mythical river of Deliverance against the Chattooga known to locals and to the outdoors enthusiasts who first mastered its treacherous vortices and hydraulics. Starting at its headwaters, Lane leads us down the river and through its complex history to its current status as a National Wild and Scenic River. Along the way he stops for talks with conservation activists, seventh-generation-residents, locals who played parts in the movie, day visitors, and others. Lane weaves into each encounter an abundance of details drawn from his perceptive readings and viewings of Deliverance and his wide-ranging knowledge of the Chattooga watershed. At the end of his run, Lane leaves us still fully possessed by the Chattooga's mystery, yet better informed about its place in his world and ours.<p>Before the novel and the film <I>Deliverance</I> appeared in the early 1970s, any outsiders one met along the Chattooga River were likely serious<BR>canoeists or anglers. In later years, untold numbers and kinds of people have felt the draw of the river's torrents, which pour down the<BR>Appalachians along the Georgia-South Carolina border. Because of <I>Deliverance</I> the Chattooga looms enigmatically in our shared<BR>imagination, as iconic as Twain's Mississippi--or maybe Conrad's Congo.<BR><BR>This is John Lane's search for the real Chattooga--for the truths that reside somewhere in the river's rapids, along its shores, or in its travelers' hearts. Lane balances the dark, indifferent mythical river of Deliverance against the Chattooga known to locals and to the outdoors enthusiasts who first mastered its treacherous vortices and hydraulics. Starting at its headwaters, Lane leads us down the river and through its complex history to its current status as a National Wild and Scenic River. Along the way he stops for talks with conservation activists, seventh-generation residents, locals who played parts in the movie, day visitors, and others. Lane weaves into each encounter an abundance of details drawn from his perceptive readings and viewings of <I>Deliverance</I> and his wide-ranging knowledge of the Chattooga watershed. At the end of his run, Lane leaves us still fully possessed by the Chattooga's mystery, yet better informed about its place in his world and ours.<BR><BR>John Lane's writing has been published in <I>American Whitewater, Southern Review, Terra Nova</I>, and <I>Fourth Genre</I>. His books include <I>Waist Deep in Black Water</I> (Georgia), several volumes of poetry, and <I>Weed Time</I>, a gathering of his essays. Lane is an associate professor of English at Wofford College in Spartanburg, South Carolina.</p><h3>Publishers Weekly</h3><p>This extended personal narrative by poet and author Lane (Waist Deep in Black Water) focuses on the Chattooga River, which runs along the border of Georgia and South Carolina. The river and the "isolated, rugged mountain landscape" through which it runs were the setting for James Dickey's 1970 novel Deliverance and its 1972 film adaptation, about a group of suburban men whose canoeing trip becomes a face-off with torture and death. Lane thinks that Dickey's tale was "one of the central adventure stories of my generation," which told of a "hero's journey of separation, initiation and return." Having previously explored the river, Lane returns to journey the entire length of it, describing its natural beauty and danger as well as pausing to view it through the prism of Dickey's book. In the best parts, Lane artfully applies his poetic sensibility to the river itself, such as when he describes the results of a heavy rainfall: "the highway swings around swells of native rock, the runoff peels into the Chattooga drainage, burbling through culverts and ping-ponging off stream pebbles weathered from the old Appalachian range." Equally enjoyable, though less moving, are Lane's portraits of local residents and their views about the book and film, which did not paint a flattering picture of the area and its citizens. The weakest parts are those where Lane directly compares the river with aspects of Dickey's book. Lane's own writing and observations are good enough to stand outside of Dickey's considerable shadow. (Apr.) Copyright 2004 Reed Business Information.</p><article> <h4>Publishers Weekly</h4>This extended personal narrative by poet and author Lane (Waist Deep in Black Water) focuses on the Chattooga River, which runs along the border of Georgia and South Carolina. The river and the "isolated, rugged mountain landscape" through which it runs were the setting for James Dickey's 1970 novel Deliverance and its 1972 film adaptation, about a group of suburban men whose canoeing trip becomes a face-off with torture and death. Lane thinks that Dickey's tale was "one of the central adventure stories of my generation," which told of a "hero's journey of separation, initiation and return." Having previously explored the river, Lane returns to journey the entire length of it, describing its natural beauty and danger as well as pausing to view it through the prism of Dickey's book. In the best parts, Lane artfully applies his poetic sensibility to the river itself, such as when he describes the results of a heavy rainfall: "the highway swings around swells of native rock, the runoff peels into the Chattooga drainage, burbling through culverts and ping-ponging off stream pebbles weathered from the old Appalachian range." Equally enjoyable, though less moving, are Lane's portraits of local residents and their views about the book and film, which did not paint a flattering picture of the area and its citizens. The weakest parts are those where Lane directly compares the river with aspects of Dickey's book. Lane's own writing and observations are good enough to stand outside of Dickey's considerable shadow. (Apr.) Copyright 2004 Reed Business Information. </article> <article> <h4>From the Publisher</h4>"Having previously explored the river, Lane returns to journey the entire length of it, describing its natural beauty and danger as well as pausing to view it through the prism of Dickey’s book. . . . Lane artfully applies his poetic sensibility to the river itself. . . . Lane’s own writing and observations are good enough to stand outside of Dickey’s considerable shadow."—<i>Publishers Weekly</i> <p>“Lane’s book is a personal narrative that skillfully navigates the contemporary cultural and ecological history of its subject. . . . A writer who would obviously rather paddle first and theorize later, Lane prefers to let the river speak for itself."—<i>Atlanta Journal-Constitution</i></p> <p>"His narrative provides a kayaker’s soggy-seated perspective, describing the river’s sucking hydraulics and breath-stealing drops. . . . Lane writes with muscle and insight.”—<i>Charlotte Observer</i></p> <p>"In this readable meditation, Lane convincingly demonstrates that Dickey’s disturbing and powerful vision exists only ‘on the shelf and on the screen.’ The reality is much more complex."—John Sledge, <i>Mobile Register</i></p> <p>"While the book skims the surface of Dickey’s and Boorman’s brutal world, Lane is at his strongest when writing about his own observations of the river and the people who live along its banks. . . . Despite using <i>Deliverance’s</i> cultural hook, readers will discover—through Lane’s vivid descriptions, smooth prose and obvious passion for the environment and the Chattooga—that the author has charted a course all his own, one where the wild and scenic river is one of the strongest characters."—<i>Creative Loafing</i> (Charlotte, NC)</p> <p>"At places, Lane’s descriptions cause you to pause and take it all in, to eddy out in the reading and savor the flow of memories you have of rivers. If you’ve ever spent time in a boat without a motor, you’ll enjoy reading the coincidence of feelings and shared conversations you’ve had on the water."—<i>Columbus Ledger</i></p> <p>"Lane hikes alongside the Chattooga and kayaks down its waters. He explores the literature of the river and fishing and weaves in the history of the area. . . . Like all good nature writers, Lane adds his personal history to the natural history and human cultural history of the river."—<i>Rapid River</i></p> <p>“Throughout this book we meet not only the Chattooga, but we meet as well a man who can write with the force and power of the currents he describes. Lane not only has the descriptive talents to give us the river and the geography of the river, but he also gives us wonderful, short, and accurate descriptions of those whom he meets. Lane has the eye and the knowledge of craft to bring to life a scene in just a sentence or two, to capture a personality in just a few words.”—<i>Smoky Mountain News</i></p> </article>
442All Things Censored [With CD]Mumia Abu-Jamal0<p>MUMIA ABU-JAMAL is an award-winning journalist and best-selling author. In 1981 he was elected president of the Association of Black Journalists (Philadelphia chapter). His 1982 murder trial and subsequent conviction has raised considerable controversy and criticism for alleged constitutional violations and other improprieties. In spite of his almost two-decade long imprisonment on Death Row, Abu-Jamal has fought for his freedom and for his profession.</p>Mumia Abu-Jamal, Noelle Hanrahan (Editor), Alice Walkerall-things-censored-with-cdmumia-abu-jamal97815832202211583220224$23.96HardcoverSeven Stories PressJuly 2003BOOK &amp; CDPrisoners & Accused Persons - Biography, Individual Trials & Litigation, Political Activists & Social Reformers - U.S. Political Biography, Administration of Criminal Justice, Political Activism & Social Action, Prisons & Prison Life, African Americans -3046.67 (w) x 9.07 (h) x 1.07 (d)<p>More than 75 essays—many freshly composed by Mumia with the cartridge of a ball-point pen, the only implement he is allowed in his death-row cell—embody the calm and powerful words of humanity spoken by a man on Death Row. Abu-Jamal writes on many different topics, including the ironies that abound within the U.S. prison system and the consequences of those ironies, and his own case. Mumia's composure, humor, and connection to the living world around him represents an irrefutable victory over the "corrections" system that has for two decades sought to isolate and silence him.</p> <p>The title, All Things Censored, refers to Mumia's hiring as an on-air columnist by National Public Radio's "All Things Considered," and subsequent banning from that venue under pressure from law and order groups.</p><br> <br> <p><br> </p> <p>Chapter One</p> <p><br> </p> <p class="null1"><b>NPR CENSORED</b></p> <p class="null2">FROM AN ECHO IN DARKNESS, A STEP INTO LIGHT</p> <p><br> </p> <p class="null1">I. <i>From an Echo in Darkness, a Step into Light</i></p> <p><br> </p> <p>PSST!! YO, MU! Mu! You up?" asks the Italian-Cherokee tier runner, his accent betraying his South Philly roots. Stirring from the mattress, I trudge to the cell door, look down to where Mike stands, and glower at his bright face.</p> <p>&nbsp;&nbsp;&nbsp; "What's up, man?" I grumble at sleep's interruption.</p> <p>&nbsp;&nbsp;&nbsp; "You ready for this?" Mike asks rhetorically, his face ablaze with a smile.</p> <p>&nbsp;&nbsp;&nbsp; "Man, what's up?" I demand, a bit peeved at the wordplay.</p> <p>&nbsp;&nbsp;&nbsp; "Jay Smith?? He's going home!" Mike announced, and a heartfelt sense of happiness at another man's good fortune lifts my mood instantly.</p> <p>&nbsp;&nbsp;&nbsp; "No shit, Mike?"</p> <p>&nbsp;&nbsp;&nbsp; "Swear to God, Mu—he's packin' his gear right now. Sez he gotta order from the Supreme Court throwin' out his conviction! Ain't that somethin'?"</p> <p>&nbsp;&nbsp;&nbsp; "Yeah, Mike. That's somethin' wonderful! Long live John Africa! That's good news, man!"</p> <p>&nbsp;&nbsp;&nbsp; Jay Smith, a common, Anglo-Saxon, everyday American name, belonged to an old, quiet, gray-haired professional white dude who until recently was among 149 souls on Pennsylvania's death row after his conviction for three killings that sparked national attention, several books, and a television movie. Prosecutors, police, and the press painted him as an archdemon, a twisted sadist, a triple killer, and an all-around not-so-nice guy, light-years from the LowerMerion school principal and army reservist his neighbors and students knew.</p> <p>&nbsp;&nbsp;&nbsp; Having read a news article depicting him as cold and evil, with "goatlike" gray eyes, I half expected when I met him to see him bounding around on two cloven hooves. But on appeal, it appeared as if the real animals (skunks) sent him to death row, for the Supreme Court reversed his conviction, citing prosecutorial misconduct, and his lawyer steadily uncovered lying cops, hidden evidence, and secret deals between investigators and a Hollywood novelist for inside info on the case. His prosecutor, who rose to national office on his case, fell just as swiftly when arrested and convicted on cocaine-related charges.</p> <p>&nbsp;&nbsp;&nbsp; On Friday, September 18, 1992, at midday, the word came to Smith that his case was over; the prosecution was discharged; the defendant free to go. Having been encaged in Pennsylvania hellholes and on death row since 1979, Jay Smith packed his meager possessions, sent a few bye-byes around, shook off the ashes of twelve years, and walked away, stepping back into life. All the books, the multimillion-dollar movies of the week, and the damning news articles paled beside the reality of one man, walking from the stagnant cesspool of prison into freedom.</p> <p>&nbsp;&nbsp;&nbsp; When one reporter asked him about his plans, he replied, "I dunno. I've been fighting for so long for this that I hadn't planned for anything beyond. I'm sixty-four—maybe in a year I can collect social security?" But what "security" exists in a system that plotted, lied, connived, and hid evidence to destroy one man's life, his possessions, his family?</p> <p><br> </p> <p class="null1">II. <i>Requiem for Norman</i></p> <p><br> </p> <p>MOST MEN ON B BLOCK called him by the honorific, "old-head," but he wasn't really "old" at fifty-four-odd years, although it must be admitted that, to the majority of young men in the prison, in their early twenties, Norm must've seemed old indeed, especially with his head covered with a tight cap of apparent white wool.</p> <p>&nbsp;&nbsp;&nbsp; Although his snowy head of hair bespoke age, his physique was that of a man half his age, well muscled and strong.</p> <p>&nbsp;&nbsp;&nbsp; He had exercised and stretched religiously for years.</p> <p>&nbsp;&nbsp;&nbsp; For seven years or so, Norman was held in the "hole."</p> <p>&nbsp;&nbsp;&nbsp; Because I listened to a bit of jazz in my youth, we could converse on the gifted artists of the genre, like King Pleasure, Betty Carter, John and Alice Coltrane, etc., with a degree of ease that others, of the rap/hip-hop era, could not. He was fiercely opinionated and delighted in a good argument. Although he grew up in New York, he spent time in Philly, and as a youth, summers with family in Virginia. Although a big-city guy at heart, the southern cadences of speech, stewed into him from Virginia summers, never left him, and several times someone, hearing his "down-home" bass, would wrongly assume his point of origin was in the deep South.</p> <p>&nbsp;&nbsp;&nbsp; He developed a habit that every time he left the cell, he would stop at the sergeant's desk for Gelusel, an antacid that he used for what seemed to be a constant upset stomach.</p> <p>&nbsp;&nbsp;&nbsp; One day he called down. "Call the Sarge! Oh! Tell 'em I needa doctor!! My stomach! Ohh," he grunted.</p> <p>&nbsp;&nbsp;&nbsp; Hearing the alarm in his voice, I called, and so did several others, "Dr. up! Sgt. up! 310 cellll! Dr. up!!"</p> <p>&nbsp;&nbsp;&nbsp; It took quite a while—perhaps forty-five minutes passed before a nurse appeared at his cell—but it made little substantive difference, for she recommended Tylenol, a common painkiller that Norm promptly panned as worthless.</p> <p>&nbsp;&nbsp;&nbsp; "Man, this stuff ain't doin' nothin' for my stomach!" he growled, the pain audible beneath the rumble of his voice.</p> <p>&nbsp;&nbsp;&nbsp; It took days for Norm to be taken to the hospital, and when he returned, two days later, the treatment seemed to have been as worthless as the Tylenol he took days before.</p> <p>&nbsp;&nbsp;&nbsp; "How'd it go, Norman?"</p> <p>&nbsp;&nbsp;&nbsp; "Aw, man, they talkin' 'bout they can't find nothin'," he replied.</p> <p>&nbsp;&nbsp;&nbsp; He continued to stop medical staff coming by to complain, and they took him out for more tests.</p> <p>&nbsp;&nbsp;&nbsp; About a week later, some guards came by to pack up his property, and to give the latest news on his health: Cancer. Cancer of the pancreas. Malignant.</p> <p>&nbsp;&nbsp;&nbsp; Two or three weeks after this diagnosis, Norman Whaley died in Centre County Hospital near Rockview Prison in Central Pennsylvania.</p> <p>&nbsp;&nbsp;&nbsp; More than anything in life he longed for freedom, the company of a woman, and the sweet summer sun of Virginia (perhaps sweetened a tad more by the scat of jazz great Betty Carter). To the government that caged his flesh for the last near-decade, the newspapers that he read occasionally, and the politicians he lambasted daily as "corrupt," Norman was a non-person, a number, someone to be ignored in death, as in life.</p> <p>&nbsp;&nbsp;&nbsp; To my knowledge, no newspaper recorded his death.</p> <p>&nbsp;&nbsp;&nbsp; No medium marked the passing of the "old-head."</p> <p><br> </p> <p class="null1">III. <i>Yard In</i></p> <p><br> </p> <p>THE LAST "YARD" of the day is finally called. "Capitals! Fourth, fifth, and sixth tier—YARD UP!" the corpulent corrections officer bellows, his rural accent alien to the urban ear.</p> <p>&nbsp;&nbsp;&nbsp; One by one, cells are unlocked for the daily trek from cell to cage. Each man is pat-searched by guards armed with batons and then scanned by a metal detector.</p> <p>&nbsp;&nbsp;&nbsp; Once the inmates are encaged, the midsummer sky rumbles, its dark clouds swell, pregnant with power and water. A bespectacled "white shirt" turns his pale face skyward, examining nature's quickening portent. The rumbles grow louder as drops of rain sail earthward, splattering on steel, brick, and human.</p> <p>&nbsp;&nbsp;&nbsp; "Yard in!" the white shirt yells, sparking murmurs of resentment among the men.</p> <p>&nbsp;&nbsp;&nbsp; "Yard in? Shit, man, we just got out here."</p> <p>&nbsp;&nbsp;&nbsp; The guards adopt a cajoling, rather than a threatening, attitude. "C'mon, fellas—yard in, yard in. Ya know we can't leave y'uns out here when it gits ta thunderin' an' lightnin'."</p> <p>&nbsp;&nbsp;&nbsp; "Oh, why not? Y'all 'fraid we gonna get ourself electrocuted?" a prisoner asks.</p> <p>&nbsp;&nbsp;&nbsp; "Ain't that a bitch?" another adds. "They must be afraid that if we do get electrocuted by lightnin', they won't have no jobs and won't get paid."</p> <p>&nbsp;&nbsp;&nbsp; A few guffaws, and the trail from cage to cell thickens.</p> <p>&nbsp;&nbsp;&nbsp; Although usually two hours long, today's yard lasts ten minutes, for fear those condemned to death by the state may perish, instead, by fate.</p> <p>&nbsp;&nbsp;&nbsp; For approximately twenty-eight hundred people locked in state and federal prisons, life is unlike that in any other institution. These are America's "condemned," who bear a stigma far worse than "prisoner." These are America's death row residents: men and women who walk the razor's edge between half-life and certain death.</p> <p>&nbsp;&nbsp;&nbsp; You will find a blacker world on death row than anywhere else. African Americans, a mere 11 percent of the national population, compose about 40 percent of the death row population. There, too, you will find this writer.</p> <p><br> </p> <p class="null1">IV. <i>"On Tilt" by State Design</i></p> <p><br> </p> <p>HARRY WASHINGTON shrieks out of an internal orgy of psychic pain: "Niggers!! Keep my family's name outcha mouf! Ya freaks! Ya filth! Ya racist garbage! All my family believe in God! Keep your twisted Satanic filth to y'allself! Keep my family's name outch'all nasty mouf!"</p> <p>&nbsp;&nbsp;&nbsp; I have stopped the reflexive glance down in front of Harry's cell. For now, as in all the times in the past, I know no one is out near his ground-level cell—I know Harry is in a mouth-foaming rage because of the ceaseless noises echoing within the chambers of his tortured mind. For Harry and I are among the growing numbers of Pennsylvanians on death row, and Harry, because of mind-snapping isolation, a bitterly racist environment, and the ironies, the auguries, of fate, has begun the slide from depression through deterioration to dementia.</p> <p>&nbsp;&nbsp;&nbsp; While we both share the deadening effects of isolation and an environment straight out of the redneck boondocks, Harry, like so many others, has slipped. Many of his tormenters here (both real and imagined) have named him "Nut" and describe him as "on tilt." Perhaps the cruel twists of fate popped his cork—who can say? A young black man, once a correctional officer, now a death row convict. Once he wore the keys, now he hears the keys, in an agonizing wait for death. The conditions of most of Americas death rows create Harry Washingtons by the score.</p> <p>&nbsp;&nbsp;&nbsp; Mix in solitary confinement, around-the-clock lock-in, no-contact visits, no prison jobs, no educational programs by which to grow, psychiatric "treatment" facilities designed only to drug you into a coma; ladle in hostile, overtly racist prison guards and staff; add the weight of the falling away of family ties, and you have all the fixings for a stressful psychic stew designed to deteriorate, to erode one's humanity—designed, that is, by the state, with full knowledge of its effects.</p> <p>&nbsp;&nbsp;&nbsp; Nearly a century ago, a Colorado man was sentenced to death for killing his wife. On his arrival at Colorado State Penitentiary, James Medley was placed in solitary. Medley promptly brought an original writ of habeas corpus in the U.S. Supreme Court, which in 1890 consisted of six Republicans and three Democrats. In the 1890 case, <i>In re Medley</i>, the Court reached back to old English law, to the early 1700s of King George II, to conclude that solitary confinement was "an additional punishment of the most important and painful character" and, as applied to Medley, unconstitutional.</p> <p>&nbsp;&nbsp;&nbsp; Fast-forward nearly a century to 1986, to the infamous federal court decision of <i>Peterkin v. Jeffes</i>, where Pennsylvania death row inmates sought to have solitary confinement declared unconstitutional, and one hears a judge deny relief, saying, in the immortal words of now chief justice Rehnquist, "Nobody promised them a rose garden," That is, solitary is okay.</p> <p>&nbsp;&nbsp;&nbsp; The notion that human progress is marked by "an evolving standard of decency," from the less civilized to the more civilized, from the more restrictive to the less restrictive, from tyranny to expanding freedom, dies a quick death on the rocks of today's Rehnquistian courts. Indeed, what other court could make the Republican-controlled Southern-Harlan-Fuller Court of the 1890s seem positively radical by comparison?</p> <p>&nbsp;&nbsp;&nbsp; Harry continues his howlings and mindless mutterings of rage at no one in particular.</p> <p><br> </p> <p class="null1">V. <i>Control</i></p> <p><br> </p> <p>IT IS FROM PENNSYLVANIA'S largest death row at the State Correctional Institute at Huntingdon, in rural south-central Pennsylvania, that I write. In the Commonwealth I am but one of 123 persons who await death. I have lived in this barren domain of death since 1983. For several years now I have been assigned DC (disciplinary custody) status for daring to abide by my faith, the teachings of John Africa, and in particular for refusing to cut my hair. For this I have been denied family phone calls, and on occasion I have been shackled for refusing to violate my beliefs.</p> <p>&nbsp;&nbsp;&nbsp; Life here oscillates between the banal and the bizarre.</p> <p>&nbsp;&nbsp;&nbsp; Unlike other prisoners, death row inmates are not "doing time." Freedom does not shine at the end of the tunnel. Rather, the end of the tunnel brings extinction. Thus, for many here there is no hope.</p> <p>&nbsp;&nbsp;&nbsp; As in any massive, quasi-military organization, reality on the row is regimented by rule and regulation. As against any regime imposed on human personality, there is resistance, but far less than one might expect. For the most part, death row prisoners are the best behaved and least disruptive of all inmates. It also is true, however, that we have little opportunity to be otherwise, given that many death units operate on the "22 + 2" system: twenty-two hours locked in cell, followed by two hours of recreation out of cell. Outdoor recreation takes place in a cage, ringed with double-edged razor wire—the "dog pen."</p> <p>&nbsp;&nbsp;&nbsp; All death rows share a central goal: human storage in an austere world, in which condemned prisoners are treated as bodies kept alive to be killed. Pennsylvania's death row regime is one of America's most restrictive, rivaling the infamous San Quentin death unit for the intensity and duration of restriction. A few states allow four, six, or even eight hours out of cell, prison employment, or even access to educational programs. Not so in the Keystone State.</p> <p>&nbsp;&nbsp;&nbsp; Here one has little or no psychological life. Here many escape death's omnipresent specter only by way of common diversions—television, radio, or sports. TVs are allowed, but not typewriters: one's energies may be expended freely on entertainment, but a tool essential for one's liberation through the judicial process is deemed a security risk.</p> <p>&nbsp;&nbsp;&nbsp; One inmate, more interested in his life than his entertainment, argued forcefully with prison administrators for permission to buy a nonimpact, nonmetallic, battery-operated typewriter. Predictably, permission was denied for security reasons. "Well, what do y'all consider a thirteen-inch piece of glass?" the prisoner asked, "ain't that a security risk?"</p> <p>&nbsp;&nbsp;&nbsp; "Where do you think you'll get that from?" the prison official demanded.</p> <p>&nbsp;&nbsp;&nbsp; "From my TV!"</p> <p>&nbsp;&nbsp;&nbsp; Request for the typewriter denied.</p> <p>&nbsp;&nbsp;&nbsp; TV is more than a powerful diversion from a terrible fate. It is a psychic club used to threaten those who resist the dehumanizing isolation of life on the row. To be found guilty of an institutional infraction means that one must relinquish TV.</p> <p>&nbsp;&nbsp;&nbsp; After months or years of noncontact visits, few phone calls, and ever decreasing communication with one's family and others, many inmates use TV as an umbilical cord, a psychological connection to the world they have lost. They depend on it, in the way that lonely people turn to TV for the illusion of companionship, and they dread separation from it. For many, loss of TV is too high a price to pay for any show of resistance.</p> <p><br> </p> <p class="null1">VI. <i>Already Out of the Game</i></p> <p><br> </p> <p>THE NEWEST POLITICAL FEVER sweeping the nation, the "three strikes, you're out" rage, will, barring any last-minute changes, become law in the United States, thereby opening the door to a state-by-state march to an unprecedented prison-building boom.</p> <p>&nbsp;&nbsp;&nbsp; What most politicians know, however, is what most people do not—that "three strikes, you're out" will do next to nothing to eradicate crime, and will not create the elusive dream of public safety.</p> <p>&nbsp;&nbsp;&nbsp; They also know that it will be years before the bills come due, but when they do, they'll be real doozies; by then, they reason, they'll be out of office, and it'll be another politician's problem. That's because the actual impact of "three strikes" will not be felt for at least ten to twenty years from now, simply because that's the range someone arrested today would face already (under the current laws), and the additional time, not to mention additional costs, will kick in then.</p> <p>&nbsp;&nbsp;&nbsp; It seems a tad superfluous to say that already some thirty-four states have repeat offender (so called Career Criminal) laws, which call for additional penalties on the second, not the third, felony in addition to the actual crime.</p> <p>&nbsp;&nbsp;&nbsp; As with every law, taxpayers will have to "pay the cost to be the boss." Pennsylvanians are paying over $600 million for their prisons; Californians, over $2.7 billion, topping costs for higher education. As prisons become increasingly geriatric, with populations hitting their fifties and sixties, these already atmospheric costs will balloon exponentially for expected health care costs, so that although many Americans, an estimated 37 million, don't have guaranteed health care, prisoners will, although of doubtful quality.</p> <p>&nbsp;&nbsp;&nbsp; Frankly, its always amazing to see politicians sell their "we-gotta-get-tough-on-crime" schtick to a country that is already the world's leading incarcerator, and perhaps more amazing to see the country buy it.</p> <p>&nbsp;&nbsp;&nbsp; One state has already trod that tough ground back in the 1970s; California "led" the nation in 1977 with their tough "determinate sentencing" law, and their prison population exploded over 500 percent; they now boast the largest prison system in the western world, 50 percent larger than the entire federal prison system. Do Californians—rushing to pass the "three strikes, you're out" ballot initiative—feel safer? A more cynical soul, viewing this prison-system-boom bill through the lens of economic interest, might suppose that elements of the correctional industry—builders, guards' unions, and the like—are fueling the boom, at least in part. Another element is the economy itself, where America enters the postindustrial age, when Japan produces the world's computer chips, Germany produces high performance autos, and America ... prisons.</p> <p>&nbsp;&nbsp;&nbsp; Prisons are where America's jobs programs, housing programs, and social control programs merge into a dark whole; and where those already outside of the game can be exploited and utilized to keep the game going.</p> <p><br> </p> <p class="null1">VII. <i>Acting Like Life's a Ball Game</i></p> <p><br> </p> <p>WHEN I HEAR POLITICIANS bellow about getting tough on crime and barking out, "Three strikes, you're out," several images come to mind. I think of how quickly the tune changes when the politician is on the receiving end of some of the so-called toughness after a fall from grace. I am reminded of a powerful state appellate judge who, once caught in a bizarre web of criminal conduct, changed his long standing opinion regarding the efficacy of the insanity defense, an option he once ridiculed. It revealed in a flash how illusory and transitory power and status can be, and how we are all, after all, human.</p> <p>&nbsp;&nbsp;&nbsp; I also think of a young man I met in prison, one of the first wave of people imprisoned back in the 1970s under new tougher youth certification statutes that allowed teenagers to be sentenced as adults. The man, whom I'll call Rabbani, was a tall, husky fifteen-year-old when he was arrested in southeastern Pennsylvania for armed robbery. The prosecutor moved that he be judicially certified as an adult, and the court agreed. Tried as an adult, Rabbani was convicted of all charges and sentenced to fifteen-to-thirty years in prison for an alleged "robbery" with a CO<sub>2</sub>-air pistol.</p> <p>&nbsp;&nbsp;&nbsp; His first six or seven years in this manmade hell found him constantly locked in battles with guards, and he logged more years in "the hole" than he did in general population status. He grew into manhood in shackles, and every time I saw him, he seemed bigger in size but more bitter in spirit. When we took the time to converse, I was always struck by the innate brilliance of the young man—a brilliance immersed in a bitterness so acidic that it seemed capable of dissolving iron. For almost fifteen years, this brilliance had been caged in cubes of time and steel.</p> <p>&nbsp;&nbsp;&nbsp; For almost two of those years he tried, largely in vain, to get a judge to reconsider his case, but the one-line, two-word rejections—"appeal denied"—only served to deepen his profound cynicism. For those critical years, from age fifteen to thirty, which mark the transition from boy to man, Rabbani was entombed in a juridical, psychic, temporal box branded with the false promise "corrections." Like tens of thousands of his generation, his time in hell equipped him with no skills of value to either himself or his community.</p> <p>&nbsp;&nbsp;&nbsp; He has been "corrected" in precisely the same way that hundreds of thousands of others have been, that is to say, warehoused in a vat that sears the very soul. He has never held a woman as a mate or lover; he has never held a newborn baby in his palm, its heart athump with new life; he hasn't seen the sun rise, nor the moon glow, in almost fifteen years. For a robbery, "armed" with a pellet gun, at fifteen years of age.</p> <p>&nbsp;&nbsp;&nbsp; When I hear such easy, catchy, mindless slogans a "Three strikes, you're out," I think of men like Rabbani, who had one strike, if not one foul, and are for all intents and purposes already outside any game worth playing.</p> <p><br> </p> <p class="null1">VIII. <i>Pennsylvania Takes a Giant Step—Backward</i></p> <p><br> </p> <p>FOR THE SECOND TIME in as many years, the Pennsylvania Senate has passed a bill that would change the manner of executions from electrocution to lethal injections. Pennsylvania's House Judiciary Committee also passed the measure. In so doing, Pennsylvania begins the process that may add it to nineteen states that prescribe lethal injections, and takes a big step backwards. The bill's sponsor, Judiciary Committee Chair Stewart J. Greenleaf, pointed to other states as one reason for the act. Another, said Senator Greenleaf, was that it's "a more humane way." Pennsylvania's ACLU, in opposing the bill, said, "There is no humane way for the state to take a human life."</p> <p>&nbsp;&nbsp;&nbsp; Back in 1888, New York State rejected lethal injection and hanging in favor of the more "humanitarian" method, electrocution.</p> <p>&nbsp;&nbsp;&nbsp; A century ago, electricity was a mystery.</p> <p>&nbsp;&nbsp;&nbsp; A popular publication of the age, <i>Frank Leslie's Illustrated Newspaper</i> (June 8, 1889), detailed the upcoming execution of William I. Kemmler by electricity with the breathless prose of a shameless ad man. Calling electricity a "more humane" method of execution, the dusty tabloid inferred Kemmler was, in a macabre sense, lucky, as he "need fear no such bungling work [as prior hangings] since he ... will be executed by the Westinghouse alternating current during the week commencing June 24th."</p> <p>&nbsp;&nbsp;&nbsp; The 1889 article, complete with a crude sketch of the new device, describes Kemmler's killing as a case of "no muss, no fuss." "At first a perceptible stiffening of the muscles is noticed, which gradually passes away; there is no struggle or outcry, and when, in fifteen seconds, the switch is opened, all signs of life are gone."</p> <p>&nbsp;&nbsp;&nbsp; A grim experiment, using AC current, was declared a "success" on August 6, 1890, at Auburn Prison, New York, and Kemmler was killed. Such is "progress."</p> <p>&nbsp;&nbsp;&nbsp; Today, 100 years later, a "new and improved" method of legal murder comes to the Keystone State, again touted by pols as "more humane." James Autry, were he alive, might beg to differ.</p> <p>&nbsp;&nbsp;&nbsp; Autry, late of Texas, was put to death on March 14, 1984, and according to <i>Newsweek</i> "took at least 10 minutes to die and throughout much of that time was conscious, moving about and complaining of pain" (April 9, 1984). So much for "progress."</p> <p>&nbsp;&nbsp;&nbsp; Legal scholars Franklin E. Zimring and Gordon Hawkins in their 1986 book <i>Capital Punishment and the American Agenda</i> (Cambridge University Press) trace the revival of the lethal injection movement to none other than then California governor Ronald Reagan, who remarked in 1973, "Being a former farmer and horse raiser, I know what it's like to try to eliminate an injured horse by shooting him. Now you call the veterinarian and the vet gives it a shot and the horse goes to sleep—that's it. I myself have wondered if maybe this isn't a part of our problem [with capital punishment], if maybe we should review and see if there aren't even more humane methods now—the simple shot or tranquilizer."</p> <p>&nbsp;&nbsp;&nbsp; From <i>Death Valley Days</i> to Death Tally Ways, a mediocre actor, using a cowboyish analogy, strikes political pay dirt. As the island enchantress Circe of ancient Greek myth changed seamen into swine, so now does the state transform people enmeshed in the death penalty process into "wounded cattle." So lethal injection returns, after a century's hiatus. What's next for these political showmen, when this latest trick fails to properly entertain the throng?</p> <p>&nbsp;&nbsp;&nbsp; A cup of hemlock?</p> <p><br> </p> <p class="null3"> From death row, this is Mumia Abu-Jamal.</p><p>These 50 writings by jailed journalist Mumia Abu-Jamal include several recent pieces on censorship, justice, and the meaning of constitutional rights in America. Also included are the banned essays from Mumia's controversial tenure as on-air columnist for All Things Considered, and those that aired on Democracy Now over Pacifica Radio. Also included is a one-hour CD of Mumia Abu-Jamal reading his on-air pieces written for All Things Considered and commentary from Ossie Davis, Ruby Dee, Adrienne Rich, Howard Zinn, and many others.<P></p><h3>Publishers Weekly</h3><p>To some, Abu-Jamal, convicted in the 1981 murder of a Philadelphia police officer, is a cold-blooded cop killer, but to his supporters, the death-row inmate is a hero, wrongly condemned by a racist system. In this collection of forceful prison essays and radio talks written over the last decade (a sequel to Live from Death Row and Death Blossoms), former Black Panther Abu-Jamal maintains that he was targeted by the state because of his political beliefs and associations. He cites a recent Amnesty International report that calls for a new trial on the grounds that his 1982 trial was riddled with procedural errors and quite possibly contaminated by racism. Hanrahan, director of Prison Radio (which aired several of these commentaries after Abu-Jamal was pulled off the air by NPR's All Things Considered), describes Abu-Jamal's life in solitary confinement as a living hell and accuses prison authorities of constant harassment and censorship. Whatever one thinks of Abu-Jamal's guilt or innocence, his attack on capital punishment as a discriminatory, racist practice is compelling, as is his critique of our bloated prison system, which, according to an American Bar Association report cited here, is self-defeating because dehumanizing conditions produce more criminals. An outspoken political analyst, Abu-Jamal condemns Clinton's adoption of NAFTA, calls the war on drugs largely a "War on Blacks" and offers incisive commentary on rap music, the decline of African-American community life, police brutality and recent developments in Mexico, Peru, Iran and South Africa. (May) FYI: A CD accompanies the book, featuring Abu-Jamal's radio essays plus comments from Alice Walker, Cornel West, Martin Sheen, John Edgar Wideman and others. Copyright 2000 Cahners Business Information.|</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Lethal Censorship</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scenes</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From an Echo in Darkness, a Step into Light: NPR Censored</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sense of Censory</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Another Write-Up ... for Rapping!</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Bright, Shining Hell</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Law, No Rights</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Letter from Prison</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Visit</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black August</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Single Spark Can Start a Prairie Fire</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meeting with a Killer</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Manny's Attempted Murder</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Days of Pain, Night of Death</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Uncivil Action</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Perspectives</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother Loss and Father Hunger</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Musings on "Mo" and Marshall</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Philly Daze</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Words from an Outcast from the Fourth Estate</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Deadly Drug Raid</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Amendment Rites</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Rap Thing</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">PEN Award Acceptance Speech</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Absence of Power</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Crisis in Black Leadership</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Liberty Denied in Its Cradle</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Slavery Daze II</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memories of Huey</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To War! For Empire!</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Capture Him, Beat Him, and Treat Him Like Dirt</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lost Generation?</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">May 13 Remembered</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">And They Call MOVE "Terrorists"!</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Justice Denied</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Justice for Geronimo Stolen by Star Chamber</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eddie Hatcher Fights for His Life!</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seeds of Wisdom</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sweet Roxanne</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A House is Not a Home</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Men of Cloth</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prisons vs. Preschools</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Raised Hope, Fallen Disappointment</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">With Malice toward Many</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Legalized Cop Violence</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Drug that Ain't a Drug</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How, Now, Mad Cow?</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Essays on Justice</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">De Profundis</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Five Hundred Years: Celebrations or Demonstrations?</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Illusion of "Democracy"</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Nation in Chains</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Live from Death Row</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">War on the Poor</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why a War on the Poor?</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Death Game</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black March to Death Row</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Death Row, Fade to Black</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fred Hampton Remembered</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Law" That Switches from Case to Case</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Blacks, Two Georgians</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cancellation of the Constitution</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">L. A. Outlaw</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Media is the Mirage</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">True African-American History</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Ineffective Means Effective</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Death: The Poor's Prerogative?</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Legalized Crime</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Campaign of Repression: Attack on the Life of the Mind</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Musings on Malcolm</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Defense of Empire</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Build a Better Mousetrap</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Haitians Need Not Apply</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rostock, Germany, and Anti-Immigrant Violence</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">NAFTA: A Pact Made in Hell</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fujimori Bans in Bar in Peru</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">South Africa</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Warlust - Again! (Iraq II)</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What, to a Prisoner, is the Fourth of July?</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Death Row Remembrance of the Rosenbergs - Never Again?</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Expert Witness from Hell</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Zapatista Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Made the Acteal Massacre Possible??</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New Essays</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Father's Love: Father's Loss</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brahin: Reporter of the First Order</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Liebman Report: Broken Death Machines</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snatch and Grab in Central Park</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Another Law - Another Country</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Another Philadelphia Story: Cops Wilding</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Killing Kids: Shaka and International Law</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Echoes of Osage</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Defense Lawyer for the Prosecution</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">WBAI: The Coup on Wall Street</TD><TD WIDTH="10%" ALIGN="RIGHT">292</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Teaching Oppression</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Speech to the Antioch College Graduating Class: April 29, 2000</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Outside Agitators</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conversation Between Mumia and Noelle Hanrahan minutes after the 1995 Death Warrant was read to Mumia in his cell</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes on the composition and recording of the texts</TD><TD WIDTH="10%" ALIGN="RIGHT">311</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Case of Mumia Abu-Jamal</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Authors</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Credits</TD><TD WIDTH="10%" ALIGN="RIGHT">335</TD></TABLE><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>To some, Abu-Jamal, convicted in the 1981 murder of a Philadelphia police officer, is a cold-blooded cop killer, but to his supporters, the death-row inmate is a hero, wrongly condemned by a racist system. In this collection of forceful prison essays and radio talks written over the last decade (a sequel to Live from Death Row and Death Blossoms), former Black Panther Abu-Jamal maintains that he was targeted by the state because of his political beliefs and associations. He cites a recent Amnesty International report that calls for a new trial on the grounds that his 1982 trial was riddled with procedural errors and quite possibly contaminated by racism. Hanrahan, director of Prison Radio (which aired several of these commentaries after Abu-Jamal was pulled off the air by NPR's All Things Considered), describes Abu-Jamal's life in solitary confinement as a living hell and accuses prison authorities of constant harassment and censorship. Whatever one thinks of Abu-Jamal's guilt or innocence, his attack on capital punishment as a discriminatory, racist practice is compelling, as is his critique of our bloated prison system, which, according to an American Bar Association report cited here, is self-defeating because dehumanizing conditions produce more criminals. An outspoken political analyst, Abu-Jamal condemns Clinton's adoption of NAFTA, calls the war on drugs largely a "War on Blacks" and offers incisive commentary on rap music, the decline of African-American community life, police brutality and recent developments in Mexico, Peru, Iran and South Africa. (May) FYI: A CD accompanies the book, featuring Abu-Jamal's radio essays plus comments from Alice Walker, Cornel West, Martin Sheen, John Edgar Wideman and others. Copyright 2000 Cahners Business Information.| </article> <article> <h4>Booknews</h4>Mumia Abu-Jamal is an award-winning journalist who was elected president of the Philadelphia chapter of the Association of Black Journalists in 1981. His 1982 murder trial and conviction has been contested on various constitutional, legal, and moral grounds. The title of this collection of 79 essays from death row alludes to Mumia's hiring as an on-air columnist by National Public Radio's "All Things Considered," and his subsequent banning from that venue under pressure from law and order groups. An accompanying CD contains readings by Mumia and other writers and activists, including Adrienne Rich, Martin Sheen, and Alice Walker. Includes b&amp;w photos. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
443Listen Here: Women Writing in AppalachiaSandra L. Ballard0Sandra L. Ballard (Editor), Patricia L. Hudsonlisten-heresandra-l-ballard97808131906620813190665$35.00PaperbackUniversity Press of KentuckyAugust 20041st EditionAmerican Literature Anthologies, Anthologies7121.41 (w) x 6.14 (h) x 9.21 (d)Listen Here: Women Writing in Appalachia is a landmark anthology that brings together the work of 105 Appalachian women writers, including Dorothy Allison, Harriette Simpson Arnow, Annie Dillard, Nikki Giovanni, Denise Giardina, Barbara Kingsolver, Jayne Anne Phillips, Janice Holt Giles, George Ella Lyon, Sharyn McCrumb, and Lee Smith. Editors Sandra L. Ballard and Patricia L. Hudson offer a diverse sampling of time periods and genres, established authors and emerging voices. From regional favorites to national bestsellers, this unprecedented gathering of Appalachian voices displays the remarkable talent of the region's women writers who've made their mark at home and across the globe.<p><P>Listen Here&#58; Women Writing in Appalachia is a landmark anthology that brings together the work of 105 Appalachian women writers, including Dorothy Allison, Harriette Simpson Arnow, Annie Dillard, Nikki Giovanni, Denise Giardina, Barbara Kingsolver, Jayne Anne Phillips, Janice Holt Giles, George Ella Lyon, Sharyn McCrumb, and Lee Smith. Editors Sandra L. Ballard and Patricia L. Hudson offer a diverse sampling of time periods and genres, established authors and emerging voices. From regional favorites to national bestsellers, this unprecedented gathering of Appalachian voices displays the remarkable talent of the region's women writers who've made their mark at home and across the globe.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronology of Works</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgements</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Editors</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Easter Frock, from Come Go Home With Me</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Bastard Out of Carolina</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Five Minutes in Heaven</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ontological</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Long Story</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sonnet for Her Labor</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Place with Promise</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from This Day and Time</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Hunter's Horn</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Seedtime on the Cumberland</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The First Ride</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Neighbors</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Grandmother Wept</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cicada's Song</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Someday in a Wood</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stair</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Women Die Like Trees</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Earth Becomes an "It"</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Anorexia Bulimia Speaks from the Grave</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Time to Reweave, from Selu</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Time to Study Law, from Selu</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Out of Ashes Peace Will Rise</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Belinda, Our Tremendous Gift</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Behind the Blue Ridge</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sara Will</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Dorie: Woman of the Mountains</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wildwood Flower</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bittersweet</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lineage</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Easter</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mountain Time</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sing for Freedom</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">40, from Stories I Ain't Told Nobody Yet</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">49, from Stories I Ain't Told Nobody Yet</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Maybe, The Last of the 'Waltz Across Texas' and Other Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Daytrips</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from My Appalachia</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Second Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spending the Night</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Discipline</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Glad Gardener</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Wilder</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Boy</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hospitality</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Widow Man</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kivers</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Envy of Migration</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Maps</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">About the Pelvis</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tick</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hillbilly Vampire</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Vampire Ethnographer</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Minority</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homer-Snake, from Sweet Hollow</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sister</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sports Widow</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Call Home the Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Country</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">for Dr. Josefina Garcia & the "Tissue Committee"</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">zora neale</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Life in the Iron Mills</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Giving the Sun</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hole</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Twins</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poetics South</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In a Time of Drought</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Broadside</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Praise House</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Pilgrim at Tinker Creek</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">This is what history is</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A woman is segmented as an ant</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Every open space fills with sky</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Appalachia</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy For Jody</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Fiddling His Way to Fame, The Heart of Old Hickory</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Return the Innocent Earth</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The French Broad</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Durket Sperret</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from More than Moonshine</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Granny Brock</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mountains Fill Up the Night</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Appalachia, Where are your Hills?</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Queen Ida's Hair-Doing House of Waves, Heartwood</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Irons At Her Feet</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sight to the Blind</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Storming Heaven</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Unquiet Earth</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Hannah Fowler</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Griots, from Racism 101</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Knoxville, Tennessee</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Revolutionary Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Poem Off Center</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Southern Family</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The War at Home</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from M. C. Higgins the Great</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Writing Lessons (I.)</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">She</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Writing Lessons (II.)</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To her mother, lying in state</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Circuit Rider's Wife</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Hawk's Done Gone</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Past Titan Rock</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ms. Ida Mae, from Tough Customers and Other Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from My Great-Aunt Arizona</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Momma's Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">299</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Unmined Vein</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Long Roll</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Autobiography of Mother Jones</TD><TD WIDTH="10%" ALIGN="RIGHT">309</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Life and Art in East Tennessee</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hooked Album Quilt, 1870</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Weather Rhymes</TD><TD WIDTH="10%" ALIGN="RIGHT">317</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Weeds</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from No Place Like Home</TD><TD WIDTH="10%" ALIGN="RIGHT">325</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Familiar Level</TD><TD WIDTH="10%" ALIGN="RIGHT">327</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Refusing a Spinal</TD><TD WIDTH="10%" ALIGN="RIGHT">328</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Bean Trees</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Prodigal Summer</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Extended Learning, Farlanburg Stories</TD><TD WIDTH="10%" ALIGN="RIGHT">340</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Some Days There's Pie</TD><TD WIDTH="10%" ALIGN="RIGHT">348</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Coon Creek Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from To Make My Bread</TD><TD WIDTH="10%" ALIGN="RIGHT">360</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from With A Hammer for My Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">366</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where I'm From</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rings</TD><TD WIDTH="10%" ALIGN="RIGHT">371</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Salvation</TD><TD WIDTH="10%" ALIGN="RIGHT">372</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Growing Light</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mulberries</TD><TD WIDTH="10%" ALIGN="RIGHT">376</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To My Daughter Going Off to College</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Welcome to the Other Side</TD><TD WIDTH="10%" ALIGN="RIGHT">379</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good Luck Charm</TD><TD WIDTH="10%" ALIGN="RIGHT">380</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Christy</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gifts of the Spirit</TD><TD WIDTH="10%" ALIGN="RIGHT">388</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rain</TD><TD WIDTH="10%" ALIGN="RIGHT">392</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Saved</TD><TD WIDTH="10%" ALIGN="RIGHT">393</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ascension</TD><TD WIDTH="10%" ALIGN="RIGHT">394</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The McCoys</TD><TD WIDTH="10%" ALIGN="RIGHT">397</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Songcatcher</TD><TD WIDTH="10%" ALIGN="RIGHT">402</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Up the Hill toward Home</TD><TD WIDTH="10%" ALIGN="RIGHT">409</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Mother of the Disappeared: An Appalachian Birth Mother's Journey</TD><TD WIDTH="10%" ALIGN="RIGHT">415</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Many Waters</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For My Grandmother Who Knows How</TD><TD WIDTH="10%" ALIGN="RIGHT">423</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hollow</TD><TD WIDTH="10%" ALIGN="RIGHT">424</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother Milking</TD><TD WIDTH="10%" ALIGN="RIGHT">425</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Music</TD><TD WIDTH="10%" ALIGN="RIGHT">426</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Twilight in West Virginia: Six O'Clock Mine Report</TD><TD WIDTH="10%" ALIGN="RIGHT">430</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Deep Mining</TD><TD WIDTH="10%" ALIGN="RIGHT">431</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sunday Morning, 1950</TD><TD WIDTH="10%" ALIGN="RIGHT">432</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Only Portrait of Emily Dickinson</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Visiting My Gravesite: Talbott Churchyard, West Virginia</TD><TD WIDTH="10%" ALIGN="RIGHT">434</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Other Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">437</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aubade to Fear (Heavy with Child)</TD><TD WIDTH="10%" ALIGN="RIGHT">437</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hill Daughter</TD><TD WIDTH="10%" ALIGN="RIGHT">438</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arrow Grasses by Greenbrier River</TD><TD WIDTH="10%" ALIGN="RIGHT">439</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Milkweed Ladies</TD><TD WIDTH="10%" ALIGN="RIGHT">440</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lanterns and Lamps</TD><TD WIDTH="10%" ALIGN="RIGHT">443</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Plowing in the Hills</TD><TD WIDTH="10%" ALIGN="RIGHT">444</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Spirit of the Mountains</TD><TD WIDTH="10%" ALIGN="RIGHT">447</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Edge of the Woods</TD><TD WIDTH="10%" ALIGN="RIGHT">451</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seventh Grades</TD><TD WIDTH="10%" ALIGN="RIGHT">453</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Breadstuff</TD><TD WIDTH="10%" ALIGN="RIGHT">454</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All Those Nights</TD><TD WIDTH="10%" ALIGN="RIGHT">456</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Under The Earth</TD><TD WIDTH="10%" ALIGN="RIGHT">457</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Way Back</TD><TD WIDTH="10%" ALIGN="RIGHT">458</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Story is a Women</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Solidarity in the Night</TD><TD WIDTH="10%" ALIGN="RIGHT">462</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ahlawe Usv' Tsigesvgi</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rumors, from Red Woman With Backward Eyes</TD><TD WIDTH="10%" ALIGN="RIGHT">464</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from In the Tennessee Mountains</TD><TD WIDTH="10%" ALIGN="RIGHT">470</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Briers, from Brier Country: Stories from the Blue Valley</TD><TD WIDTH="10%" ALIGN="RIGHT">474</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Machine Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">480</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Motherkind</TD><TD WIDTH="10%" ALIGN="RIGHT">484</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nativity</TD><TD WIDTH="10%" ALIGN="RIGHT">489</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Echocardiogram</TD><TD WIDTH="10%" ALIGN="RIGHT">490</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Calling</TD><TD WIDTH="10%" ALIGN="RIGHT">492</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Kitchen We String Beans</TD><TD WIDTH="10%" ALIGN="RIGHT">496</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Clarissa and the Second Coming</TD><TD WIDTH="10%" ALIGN="RIGHT">497</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When You Lose a Child</TD><TD WIDTH="10%" ALIGN="RIGHT">498</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Snake Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">500</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">July 18, 1966</TD><TD WIDTH="10%" ALIGN="RIGHT">503</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman Writer</TD><TD WIDTH="10%" ALIGN="RIGHT">504</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Used To Be A Teacup</TD><TD WIDTH="10%" ALIGN="RIGHT">505</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Discovered</TD><TD WIDTH="10%" ALIGN="RIGHT">506</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How Do You Remember Him?</TD><TD WIDTH="10%" ALIGN="RIGHT">507</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Singing Family of the Cumberlands</TD><TD WIDTH="10%" ALIGN="RIGHT">510</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Time of Man</TD><TD WIDTH="10%" ALIGN="RIGHT">515</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Sketches of History, Life, and Manners, in the United States</TD><TD WIDTH="10%" ALIGN="RIGHT">519</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Missing May</TD><TD WIDTH="10%" ALIGN="RIGHT">523</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pink</TD><TD WIDTH="10%" ALIGN="RIGHT">528</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mornings, Sheba Combs Her Hair</TD><TD WIDTH="10%" ALIGN="RIGHT">529</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Liza's Monday</TD><TD WIDTH="10%" ALIGN="RIGHT">530</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Morning of the Red-Tailed Hawk</TD><TD WIDTH="10%" ALIGN="RIGHT">531</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All On A Summer's Afternoon</TD><TD WIDTH="10%" ALIGN="RIGHT">532</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Legacy For Rachel</TD><TD WIDTH="10%" ALIGN="RIGHT">533</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Addie</TD><TD WIDTH="10%" ALIGN="RIGHT">536</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Killing Ground</TD><TD WIDTH="10%" ALIGN="RIGHT">539</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Write</TD><TD WIDTH="10%" ALIGN="RIGHT">545</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fat Sestina</TD><TD WIDTH="10%" ALIGN="RIGHT">546</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spellcheck</TD><TD WIDTH="10%" ALIGN="RIGHT">548</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Cabins in the Laurel</TD><TD WIDTH="10%" ALIGN="RIGHT">551</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Appalachian Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">556</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Our Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">562</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homecoming</TD><TD WIDTH="10%" ALIGN="RIGHT">567</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kathy</TD><TD WIDTH="10%" ALIGN="RIGHT">567</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Father. His Rabbits</TD><TD WIDTH="10%" ALIGN="RIGHT">568</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Backwoods Haiku</TD><TD WIDTH="10%" ALIGN="RIGHT">569</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from What My Heart Wants to Tell</TD><TD WIDTH="10%" ALIGN="RIGHT">572</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bad News</TD><TD WIDTH="10%" ALIGN="RIGHT">576</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">And This Is The Way To Be Poor</TD><TD WIDTH="10%" ALIGN="RIGHT">577</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Language of Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">578</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memories of Home</TD><TD WIDTH="10%" ALIGN="RIGHT">581</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Saving Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">585</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cycles from Transparencies</TD><TD WIDTH="10%" ALIGN="RIGHT">593</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where Stuarts Lie</TD><TD WIDTH="10%" ALIGN="RIGHT">594</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roots</TD><TD WIDTH="10%" ALIGN="RIGHT">594</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Composition</TD><TD WIDTH="10%" ALIGN="RIGHT">595</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Big Stone Gap</TD><TD WIDTH="10%" ALIGN="RIGHT">598</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Economy</TD><TD WIDTH="10%" ALIGN="RIGHT">603</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New Poor</TD><TD WIDTH="10%" ALIGN="RIGHT">603</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Dry Spring</TD><TD WIDTH="10%" ALIGN="RIGHT">604</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Our Bodies Remember</TD><TD WIDTH="10%" ALIGN="RIGHT">605</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Force</TD><TD WIDTH="10%" ALIGN="RIGHT">607</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Shadow of the Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">610</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Boy Elroy, from In the Mountains of America</TD><TD WIDTH="10%" ALIGN="RIGHT">615</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Raising, From the Bottom Up</TD><TD WIDTH="10%" ALIGN="RIGHT">625</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Morning Cool</TD><TD WIDTH="10%" ALIGN="RIGHT">630</TD></TABLE><article> <h4>From the Publisher</h4><p>"A textbook companion for anyone interested in women's literature -- or anyone interested in a more complete view of American literature than that found in most textbooks." -- Knoxville (TN) News-Sentinel</p> <p>"A remarkable accomplishment, bringing together the work of 105 female Appalachian writers saying what they want to, and saying it in impressive bodies of literature." -- Lexington Herald-Leader</p> <p>"A remarkable new anthology of 105 Appalachian women writers, many of whom have been forgotten or marginalized by the mainstream literary establishment. One of the keenest pleasures in Listen Here lies in its diversity of voices and genres." -- Material Culture</p> <p>"An important contribution to Appalachian literary life." -- Mountain Eagle</p> <p>"Collects work by 105 Appalachian writers, including Gail Godwin, Lee Smith, and Barbara Kingsolver, composed during the past 170 years." -- Raleigh (NC) News &amp; Observer</p> <p>"A comprehensive and unsurpassed anthology of women writers from Appalachia.... Exceptional in diversity and scope." -- Southern Historian</p> <p>"A number of wonderful gems [are] sprinkled throughout the 600 plus pages." -- Red Raven Circling (redravencircling.wordpress.com)</p> </article>
444The Flu Season and Other PlaysWill Eno0<p><P>Will Eno's play Thom Pain (based on nothing) won the First Fringe Award with its Edinbugh Festival premiere, and had acclaimed productions in London and New York. His plays have been produced in London at the Gate Theatre, Soho Theatre Company, BBC Radio; in New York by Rude Mechanicals, NY Power Company, Naked Angels.</p>Will Enothe-flu-season-and-other-playswill-eno9781559362917155936291X$10.16PaperbackTheatre Communications GroupDecember 2006Drama Anthologies, American Drama, American Literature Anthologies2405.30 (w) x 8.40 (h) x 0.40 (d)<p>“Will Eno is one of the finest younger playwrights I have come across in a number of years. His work is inventive, disciplined and, at the same time, wild and evocative. His ear is splendid and his mind is agile.”—Edward Albee<br> &nbsp;<br> “An original, a maverick wordsmith whose weird, wry dramas gurgle with the grim humor and pain of life. Eno specializes in the connections of the unconnected, the apologetic murmurings of the disengaged.”—<i>Guardian</i><br> &nbsp;<br> Winner of the 2004 Oppenheimer Award for best New York debut by an American playwright, <i>The Flu Season</i> is a reluctant love story, in spite of itself. Set in a hospital and a theater, it is a play that revels in ambivalence and derives a flailing energy from its doubts whether a love story is ever really a love story.<br> &nbsp;<br> Will Eno has been called “a Samuel Beckett for the Jon Stewart generation” <i>(The New York Times)</i>—he is a playwright with an extraordinary voice and a singular theatrical vision. Also included in this volume are <i>Tragedy: A Tragedy</i> and <i>Intermission.</i></p><p><P>New works by the author of the Pulitzer finalist Thom Pain (based on nothing).</p>
445Solomon Northup's Twelve Years a Slave: And Plantation Life in the Antebellum SouthSolomon Northup0Solomon Northup, Sue L. Eakin, University of Louisiana at Lafayette, Center for Louisiana Studies Staffsolomon-northups-twelve-years-a-slavesolomon-northup9781887366755188736675X$45.00HardcoverUniversity of Louisiana at Lafayette PressJanuary 2007ExpandedLiterary Criticism
446Bamboo among the Oaks: Contemporary Writing by Hmong AmericansMai Neng Moua0<p>Mai Neng Moua came to the United States as a refugee from Laos with her family in 1981. A graduate of St. Olaf College, she is the public policy coordinator for the Institute for New Americans and cofounder and editor of Paj Ntaub Voice, the premier Hmong literary journal.</p>Mai Neng Mouabamboo-among-the-oaksmai-neng-moua97808735143780873514378$14.95PaperbackMinnesota Historical Society PressOctober 2002Literary Criticism, American<p>A groundbreaking anthology that chronicles the emerging literary voice of a contemporary American immigrant community.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Recovering to the Hills</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Being Hmong Is Not Enough</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Good Hmong Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Smokes</TD><TD WIDTH="10%" ALIGN="RIGHT">43</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hmongspeak</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Voice</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Loneliness</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Slices with a Hmong Knife</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Walking Manifesto #2</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Along the Way to the Mekong</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">D.C.</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Father Died Twenty-five Years Ago</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Life in Four Short Chapters</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Mother Is a Coffee Table</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My white lover</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Endstage</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hmong Wall</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Shadow that Loved</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Garden</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The True Tale of Yer</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last War Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fury</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wisdom</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hmoob Boy Meets Hmong Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">REM & Dan & Neeg & Dab Neeg</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Twinkies</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Extraordinary Hmong</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yellow Man's Burden</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ms. Pac-Man Ruined My Gang Life</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Disconnect</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">943</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Case of the Red Pens</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dreams of a Forgotten Widow</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some Old Hmong Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Women of the Hmong culture</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reflections of My Father</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Tropical Garden in the San Joaquin Valley</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chino</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter from the Shore of the Dragon River</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Immunization</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Retired</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The American</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Walk</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lovers: A Halloween Tale of Horror</TD><TD WIDTH="10%" ALIGN="RIGHT">174</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Broken</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Running Away from Home</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Green House</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Condom Nations</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chapter One</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Remembrance</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spirit Trails</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother's Day</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Dad the Mekong and Me the Mississippi</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Is the Beauty Queen a Real Woman?</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD></TABLE>
447Poets of the Civil WarJ. D. McClatchy0J. D. McClatchypoets-of-the-civil-warj-d-mcclatchy97819310827611931082766$20.00HardcoverLibrary of AmericaApril 2005Poetry Anthologies, American Poetry, War Poetry, American Literature Anthologies2504.75 (w) x 7.75 (h) x 0.63 (d)This collection brings together the most memorable and enduring work inspired by the American Civil War: the masterpieces of Whitman and Melville, Sidney Lanier on the death of Stonewall Jackson, the anti-slavery poems of Longfellow and Whittier, the frontline narratives of Henry Howard Brownell and John W. De Forest, the anthems of Julia Ward Howe and James Ryder Randall. Grief, indignation, pride, courage, patriotic fervor, ultimately reconciliation and healing: the poetry of the Civil War evokes unforgettably the emotions that roiled America in its darkest hour.<p>This collection brings together the most memorable and enduring work inspired by the American Civil War: the masterpieces of Whitman and Melville, Sidney Lanier on the death of Stonewall Jackson, the anti-slavery poems of Longfellow and Whittier, the frontline narratives of Henry Howard Brownell and John W. De Forest, the anthems of Julia Ward Howe and James Ryder Randall. Grief, indignation, pride, courage, patriotic fervor, ultimately reconciliation and healing: the poetry of the Civil War evokes unforgettably the emotions that roiled America in its darkest hour.</p>
448The Book of American Negro PoetryJames Weldon Johnson0James Weldon Johnson, James W. Johnsonthe-book-of-american-negro-poetryjames-weldon-johnson97801561353990156135396$15.00PaperbackHoughton Mifflin HarcourtOctober 1969Poetry, General<p><P>A landmark anthology of forty poets that brought serious attention to writers such as Countee Cullen and Langston Hughes. The poetry, the prefaces, and Johnson&#8217;s critical notes have made this book a classic. Indices.</p>
449Slave Narratives: James Albert Ukawsaw Gronniosaw, Olaudah Equiano, Nat Turner, Frederick Douglass, William Wells Brown, Henry Bibb, Sojourner Truth, William and Ellen Craft, Harriet A. Jacobs, Jacob D. Green (Library of America)William L. Andrews0<p>William L. Andrews is E. Maynard Adams Professor of English at the University of North Carolina at Chapel Hill. He is the author of <b>To Tell a Free Story</b> and editor or coeditor of more than thirty books on African American literature.<br> <b>Henry Louis Gates, Jr.</b> was Professor of English, Comparative Literature, and Africana Studies at Cornell University, and also tenured at Yale, Duke, and Harvard, where he was appointed W.E.B. DuBois professor of humanities in 1991. Professor Gates is the author of <b>Figures in Black: Words, Signs, and the Racial Self, Wonders of the African World, The Signifying Monkey: A Theory of African-American Literary Criticism, Thirteen Ways of Looking at a Black Man, Loose Cannons: Notes on the Culture Wars</b>, and <b>Colored People: A Memoir</b>. With Cornel West, he co-wrote <b>The African American Century: How Black Americans Have Shaped Our Country</b> and <b>The Future of the Race</b>. He is also the editor of the critically-acclaimed edition of Our Nig, an annotated reprint of Harriet E. Wilson’s 1859 novel, <b>The Slave’s Narrative</b> (with the late Charles T. Davis), <b>Africana: The Encyclopedia of the African and African-American Experience, Six Women’s Slave Narratives</b>, and <b>In the House of Oshugbo: Critical Essays on Wole Soyinka</b>. He is a recipient of the MacArthur Prize.</p>William L. Andrews, Henry Louis Gates Jr.slave-narrativeswilliam-l-andrews97818830117651883011760$33.60HardcoverLibrary of AmericaJanuary 20001Slavery - Social Sciences, Slavery & Abolitionism - African American History, Slave Narratives & Biographies, American Literature Anthologies, African American General Biography9925.28 (w) x 8.25 (h) x 1.28 (d)The ten works collected in this volume demonstrate how a diverse group of writers challenged the conscience of a nation and laid the foundations of the African American literary tradition by expressing their in anger, pain, sorrow, and courage.<br> <br> Included in the volume: <i>Narrative of the Most Remarkable Particulars in the Life of James Albert Ukawsaw Gronniosaw</i>; <i>Interesting Narrative of the Life of Olaudah Equiano</i>; <i>The Confessions of Nat Turner</i>; <i>Narrative of the Life of Frederick Douglass</i>; <i>Narrative of William W. Brown</i>; <i>Narrative of the Life and Adventures of Henry Bibb</i>; <i>Narrative of Sojouner Truth</i>; Ellen and William Craft's <i>Running a Thousand Miles for Freedom</i>; Harriet Jacobs' <i>Incidents in the Life of a Slave Girl</i> and <i>Narrative of the Life of J. D.Green</i>.<br> <br> <p><br> </p> <blockquote>A</blockquote> <blockquote>NARRATIVE</blockquote> <blockquote>OF THE</blockquote> <blockquote>MOST REMARKABLE PARTICULARS</blockquote> <blockquote>IN THE LIFE OF</blockquote> <blockquote>JAMES ALBERT UKAWSAW GRONNIOSAW,</blockquote> <blockquote>AN AFRICAN PRINCE,</blockquote> <blockquote>As related by HIMSELF.</blockquote> <blockquote><i>I will bring the Blind by a Way that they know not, I will lead them in Paths that they have not known: I will make Darkness Light before them and crooked Things straight. These Things will I do unto them and not forsake them.</i> Isa. xlii. 16.</blockquote> <p class="null1">BATH:<br> Printed by W. GYE in Westgate-Street; and sold by T. MILLS,<br> Bookseller, in King's-Mead-Square.<br> Price Six-Pence.<br> </p> <p><br> </p> <p>Chapter One</p> <p><br> </p> <p class="null1">THE LIFE, &amp;c.</p> <p><br> </p> <blockquote class="null2">The author's account of his country, and their manners and customs—Administration of justice—Embrenche—Marriage ceremony, and public entertainments—Mode of living—Dress—Manufactures Buildings—Commerce—Agriculture—War and religion—Superstition of the natives—Funeral ceremonies of the priests or magicians—Curious mode of discovering poison—Some hints concerning the origin of the author's countrymen, with the opinions of different writers on that subject.</blockquote> <p><br> </p> <p>I believe it is difficult for those who publish their own memoirs to escape the imputation of vanity; nor is this the only disadvantage under which they labour: it is also their misfortune, that what isuncommon is rarely, if ever, believed, and what is obvious we are apt to turn from with disgust, and to charge the writer with impertinence. People generally think those memoirs only worthy to be read or remembered which abound in great or striking events, those, in short, which in a high degree excite either admiration or pity: all others they consign to contempt and oblivion. It is therefore, I confess, not a little hazardous in a private and obscure individual, and a stranger too, thus to solicit the indulgent attention of the public; especially when I own I offer here the history of neither a saint, a hero, nor a tyrant. I believe there are few events in my life, which have not happened to many: it is true the incidents of it are numerous; and, did I consider myself an European, I might say my sufferings were great: but when I compare my lot with that of most of my countrymen, I regard myself as a <i>particular favourite of Heaven</i>, and acknowledge the mercies of Providence in every occurrence of my life. If then the following narrative does not appear sufficiently interesting to engage general attention, let my motive be some excuse for its publication. I am not so foolishly vain as to expect from it either immortality or literary reputation. If it affords any satisfaction to my numerous friends, at whose request it has been written, or in the smallest degree promotes the interests of humanity, the ends for which it was undertaken will be fully attained, and every wish of my heart gratified. Let it therefore be remembered, that, in wishing to avoid censure, I do not aspire to praise.</p> <p>&nbsp;&nbsp;&nbsp; That part of Africa, known by the name of Guinea, to which the trade for slaves is carried on, extends along the coast above 3400 miles, from the Senegal to Angola, and includes a variety of kingdoms. Of these the most considerable is the kingdom of Benen, both as to extent and wealth, the richness and cultivation of the soil, the power of its king, and the number and warlike disposition of the inhabitants. It is situated nearly under the line, and extends along the coast about 170 miles, but runs back into the interior part of Africa to a distance hitherto I believe unexplored by any traveller; and seems only terminated at length by the empire of Abyssinia, near 1500 miles from its beginning. This kingdom is divided into many provinces or districts: in one of the most remote and fertile of which, called Eboe, I was born, in the year 1745, in a charming fruitful vale, named Essaka. The distance of this province from the capital of Benin and the sea coast must be very considerable; for I had never heard of white men or Europeans, nor of the sea: and our subjection to the king of Benin was little more than nominal; for every transaction of the government, as far as my slender observation extended, was conducted by the chiefs or elders of the place. The manners and government of a people who have little commerce with other countries are generally very simple; and the history of what passes in one family or village may serve as a specimen of a nation. My father was one of those elders or chiefs I have spoken of, and was styled Embrenche; a term, as I remember, importing the highest distinction, and signifying in our language a <i>mark</i> of grandeur. This mark is conferred on the person entitled to it, by cutting the skin across at the top of the forehead, and drawing it down to the eye-brows; and while it is in this situation applying a warm hand, and rubbing it until it shrinks up into a thick <i>weal</i> across the lower part of the forehead. Most of the judges and senators were thus marked; my father had long born it: I had seen it conferred on one of my brothers, and I was also <i>destined</i> to receive it by my parents. Those Embrence, or chief men, decided disputes and punished crimes; for which purpose they always assembled together. The proceedings were generally short; and in most cases the law of retaliation prevailed. I remember a man was brought before my father, and the other judges, for kidnapping a boy; and, although he was the son of a chief or senator, he was condemned to make recompense by a man or woman slave. Adultery, however, was sometimes punished with slavery or death; a punishment which I believe is inflicted on it throughout most of the nations of Africa: so sacred among them is the honour of the marriage bed, and so jealous are they of the fidelity of their wives. Of this I recollect an instance:—a woman was convicted before the judges of adultery, and delivered over, as the custom was, to her husband to be punished. Accordingly he determined to put her to death: but it being found, just before her execution, that she had an infant at her breast; and no woman being prevailed on to perform the part of a nurse, she was spared on account of the child. The men, however, do not preserve the same constancy to their wives, which they expect from them; for they indulge in a plurality, though seldom in more than two. Their mode of marriage is thus:—both parties are usually betrothed when young by their parents, (though I have known the males to betroth themselves). On this occasion a feast is prepared, and the bride and bridegroom stand up in the midst of all their friends, who are assembled for the purpose, while he declares she is thenceforth to be looked upon as his wife, and that no other person is to pay any addresses to her. This is also immediately proclaimed in the vicinity, on which the bride retires from the assembly. Some time after she is brought home to her husband, and then another feast is made, to which the relations of both parties are invited: her parents then deliver her to the bridegroom, accompanied with a number of blessings, and at the same time they tie round her waist a cotton string of the thickness of a goose-quill, which none but married women are permitted to wear: she is now considered as completely his wife; and at this time the dowry is given to the new married pair, which generally consists of portions of land, slaves, and cattle, household goods, and implements of husbandry. These are offered by the friends of both parties; besides which the parents of the bridegroom present gifts to those of the bride, whose property she is looked upon before marriage; but after it she is esteemed the sole property of her husband. The ceremony being now ended the festival begins, which is celebrated with bonefires, and loud acclamations of joy, accompanied with music and dancing.</p> <p>&nbsp;&nbsp;&nbsp; We are almost a nation of dancers, musicians, and poets. Thus every great event, such as a triumphant return from battle, or other cause of public rejoicing is celebrated in public dances, which are accompanied with songs and music suited to the occasion. The assembly is separated into four divisions, which dance either apart or in succession, and each with a character peculiar to itself. The first division contains the married men, who in their dances frequently exhibit feats of arms, and the representation of a battle. To these succeed the married women, who dance in the second division. The young men occupy the third; and the maidens the fourth. Each represents some interesting scene of real life, such as a great achievement, domestic employment, a pathetic story, or some rural sport; and as the subject is generally founded on some recent event, it is therefore ever new. This gives our dances a spirit and variety which I have scarcely seen elsewhere. We have many musical instruments, particularly drums of different kinds, a piece of music which resembles a guitar, and another much like a stickado. These last are chiefly used by betrothed virgins, who play on them on all grand festivals.</p> <p>&nbsp;&nbsp;&nbsp; As our manners are simple, our luxuries are few. The dress of both sexes is nearly the same. It generally consists of a long piece of callico, or muslin, wrapped loosely round the body, somewhat in the form of a highland plaid. This is usually dyed blue, which is our favourite colour. It is extracted from a berry, and is brighter and richer than any I have seen in Europe. Besides this, our women of distinction wear golden ornaments; which they dispose with some profusion on their arms and legs. When our women are not employed with the men in tillage, their usual occupation is spinning and weaving cotton, which they afterwards dye, and make it into garments. They also manufacture earthen vessels, of which we have many kinds. Among the rest tobacco pipes, made after the same fashion, and used in the same manner, as those in Turkey.</p> <p>&nbsp;&nbsp;&nbsp; Our manner of living is entirely plain; for as yet the natives are unacquainted with those refinements in cookery which debauch the taste: bullocks, goats, and poultry, supply the greatest part of their food. These constitute likewise the principal wealth of the country, and the chief articles of its commerce. The flesh is usually stewed in a pan; to make it savoury we sometimes use also pepper, and other spices, and we have salt made of wood ashes. Our vegetables are mostly plantains, eadas, yams, beans, and Indian corn. The head of the family usually eats alone; his wives and slaves have also their separate tables. Before we taste food we always wash our hands: indeed our cleanliness on all occasions is extreme; but on this it is an indispensable ceremony. After washing, libation is made, by pouring out a small portion of the food, in a certain place, for the spirits of departed relations, which the natives suppose to preside over their conduct, and guard them from evil. They are totally unacquainted with strong or spirituous liquours; and their principal beverage is palm wine. This is gotten from a tree of that name by tapping it at the top, and fastening a large gourd to it; and sometimes one tree will yield three or four gallons in a night. When just drawn it is of a most delicious sweetness; but in a few days it acquires a tartish and more spirituous flavour: though I never saw any one intoxicated by it. The same tree also produces nuts and oil. Our principal luxury is in perfumes; one sort of these is an odoriferous wood of delicious fragrance: the other a kind of earth; a small portion of which thrown into the fire diffuses a most powerful odour. We beat this wood into powder, and mix it with palm oil; with which both men and women perfume themselves.</p> <p>&nbsp;&nbsp;&nbsp; In our buildings we study convenience rather than ornament. Each master of a family has a large square piece of ground, surrounded with a moat or fence, or enclosed with a wall made of red earth tempered; which, when dry, is as hard as brick. Within this are his houses to accommodate his family and slaves; which, if numerous, frequently present the appearance of a village. In the middle stands the principal building, appropriated to the sole use of the master, and consisting of two apartments; in one of which he sits in the day with his family, the other is left apart for the reception of his friends. He has besides these a distinct apartment in which he sleeps, together with his male children. On each side are the apartments of his wives, who have also their separate day and night houses. The habitations of the slaves and their families are distributed throughout the rest of the enclosure. These houses never exceed one story in height: they are always built of wood, or stakes driven into the ground, crossed with wattles, and neatly plastered within, and without. The roof is thatched with reeds. Our day-houses are left open at the sides; but those in which we sleep are always covered, and plastered in the inside, with a composition mixed with cowdung, to keep off the different insects, which annoy us during the night. The walls and floors also of these are generally covered with mats. Our beds consist of a platform, raised three or four feet from the ground, on which are laid skins, and different parts of a spungy tree called plaintain. Our covering is calico or muslin, the same as our dress. The usual seats are a few logs of wood; but we have benches, which are generally perfumed, to accommodate strangers: these compose the greater part of our household furniture. Houses so constructed and furnished require but little skill to erect them. Every man is a sufficient architect for the purpose. The whole neighbourhood afford their unanimous assistance in building them and in return receive, and expect no other recompense than a feast.</p> <p>&nbsp;&nbsp;&nbsp; As we live in a country where nature is prodigal of her favours, our wants are few and easily supplied; of course we have few manufactures. They consist for the most part of calicoes, earthern ware, ornaments, and instruments of war and husbandry. But these make no part of our commerce, the principal articles of which, as I have observed, are provisions. In such a state money is of little use; however we have some small pieces of coin, if I may call them such. They are made something like an anchor; but I do not remember either their value or denomination. We have also markets, at which I have been frequently with my mother. These are sometimes visited by stout mahogany-coloured men from the south west of us: we call them Oye-Eboe, which term signifies red men living at a distance. They generally bring us fire-arms, gunpowder, hats, beads, and dried fish. The last we esteemed a great rarity, as our waters were only brooks and springs. These articles they barter with us for odoriferous woods and earth, and our salt of wood ashes. They always carry slaves through our land; but the strictest account is exacted of their manner of procuring them before they are suffered to pass. Sometimes indeed we sold slaves to them, but they were only prisoners of war, or such among us as had been convicted of kidnapping, or adultery, and some other crimes, which we esteemed heinous. This practice of kidnapping induces me to think, that, notwithstanding all our strictness, their principal business among us was to trepan our people. I remember too they carried great sacks along with them, which not long after I had an opportunity of fatally seeing applied to that infamous purpose.</p> <p>&nbsp;&nbsp;&nbsp; Our land is uncommonly rich and fruitful, and produces all kinds of vegetables in great abundance. We have plenty of Indian corn, and vast quantities of cotton and tobacco. Our pine apples grow without culture; they are about the size of the largest sugar-loaf, and finely flavoured. We have also spices of different kinds, particularly pepper; and a variety of delicious fruits which I have never seen in Europe; together with gums of various kinds, and honey in abundance. All our industry is exerted to improve those blessings of nature. Agriculture is our chief employment; and every one, even the children and women, are engaged in it. Thus we are all habituated to labour from our earliest years. Every one contributes something to the common stock; and as we are unacquainted with idleness, we have no beggars. The benefits of such a mode of living are obvious. The West India planters prefer the slaves of Benin or Eboe to those of any other part of Guinea, for their hardiness, intelligence, integrity, and zeal. Those benefits are felt by us in the general healthiness of the people, and in their vigour and activity; I might have added too in their comeliness. Deformity is indeed unknown amongst us, I mean that of shape. Numbers of the natives of Eboe now in London might be brought in support of this assertion: for, in regard to complexion, ideas of beauty are wholly relative. I remember while in Africa to have seen three negro children, who were tawny, and another quite white, who were universally regarded by myself, and the natives in general, as far as related to their complexions, as deformed. Our women too were in my eyes at least uncommonly graceful, alert, and modest to a degree of bashfulness; nor do I remember to have ever heard of an instance of incontinence amongst them before marriage. They are also remarkably cheerful. Indeed cheerfulness and affability are two of the leading characteristics of our nation.</p> <p>&nbsp;&nbsp;&nbsp; Our tillage is exercised in a large plain or common, some hours walk from our dwellings, and all the neighbours resort thither in a body. They use no beasts of husbandry; and their only instruments are hoes, axes, shovels, and beaks, or pointed iron to dig with. Sometimes we are visited by locusts, which come in large clouds, so as to darken the air, and destroy our harvest. This however happens rarely, but when it does, a famine is produced by it. I remember an instance or two wherein this happened. This common is often the theatre of war; and therefore when our people go out to till their land, they not only go in a body, but generally take their arms with them for fear of a surprise; and when they apprehend an invasion they guard the avenues to their dwellings, by driving sticks into the ground, which are so sharp at one end as to pierce the foot, and are generally dipt in poison. From what I can recollect of these battles, they appear to have been irruptions of one little state or district on the other, to obtain prisoners or booty. Perhaps they were incited to this by those traders who brought the European goods I mentioned amongst us. Such a mode of obtaining slaves in Africa is common; and I believe more are procured this way, and by kidnapping, than any other. When a trader wants slaves, he applies to a chief for them, and tempts him with his wares. It is not extraordinary, if on this occasion he yields to the temptation with as little firmness, and accepts the price of his fellow creatures liberty with as little reluctance as the enlightened merchant. Accordingly he falls on his neighbours, and a desperate battle ensues. If he prevails and takes prisoners, he gratifies his avarice by selling them; but, if his party be vanquished, and he falls into the hands of the enemy, he is put to death: for, as he has been known to foment their quarrels, it is thought dangerous to let him survive, and no ransom can save him, though all other prisoners may be redeemed. We have firearms, bows and arrows, broad two-edged swords and javelins: we have shields also which cover a man from head to foot. All are taught the use of these weapons; even our women are warriors, and march boldly out to fight along with the men. Our whole district is a kind of militia: on a certain signal given, such as the firing of a gun at night, they all rise in arms and rush upon their enemy. It is perhaps something remarkable, that when our people march to the field a red flag or banner is borne before them. I was once a witness to a battle in our common. We had been all at work in it one day as usual, when our people were suddenly attacked. I climbed a tree at some distance, from which I beheld the fight. There were many women as well as men on both sides; among others my mother was there, and armed with a broad sword. After fighting for a considerable time with great fury, and after many had been killed our people obtained the victory, and took their enemy's Chief prisoner. He was carried off in great triumph, and, though he offered a large ransom for his life, he was put to death. A virgin of note among our enemies had been slain in the battle, and her arm was exposed in our market-place, where our trophies were always exhibited. The spoils were divided according to the merit of the warriors. Those prisoners which were not sold or redeemed we kept as slaves: but how different was their condition from that of the slaves in the West Indies! With us they do no more work than other members of the community, even their masters; their food, clothing and lodging were nearly the same as theirs, (except that they were not permitted to eat with those who were free-born); and there was scarce any other difference between them, than a superior degree of importance which the head of a family possesses in our state, and that authority which, as such, he exercises over every part of his household. Some of these slaves have even slaves under them as their own property, and for their own use.</p> <p>&nbsp;&nbsp;&nbsp; As to religion, the natives believe that there is one Creator of all things, and that he lives in the sun, and is girted round with a belt that he may never eat or drink; but, according to some, he smokes a pipe, which is our own favourite luxury. They believe he governs events, especially our deaths or captivity; but, as for the doctrine of eternity, I do not remember to have ever heard of it: some however believe in the transmigration of souls in a certain degree. Those spirits, which are not transmigrated, such as our dear friends or relations, they believe always attend them, and guard them from the bad spirits or their foes. For this reason they always before eating, as I have observed, put some small portion of the meat, and pour some of their drink, on the ground for them; and they often make oblations of the blood of beasts or fowls at their graves. I was very fond of my mother, and almost constantly with her. When she went to make these oblations at her mother's tomb, which was a kind of small solitary thatched house, I sometimes attended her. There she made her libations, and spent most of the night in cries and lamentations. I have been often extremely terrified on these occasions. The loneliness of the place, the darkness of the night, and the ceremony of libation, naturally awful and gloomy, were heightened by my mother's lamentations; and these, concuring with the cries of doleful birds, by which these places were frequented, gave an inexpressible terror to the scene.</p> <p>&nbsp;&nbsp;&nbsp; We compute the year from the day on which the sun crosses the line, and on its setting that evening there is a general shout throughout the land; at least I can speak from my own knowledge throughout our vicinity. The people at the same time make a great noise with rattles, not unlike the basket rattles used by children here, though much larger, and hold up their hands to heaven for a blessing. It is then the greatest offerings are made; and those children whom our wise men foretel will be fortunate are then presented to different people. I remember many used to come to see me, and I was carried about to others for that purpose. They have many offerings, particularly at full moons; generally two at harvest before the fruits are taken out of the ground: and when any young animals are killed, sometimes they offer up part of them as a sacrifice. These offerings, when made by one of the heads of a family, serve for the whole. I remember we often had them at my father's and my uncle's, and their families have been present. Some of our offerings are eaten with bitter herbs. We had a saying among us to any one of a cross temper, `That if they were to be eaten, they should be eaten with bitter herbs.'</p> <p>&nbsp;&nbsp;&nbsp; We practised circumcision like the Jews, and made offerings and feasts on that occasion in the same manner as they did. Like them also, our children were named from some event, some circumstance, or fancied foreboding at the time of their birth. I was named <i>Olaudah</i>, which, in our language, signifies vicissitude or fortune also, one favoured, and having a loud voice and well spoken. I remember we never polluted the name of the object of our adoration; on the contrary, it was always mentioned with the greatest reverence; and we were totally unacquainted with swearing, and all those terms of abuse and reproach which find their way so readily and copiously into the languages of more civilized people. The only expressions of that kind I remember were `May you rot, or may you swell, or may a beast take you.'</p> <p>&nbsp;&nbsp;&nbsp; I have before remarked that the natives of this part of Africa are extremely cleanly. This necessary habit of decency was with us a part of religion, and therefore we had many purifications and washings; indeed almost as many, and used on the same occasions, if my recollection does not fail me, as the Jews. Those that touched the dead at any time were obliged to wash and purify themselves before they could enter a dwelling-house. Every woman too, at certain times, was forbidden to come into a dwelling-house, or touch any person, or any thing we ate. I was so fond of my mother I could not keep from her, or avoid touching her at some of those periods, in consequence of which I was obliged to be kept out with her, in a little house made for that purpose, till offering was made, and then we were purified.</p> <p>&nbsp;&nbsp;&nbsp; Though we had no places of public worship, we had priests and magicians, or wise men. I do not remember whether they had different offices, or whether they were united in the same persons, but they were held in great reverence by the people. They calculated our time, and foretold events, as their name imported, for we called them Ah-affoe-way-cah, which signifies calculators or yearly men, our year being called Ah-affoe. They wore their beards, and when they died they were succeeded by their sons. Most of their implements and things of value were interred along with them. Pipes and tobacco were also put into the grave with the corpse, which was always perfumed and ornamented, and animals were offered in sacrifice to them. None accompanied their funerals but those of the same profession or tribe. These buried them after sunset, and always returned from the grave by a different way from that which they went.</p> <p>&nbsp;&nbsp;&nbsp; These magicians were also our doctors or physicians. They practised bleeding by cupping; and were very successful in healing wounds and expelling poisons. They had likewise some extraordinary method of discovering jealousy, theft, and poisoning; the success of which no doubt they derived from their unbounded influence over the credulity and superstition of the people. I do not remember what those methods were, except that as to poisoning: I recollect an instance or two, which I hope it will not be deemed impertinent here to insert, as it may serve as a kind of specimen of the rest, and is still used by the negroes in the West Indies. A virgin had been poisoned, but it was not known by whom: the doctors ordered the corpse to be taken up by some persons, and carried to the grave. As soon as the bearers had raised it on their shoulders, they seemed seized with some sudden impulse, and ran to and fro unable to stop themselves. At last, after having passed through a number of thorns and prickly bushes unhurt, the corpse fell from them close to a house, and defaced it in the fall; and, the owner being taken up, he immediately confessed the poisoning.</p> <p>&nbsp;&nbsp;&nbsp; The natives are extremely cautious about poison. When they buy any eatable the seller kisses it all round before the buyer, to shew him it is not poisoned; and the same is done when any meat or drink is presented, particularly to a stranger. We have serpents of different kinds, some of which are esteemed ominous when they appear in our houses, and these we never molest. I remember two of those ominous snakes, each of which was as thick as the calf of a man's leg, and in colour resembling a dolphin in the water, crept at different times into my mother's night-house, where I always lay with her, and coiled themselves into folds, and each time they crowed like a cock. I was desired by some of our wise men to touch these, that I might be interested in the good omens, which I did, for they were quite harmless, and would tamely suffer themselves to be handled; and then they were put into a large open earthen pan, and set on one side of the highway. Some of our snakes, however, were poisonous: one of them crossed the road one day when I was standing on it, and passed between my feet without offering to touch me, to the great surprise of many who saw it; and these incidents were accounted by the wise men, and therefore by my mother and the rest of the people, as remarkable omens in my favour.</p> <p>&nbsp;&nbsp;&nbsp; Such is the imperfect sketch my memory has furnished me with of the manners and customs of a people among whom I first drew my breath. And here I cannot forbear suggesting what has long struck me very forcibly, namely, the strong analogy which even by this sketch, imperfect as it is, appears to prevail in the manners and customs of my countrymen and those of the Jews, before they reached the Land of Promise, and particularly the patriarchs while they were yet in that pastoral state which is described in Genesis—an analogy, which alone would induce me to think that the one people had sprung from the other. Indeed this is the opinion of Dr. Gill, who, in his commentary on Genesis, very ably deduces the pedigree of the Africans from Afer and Afra, the descendants of Abraham by Keturah his wife and concubine (for both these titles are applied to her). It is also conformable to the sentiments of Dr. John Clarke, formerly Dean of Sarum, in his Truth of the Christian Religion: both these authors concur in ascribing to us this original. The reasonings of these gentlemen are still further confirmed by the scripture chronology; and if any further corroboration were required, this resemblance in so many respects is a strong evidence in support of the opinion. Like the Israelites in their primitive state, our government was conducted by our chiefs or judges, our wise men and elders; and the head of a family with us enjoyed a similar authority over his household with that which is ascribed to Abraham and the other patriarchs. The law of retaliation obtained almost universally with us as with them: and even their religion appeared to have shed upon us a ray of its glory, though broken and spent in its passage, or eclipsed by the cloud with which time, tradition, and ignorance might have enveloped it; for we had our circumcision (a rule I believe peculiar to that people:) we had also our sacrifices and burnt-offerings, our washings and purifications, on the same occasions as they had.</p><p>The ten works collected in this volume demonstrate how a diverse group of writers challenged the conscience of a nation and laid the foundations of the African American literary tradition by expressing their in anger, pain, sorrow, and courage.<br><br>Included in the volume: <i>Narrative of the Most Remarkable Particulars in the Life of James Albert Ukawsaw Gronniosaw</i>; <i>Interesting Narrative of the Life of Olaudah Equiano</i>; <i>The Confessions of Nat Turner</i>; <i>Narrative of the Life of Frederick Douglass</i>; <i>Narrative of William W. Brown</i>; <i>Narrative of the Life and Adventures of Henry Bibb</i>; <i>Narrative of Sojouner Truth</i>; Ellen and William Craft's <i>Running a Thousand Miles for Freedom</i>; Harriet Jacobs' <i>Incidents in the Life of a Slave Girl</i> and <i>Narrative of the Life of J. D.Green</i>.<P></p><h3>Library Journal</h3><p>This volume contains ten full slave narratives, including "Interesting Narrative of the Life of Olaudah Equiano," "The Confessions of Nat Turner," "Narrative of the Life of Frederick Douglass," "Narrative of Sojourner Truth," "Running a Thousand Miles for Freedom," and "Narrative of the Life of J.D. Green," along with a chronology and scholarly and biographical notes by the editors. Copyright 2000 Cahners Business Information.</p><TABLE><TR><TD WIDTH = 90%>James Albert Ukawsaw Gronniosaw A Narrative of the Most</TD> <TR><TD WIDTH = 90%>Remarkable Particulars in the Life of James Albert Ukawsaw</TD><TD WIDTH = 10% ALIGN = RIGHT>1</TD> <TR><TD WIDTH = 90%>Olaudah Equiano The Interesting Narrative of the Life of</TD> <TR><TD WIDTH = 90%>Olaudah Equiano, or Gustavus Vassa, the African. Written by</TD><TD WIDTH = 10% ALIGN = RIGHT>35</TD> <TR><TD WIDTH = 90%>Nat Turner The Confessions of Nat Turner, the Leader of the</TD> <TR><TD WIDTH = 90%>Late Insurrection in Southampton, Va. As fully and</TD><TD WIDTH = 10% ALIGN = RIGHT>243</TD> <TR><TD WIDTH = 90%>Frederick Douglass Narrative of the Life of Frederick</TD> <TR><TD WIDTH = 90%>Douglass, An American Slave. Written by Himself (1845)</TD><TD WIDTH = 10% ALIGN = RIGHT>267</TD> <TR><TD WIDTH = 90%>William Wells Brown Narrative of William W. Brown, a</TD> <TR><TD WIDTH = 90%>Fugitive Slave. Written by Himself (1847)</TD><TD WIDTH = 10% ALIGN = RIGHT>369</TD> <TR><TD WIDTH = 90%>Henry Bibb Narrative of the Life and Adventures of Henry</TD> <TR><TD WIDTH = 90%>Bibb, an American Slave, Written by Himself. With an</TD><TD WIDTH = 10% ALIGN = RIGHT>425</TD> <TR><TD WIDTH = 90%>Sojourner Truth Narrative of Sojourner Truth, a Northern</TD> <TR><TD WIDTH = 90%>Slave, Emancipated from Bodily Servitude by the State of New</TD><TD WIDTH = 10% ALIGN = RIGHT>567</TD> <TR><TD WIDTH = 90%>William and Ellen Craft Running a Thousand Miles for</TD> <TR><TD WIDTH = 90%>Freedom; or the Escape of William and Ellen Craft from</TD><TD WIDTH = 10% ALIGN = RIGHT>677</TD> <TR><TD WIDTH = 90%>Harriet Ann Jacobs Incidents in the Life of a Slave Girl.</TD> <TR><TD WIDTH = 90%>Written by Herself. Edited by L. Maria Child (1861)</TD><TD WIDTH = 10% ALIGN = RIGHT>743</TD> <TR><TD WIDTH = 90%>Jacob D. Green Narrative of the Life of J. D. Green, a</TD> <TR><TD WIDTH = 90%>Runaway Slave, from Kentucky. Containing an Account of His</TD><TD WIDTH = 10% ALIGN = RIGHT>949</TD> <TR><TD WIDTH = 90%>Chronology</TD><TD WIDTH = 10% ALIGN = RIGHT>1001</TD> <TR><TD WIDTH = 90%>Biographical Notes</TD><TD WIDTH = 10% ALIGN = RIGHT>1006</TD> <TR><TD WIDTH = 90%>Note on the Texts</TD><TD WIDTH = 10% ALIGN = RIGHT>1014</TD> <TR><TD WIDTH = 90%>Notes</TD><TD WIDTH = 10% ALIGN = RIGHT>1019</TD> </TABLE><article> <h4>Library Journal</h4>This volume contains ten full slave narratives, including "Interesting Narrative of the Life of Olaudah Equiano," "The Confessions of Nat Turner," "Narrative of the Life of Frederick Douglass," "Narrative of Sojourner Truth," "Running a Thousand Miles for Freedom," and "Narrative of the Life of J.D. Green," along with a chronology and scholarly and biographical notes by the editors. Copyright 2000 Cahners Business Information. </article>
450Denali: A Literary AnthologyBill Sherwonit0Bill Sherwonitdenalibill-sherwonit9780898867107089886710X$18.95PaperbackMountaineers Books, TheOctober 20001 EDAlaska - State & Local History, Places - Literary Anthologies, Regional American Anthologies, Natural History - United States, Natural Literature & History, Literature Anthologies - General & Miscellaneous2725.90 (w) x 8.90 (h) x 0.80 (d)A literary collection about Denali and the broad shadow it casts in history, culture,and nature. <p>Collects 23 essays on Denali-from well-known writings to undiscovered gems Explores themes from Native culture to exploration history to modern adventures Includes stories from such writers as Charles Sheldon, Robert Dunn, Kim Heacox, Richard Leo, and Sherry Simpson</p> <p>For many, Denali is the epitome of the Alaska experience; it is the place mountaineers dream of, visitors want to see, and armchair travelers want to read about.</p> <p> Spanning centuries of storytelling, Denali: A Literary Anthology considers the Denali region from the perspectives of Native Alaskans, early explorers, prospectors, naturalists, hunters, conservationists, mountaineers, and modern homesteaders. Weaving together the threads of Native tales and myths, explorations, mountaineering, natural history, and outdoor adventure, this rich collection creates a vivid tapestry of Denali past and present. Some of the works represented are well-known classics, others are familiar to Alaskans, and a few will be recognized by only the most avid Denaliphiles; all the stories are the best of their kind within the large body of Denali literature.</p><p>A literary collection about Denali and the broad shadow it casts in history, culture,and nature. <P> Collects 23 essays on Denali-from well-known writings to undiscovered gems Explores themes from Native culture to exploration history to modern adventures Includes stories from such writers as Charles Sheldon, Robert Dunn, Kim Heacox, Richard Leo, and Sherry Simpson <P> For many, Denali is the epitome of the Alaska experience; it is the place mountaineers dream of, visitors want to see, and armchair travelers want to read about. <P> Spanning centuries of storytelling, Denali&#58; A Literary Anthology considers the Denali region from the perspectives of Native Alaskans, early explorers, prospectors, naturalists, hunters, conservationists, mountaineers, and modern homesteaders. Weaving together the threads of Native tales and myths, explorations, mountaineering, natural history, and outdoor adventure, this rich collection creates a vivid tapestry of Denali past and present. Some of the works represented are well-known classics, others are familiar to Alaskans, and a few will be recognized by only the most avid Denaliphiles; all the stories are the best of their kind within the large body of Denali literature.</p>
451The Best American Poetry 2005Paul Muldoon0<p><b>Paul Muldoon</b> is the Pulitzer Prize-winning author of <i>Moy Sand and Gravel, Hay,</i> and <i>The Annals of Chile,</i> among other noteworthy poetry collections. A former Professor of Poetry at the University of Oxford, he is currently Howard G. B. Clark '21 Professor in the Humanities at Princeton University and lives in Princeton, New Jersey.</p> <p><b>David Lehman</b>, who founded <i>The Best American Poetry</i> series in 1988, is the editor of <i>The Oxford Book of American Poetry</i> and the author of seven books of poetry, including <i>When a Woman Loves a Man.</i> He teaches in the graduate writing program at the New School and lives in New York City and in Ithaca, New York.</p>Paul Muldoon (Editor), David Lehmanthe-best-american-poetry-2005paul-muldoon97807432575890743257588$15.05PaperbackSimon & Schuster Adult Publishing GroupSeptember 20052005 EditionPoetry Anthologies, American Poetry, American Literature Anthologies2245.50 (w) x 8.44 (h) x 0.60 (d)<p>This eagerly awaited volume in the celebrated <i>Best American Poetry</i> series reflects the latest developments and represents the state of the art today. Paul Muldoon, the distinguished poet and international literary eminence, has selected — from a pool of several thousand published candidates — the top seventy-five poems of the year.</p> <p> With insightful comments from the poets illuminating their work, and series editor David Lehman's perspicacious foreword, <i>The Best American Poetry 2005</i> is indispensable for every poetry enthusiast.</p><br> <u>Foreword</u> <p><i>by David Lehman</i></p> <br> <p>There are many reasons for the surge in prestige and popularity that American poetry has enjoyed, but surely some credit has to go to the initiatives of poets and other interested parties. Some of these projects involve a media event or program; just about all of them end in an anthology. Catherine Bowman had the idea of covering poetry for NPR's <i>All Things Considered,</i> and the book of poems culled from her radio reports, <i>Word of Mouth</i> (Vintage, 2003), makes a lively case for the art. The Favorite Poem Project launched by Robert Pinsky when he was U.S. Poet Laureate -- in which ordinary citizens recite favorite poems for an archive and sometimes for a live TV audience -- has generated two anthologies, most recently <i>An Invitation to Poetry</i> (edited by Pinsky, Maggie Dietz, and Rosemarie Ellis; W. W. Norton, 2004). Billy Collins, when he was Poet Laureate, campaigned to get the high school teachers of America to read a poem aloud each school day, and selected an academic year's worth for <i>Poetry 180</i> (Random House, 2003) and an equal amount for <i>180 More</i> (Random House, 2005). The success of the Poetry Daily website led Diane Boller, Don Selby, and Chryss Yost to organize <i>Poetry Daily</i> on the model of a calendar (Sourcebooks, 2003). The calendar is also a driving principle for Garrison Keillor, whose <i>Good Poems</i> (Penguin, 2003) collects poems he has read on his <i>Writer's Almanac</i> show, which airs on public radio five (in some areas seven) days a week.</p> <p>The last several years have given us, in addition, high-quality anthologies organized around themes <i>(Isn't It Romantic,</i> eds. Aimee Kelley and Brett Fletcher Lauer; Verse Press, 2004); genres <i>(Blues Poems,</i> ed. Kevin Young; Everyman's Library, 2003), and historical periods <i>(Poets of the Civil War,</i> ed. J. D. McClatchy; Library of America, 2005). The number and variety of these (and yet other) anthologies make a double point about the poetry-reading public: it is larger than critics grant though smaller than many of us would like it to be; it reflects a period of eclectic taste rather than one dominated by an orthodoxy, as American poetry fifty years ago seemed dominated by the T. S. Eliot-inflected New Criticism.</p> <p>As a rule, poetry anthologies receive even less critical attention than individual collections, but Keillor's <i>Good Poems</i> had a curious fate. Two reviews of the book appeared in the April 2004 issue of <i>Poetry,</i> the venerable Chicago-based magazine that inherited more than $100 million from pharmaceutical heiress Ruth Lilly in 2002. Both reviews were written by respected poets. NEA Chairman Dana Gioia wrote a courtly piece, employing a familiar book-reviewing strategy: begin with advance doubts (anticipation of "good poems, but probably not good enough"), acknowledge relief (pleasure in Keillor's "high spirits and determination to have fun, even when talking about poetry"), and progress to appreciation of the finished product. Gioia complimented the anthologist on "the intelligent inclusion of neglected writers" and praised Keillor for his <i>Writer's Almanac</i> show. Keillor "has probably done more to expand the audience of American poetry over the past ten years than all the learned journals of New England," Gioia wrote. He "has engaged a mass audience without either pretension or condescension."</p> <p>When you turned the page to August Kleinzahler's critique of Keillor's anthology, your eyebrows had to go up. It was less a review than an attack on the Minnesota-based creator of public radio's long-running <i>Prairie Home Companion,</i> a weekly variety show with skits, songs, a monologue from the host, and occasionally poems from a visiting poet. Kleinzahler called the <i>Companion</i> "comfort food for the philistines, a contemporary, bittersweet equivalent to the <i>Lawrence Welk Show</i> of years past." That was gentle compared with his treatment of the "execrable" <i>Writer's Almanac.</i> Keillor has "appalling" taste, Kleinzahler wrote. Any good poems in <i>Good Poems</i> probably got there because a staffer slipped them in; a "superannuated former MFA from the Iowa Workshop would be my guess." (Though to my knowledge, there is no such thing as a "former MFA" -- the degree is something you have for life and is not shed upon graduation -- Kleinzahler's point was clear enough.) Keillor should be "burned," or perhaps merely locked up "in a Quonset hut" until he renounces his daily radio poem. In brief, Kleinzahler avoids the sound of Keillor's "treacly baritone" voice just as he avoids "sneezing, choking, rheumy-eyed passengers" on the streetcars of San Francisco.</p> <p>When he gets around to talking about <i>Good Poems,</i> Kleinzahler articulates the anti-populist argument that underscores his contempt for Keillor. In every age, Kleinzahler says, there are "very, very few" poets whose work "will matter down the road." The effort to spread the word and enlarge the audience for poetry -- an effort that Keillor enthusiastically participates in -- is a bad thing, because reading poetry often results in writing poetry, and most poetry is bad, and bad poetry is bad for you and bad for the art. Kleinzahler is vehement to the point of hyperbole: "Poetry not only isn't <i>good</i> for you, <i>bad</i> poetry has been shown to cause lymphomas." Keillor's brand of "boosterism" may sell books and spur more poets to write, but it amounts to a form of "merchandising" that is itself "the problem, not the solution."</p> <p>The anti-populist argument has its attractions. Many of us love poetry as a high art and regard our commitment to it as a vocation. And high art has its hierarchies, its idea of greatness or genius as something that few possess. As a poet you are continually inventing yourself by eliminating some models and electing others, defining your idea of what constitutes "good" and "bad." And if your aesthetic commitment is extreme, or your revolt against a prevalent style is desperate, you may come to regard bad poetry as almost a moral offense. This is one reason we need criticism: it can help us to understand those crucial terms, "good" and "bad," whose meaning seems almost always in flux.</p> <p>But anti-populist arguments tend by their nature to be defeatist and somewhat self-fulfilling. The dubious assumption is that if, against great odds, a poet or a poem wins some public acceptance, the work must be bad to the precise degree that it has become popular. The dubious assumption is that if, against great odds, a poet or a poem wins some public acceptance, it must be bad to the precise degree that it has become popular, and not merely bad but contagious. Yet Gresham's Law -- the economic doctrine that says that bad money shall drive out good -- does not really apply here. No one hated bad poetry more genuinely and with greater feeling than Kenneth Koch. But as a teacher of children and nursing home residents, and as the author of a genial "Art of Poetry," he suspended the natural arrogance of the avant-garde artist. Poems, he says, are "esthetecologically harmless and psychodegradable / And never would they choke the spirits of the world. For a poem only affects us / And 'exists,' really, if it is worth it, and there can't be too many of those." It may turn out that the enlargement of poetry's community of readers depends on a toleration not of bad poems but of other people's ideas of what constitutes a good poem. Moreover, if few poets in any given era will achieve the fame of a Keats or Whitman, it does not follow that the appreciation of poetry -- great, good, and otherwise -- is an activity for only a chosen few. Nor does it follow that the several originals among us are, in Kleinzahler's words, "drowning in the waste products spewing from graduate writing programs." Kleinzahler feels that the great talent of the nineteenth century went into the novel and that poetry's competition today is even stiffer and more diverse. He names "movies, television, MTV, advertising, rock 'n' roll, and the Internet." I don't buy it. The amazing thing is that despite all discouragement, significant numbers of brilliant young people today are drawn to poetry. Many are willing to make pecuniary sacrifices in support of their literary habit; more each year enroll in the degree-granting writing programs at which Kleinzahler sneers. Consider the growth of low-residency programs, in which faculty and students convene for ten days twice a year and do the rest of the work by correspondence. In 1994 when the Bennington Writing Workshop began, it was the fourth such program in the country; today there are more than two dozen. Sure, there are those who associate the rise of the creative writing workshop with the fall of civilization, but it remains a pedagogic structure of unusual popularity, and a talented instructor will know how to use its conventions to promote literary knowledge, judgment, and skill. As for Kleinzahler's contention that "American poetry is now an international joke," I think rather the opposite is true. But then he offers no evidence to support his position, while the evidence I could present to support mine -- books published, copies sold, translations made, international conferences devoted to American poetry -- Kleinzahler might dismiss out of hand.</p> <p>The surplus contempt in Kleinzahler's piece -- the anger so out of proportion with what had nominally occasioned it, and in such sharp contrast to the mild-mannered article that preceded it -- generated a lasting wonder. It was as if one of the two reviews of <i>Good Poems</i> was in favor of civilization and the other in favor of its discontents; as if one spoke with the adjudicating voice of the ego, while the other let loose with the rebellious rant of the id. That the two pieces when juxtaposed failed to produce any ground for good-faith discussion seemed perfectly in accordance with the corrosive level of political discourse in 2004. "We campaign in poetry but govern in prose," former New York governor Mario Cuomo has said. But there was no poetry in last year's campaign rhetoric. I noted also that <i>Good Poems,</i> the modest and inoffensive title Keillor had chosen for his anthology, had not proved any more resistant to hostile comment than an anthology whose title dares to make greater claims for its contents.</p> <p>The idea of running two reviews of the same book is one innovation that Christian Wiman has made since becoming editor of <i>Poetry.</i> There remains a problem with the criticism of poetry in America -- too little of it is valuable -- and Wiman is trying to do something about that. He is trying to create dialogue and exchange, and though not all attempts succeed, sometimes the failure is so spectacular that we're still talking about it months later. He seems to be discouraging easy pats on the back and encouraging people to go public with their peeves. And he prints letters arguing with the critics. All this has made <i>Poetry</i> a little livelier, more compelling magazine than it had been. But it is also worrisome that the back of the book -- the part devoted to criticism -- has grown steadily. More voices, more pages, do not equal greater clarification. It is sometimes said with heavy tones of lamentation than in this day and age everyone's a poet. The criticism in Poetry implies that on the contrary everyone's a critic. And criticism is too often the sound of a gripe and the taste of sour grapes expressed with all the sensitivity and thoughtfulness of a midnight blogger.</p> <p>Wiman spruced up the October 2004 issue by asking a band of poets to register their antagonisms and talk about them. In his editorial note Wiman says in passing that only the rare student will have the requisite "acuity and temerity" to challenge professors and anthologies by suggesting that "'Tintern Abbey' would be better without its last fifty lines." As Wiman notes, every editor has the right to be wrong, especially when the goal is to stimulate debate. But as one who cannot read "Tintern Abbey" aloud without tears at the end, and is all too familiar with college students' aversion to Wordsworth (though their own first-person-singular work may owe more to Wordsworth than to any of the other Romantic poets), I must rise to the defense of the poem as Wordsworth designed it. The last stanza, the poem's second climax, culminates in Wordsworth's moving prayer for his sister, Dorothy, as lovely a tribute in verse as ever brother penned for sister. But it is the passage just before the prayer itself -- a single serpentine sentence spun out across sixteen lines of Miltonic blank verse -- that is astonishing. It is like an equation in which either "nature" or "the mind," or the latter as a reflection of the former, triumphantly opposes evil and woe. The poet speaks</p> <p>Knowing that Nature never did betray</p> <p>The heart that loved her; 'tis her privilege</p> <p>Through all the years of this our life, to lead</p> <p>From joy to joy: for she can so inform</p> <p>The mind that is within us, so impress</p> <p>With quietness and beauty, and so feed</p> <p>With lofty thoughts, that neither evil tongues,</p> <p>Rash judgments, nor the sneers of selfish men,</p> <p>Nor greetings where no kindness is, nor all</p> <p>The dreary intercourse of daily life,</p> <p>Shall e'er prevail against us, or disturb</p> <p>Our cheerful faith, that all which we behold</p> <p>Is full of blessings.</p> <p>The passage is like a bridge across an abyss, with the reader progressing from joy across the chasm of low spite to a place of safety and blessing. It is a passage that you might quote for its smart use of line breaks. It expresses the "cheerful faith" that is the heart and soul of Romanticism -- the conviction that the mind is superior to what it beholds and that imagination can redeem bitter experience. There then follows the "Therefore" -- the prayer for Dorothy -- that completes and unifies the poem, just as the address to the infant son completes and unifies Coleridge's "Frost at Midnight," the model for "Tintern Abbey." The "conversation poem" that Coleridge initiated and Wordsworth perfected has a form, and "Tintern Abbey" needs its last forty-nine lines to fulfill the demands of that form. Lop off the last stanza and you risk grave peril to the whole; as with the butchering of a cherry tree's branch, it could cause the death of the tree.</p> <p>Defender that I am of "good poems" and advocate of great ones such as "Tintern Abbey" and "Frost at Midnight," I know it is up to readers present and readers future to decide whether <i>The Best American Poetry 2005</i> lives up to its name. Like its predecessors in a series now eighteen volumes strong, it reflects the best efforts of a guest editor, himself a distinguished poet, who went through the periodicals of 2004 looking for seventy-five poems that merit and reward our attention. Paul Muldoon, who made the selections, brings a unique transatlantic perspective to the task. Born in Belfast, an eminent figure in contemporary Irish and British poetry, Muldoon has lived in the United States since 1987 and is an American citizen. He holds a titled professorship at Princeton University, and when he began reading for this anthology, he had just completed a five-year stint as the Oxford Professor of Poetry, which is pretty much the highest academic appointment you can get in the United Kingdom. He had also recently won the 2003 Pulitzer Prize for <i>Moy Sand and Gravel.</i> I have admired his poetry since discovering <i>Why Brownlee Left</i> (1980) and <i>Quoof</i> (1983) when I worked on a <i>Newsweek</i> piece in 1986 about the extravagance of literary talent to have emerged in Northern Ireland, site of the "troubles." Muldoon's handling of a form like the sestina -- "The Last Time I Saw Chris" in <i>The Best American Poetry 2004,</i> for example -- or an ad hoc form like the errata slip ("For 'ludic' read 'lucid'"), his expert use of rhyme and off-rhyme, make his work exemplary. He is crafty, skillful, able to reconcile rival traditions, and I believe his take on American poetry will prove valuable for many years to come. Like Paul, I am proud of this year's book, and delighted to have had this chance to collaborate with him.</p> <p>The late Thom Gunn observed that it may make sense to have movements and sects, with or without manifestos, when there is a "monolithic central tradition," as was true when Eliot and the New Critics ruled the roost. But when there is no central tradition, as now, the "divide and conquer" mentality -- with poets "separating ourselves into armed camps" -- seems less defensible. No volume in this series has been the exclusive province of a sect. While each editor will naturally represent most amply the poems he or she feels most in sympathy with, all have worked to transcend a narrow bias and labored to bring to the fore talents unlike their own. Lyn Hejinian, guest editor of <i>The Best American Poetry 2004,</i> when asked about the omission of certain redoubtable poets known to be her friends, said pointedly that she did not want to represent somebody with less than that person's best work.</p> <p>Though poems may do no harm, the life of the poet is still felt to be full of perils. In April 2004, an article in the <i>Journal of Death Studies</i> reflecting a professor's study of 1,987 dead writers from different countries and different centuries revealed that poets tend to die younger than do other writers. Poets on average die at sixty-two, playwrights at sixty-three, novelists at sixty-six, and nonfiction writers at sixty-eight. This study in comparative lifespans came as news to CNN and the <i>New York Times,</i> which ran stories speculating on the psyche of poets. James Kaufman of the Learning Research Institute at California State University at San Bernardino, whose study caused the fuss, suggested that the poets' higher death rates might correspond to their higher rates of mental illness. Franz Wright, who learned earlier in the same month that he had won the 2004 Pulitzer Prize in poetry, was asked to comment on Professor Kaufman's study. "Since in the U.S., the worse you write the better your chances of survival, it stands to reason that poets would be the youngest to die," he said gloomily. Meanwhile, the backlash against National Poetry Month continues, as witness a brief item that ran in the satirical newspaper <i>The Onion</i> in late April 2005: "This month marks the 10th National Poetry Month, a campaign created in 1996 to raise public awareness of the growing problem of poetry. 'We must stop this scourge before more lives are exposed to poetry,' said Dr. John Nieman of the American Poetry Prevention Society at a Monday fundraising luncheon. 'It doesn't just affect women. Young people, particularly morose high-school and college students, are very susceptible to this terrible affliction. It is imperative that we eradicate poetry now, before more rainy afternoons are lost to it.' Nieman said some early signs of poetry infection include increased self-absorption and tea consumption."</p> <p>Nevertheless, despite the glum news, more people are writing poetry, and going public with it. Rosie O'Donnell's blog features what she calls "the unedited rantings of a fat 43 year old menopausal ex-talk show host," mostly in verse. From a typically lively March 2005 entry: "marriot marquee / lois walks me in thru the kitchen -- / I felt like elvis presley -- a head of state / a great fake important me." Who says poetry and Wall Street are incompatible? <i>Business Week</i> began a profile of Robert Smith, the fund manager of T. Rowe Price's Growth Stock mutual fund, with eight lines from Smith's "Up on Deck," which he says is a metaphor for risk-taking in the stock market. (The poem's risk-averse speaker "never saw how close the wreck / And never cheered the winds first still / As I might have up on deck.") Calvin Trillin gathered some of the politically charged doggerel he has written for <i>The Nation</i> and the book became a surprise best seller. "A lot of people in America hear the words 'rhyme' and 'poetry' and think it might as well be Canadian," Trillin quipped. He has no plans to give up what he calls his "deadline poetry." In "A Poem of Republican Populism" from <i>The Nation</i> of October 11, 2004, the Republican Party is the collective speaker. Here's the poem's conclusion: "Yes, though we always represent / The folks who sit in corporate boxes, / The gratifying paradox is -- / And this we love; it's just the neatest -- / The other party's called elitist."</p> <p>News reports circulated that Saddam Hussein writes poetry in his air-conditioned cell in a U.S. military prison. One poem concerned George Bush, though the leak did not specify whether it was number forty-one or forty-three. In the <i>New York Times</i> "men's fashion" supplement of September 19, 2004, Michael Bastian, the "man behind Bergdorf Goodman Men," held up Frank O'Hara as a fashion template. "We wanted to capture that whole tweedy, rumpled city-gun feeling, like a character in Cheever or Salinger, or like the poet Frank O'Hara," said Bastian, sporting a $995 Cantarelli tweed jacket and $390 Marc Jacobs chinos. Poetry is glamorous! For a reality check, we had the movie <i>We Don't Live Here Anymore.</i> Peter Krause ("Hank") plays a blocked writer, who looks sad despite getting word that <i>The New Yorker</i> has accepted one of his poems. Laura Dern ("Terri") tries to cheer him up. "You're getting published," she says. "It doesn't get much better than that." He replies sharply, "It's a poem, Terri. It's really nothing important."</p> <p>One other celebrity almost made news as a closet poet last year. In March 2004, a senior editor at <i>Us Weekly</i> asked me to read and comment on a poem that Jennifer Lopez had written. The poem had three stanzas. The phrase "I am lovely" appears in two of the stanzas; in the first, the line reads, "I am lonely." Wanting to praise something in the poem prior to suggesting revisions or making criticisms, I singled out the progress from "lonely" to "lovely" -- only to learn that the variation was the product of a typo in an editor's e-mail. In the end, the story didn't run, because more pressing news bumped it: Tom Cruise and Penelope Cruz had broken up. It remains a pleasure to welcome J.Lo to the poets' club, which is as democratic among the living as it is elitist when canons are fixed and all entrants are posthumous.</p> <p> Copyright © 2005 by David Lehman</p><p>Following the enormous success of her two bestselling novels, <I>The Red Tent</I> and <I>Good Harbor,</I> award-winning author Anita Diamant delivers a book of intimate reflections on the milestones, revelations, and balancing acts of life as a wife, mother, friend, and member of a religious community.<P>Before <I>The Red Tent,</I> before <I>Good Harbor,</I> before and during six books on contemporary Jewish life, Anita Diamant was a columnist. Over the course of two decades, she wrote essays about friendship and family, work and religion, ultimately creating something of a public diary reflecting the shape and evolution of her life -- as well as the trends of her generation.<P><I>Pitching My Tent</I> collects the finest of these essays, all freshly revised, updated, and enriched with new material, forming a cohesive and compelling narrative. Organized into six parts, the shape of the book reflects the general shape of adult life, chronicling its emotional and practical milestones. There are sections on marriage and the nature of family ("Love, Marriage, Baby Carriage"); on the ties that bind mother and child ("My One and Only"); on the demands and rewards of friendship ("The Good Ship"); on the challenges of balancing Jewish and secular calendars ("Time Wise"); on midlife ("In the Middle"); and on what it means to embrace Judaism in today's culture ("Home for the Soul").</p><h3>Publishers Weekly</h3><p>This extraordinarily popular series enters its 18th year with a strong, entertaining, accessible effort; Muldoon (Hay, Madoc, etc.) avoids polemics and lets readers focus on poems. Elder statesmen and big names put in expected appearances, some of them (A.R. Ammons, Donald Justice, Charles Bukowski) with posthumously published verse. John Ashbery's splendid "In Dearest, Deepest Winter" shows him attending to life after 9/11; Lyn Hejinian's contribution (excerpted from a book-length poem) attends to the vagaries of the inner life. Selections from less well-known writers favor clarity, technique, and humor, or at least wry irony: Victoria Chang describes "Seven Changs" who share her name; Marlys West's "Ballad of the Subcontractor" describes "the workers who deserted" her building, and the debate champion who irritated her in high school, "like a star quarterback but/ Smaller, brighter." Stacey Harwood assembles a clever prose poem out of nine (fake) "Contributors' Notes." The light touch, formal intricacy and attention to whimsy that have helped earn Muldoon international fame are all in evidence here; it makes for a cohesive collection, open to all the usual arguments about what's really "best"--also always part of the fun. (Sept.) Copyright 2005 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In view of the fact</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In dearest, deepest winter</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Catholic encyclopedia</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I want to be your shoebox</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Roommates : noblesse oblige, Sprezzatura, and gin lane</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The beats</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Irregular masks</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seven Changs</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Jacques Pepin</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The poets march on Washington</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Urban myth</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Five roses in the morning</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Everything I needed to know</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The revolution</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pre-Raphaelite pinups</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The magical sadness of Omar Caceres</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">19-- : an elegy</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I need to be more French : or Japanese</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In praise of my prostate</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Adam and Eve's dog</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Watch</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blue on her hands</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Advice for a stegosaurus</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The searchers</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The turn of the screw</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Kateb Yacine</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I may after leaving you walk quickly or even run</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors' notes</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Variations on two black cinema treasures</TD><TD WIDTH="10%" ALIGN="RIGHT">66</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seesaws</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Motes</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The propagation of the species</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The fatalist</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Remorse after a panic attack in a Wisconsin field, 1975</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Burlap sack</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In a quiet town by the sea</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ants</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A chapter in the life of Mr. Kehoe, fisherman</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A blessing from my sixteen years' son</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hell and love</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The wolf</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shelley</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the graveyard of fallen monuments</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hell</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ill-made almighty</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Space marriage</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song : I love you : who are you?</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dear owl</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Death is intended</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dislocations : seven scenarios</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All the ghosts</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How I became impossible</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Home to roost</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Media effects</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Constanza Bonarelli</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The grilled cheese sandwich</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moscow</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hate poem</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sunlight</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An impasse</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Hughes Cuenod - in his 100th year</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Waiting for a ride</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Twenty questions</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">End of the day on second</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The swing</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marijuana</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For a man who wrote cunt on a motel bathroom mirror</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the notebooks of Anne Verveine, VII</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballad of the subcontractor</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "The Maud project"</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some words inside of words</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bareback pantoum</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A short history of my life</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A big ball of foil in a small New York apartment</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black cat blues</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD></TABLE><article> <h4>Publishers Weekly</h4>This extraordinarily popular series enters its 18th year with a strong, entertaining, accessible effort; Muldoon (Hay, Madoc, etc.) avoids polemics and lets readers focus on poems. Elder statesmen and big names put in expected appearances, some of them (A.R. Ammons, Donald Justice, Charles Bukowski) with posthumously published verse. John Ashbery's splendid "In Dearest, Deepest Winter" shows him attending to life after 9/11; Lyn Hejinian's contribution (excerpted from a book-length poem) attends to the vagaries of the inner life. Selections from less well-known writers favor clarity, technique, and humor, or at least wry irony: Victoria Chang describes "Seven Changs" who share her name; Marlys West's "Ballad of the Subcontractor" describes "the workers who deserted" her building, and the debate champion who irritated her in high school, "like a star quarterback but/ Smaller, brighter." Stacey Harwood assembles a clever prose poem out of nine (fake) "Contributors' Notes." The light touch, formal intricacy and attention to whimsy that have helped earn Muldoon international fame are all in evidence here; it makes for a cohesive collection, open to all the usual arguments about what's really "best"--also always part of the fun. (Sept.) Copyright 2005 Reed Business Information. </article> <article> <h4>Library Journal</h4>Before Diamant's best-selling novel The Red Tent and her six collections on contemporary Jewish life, she was a columnist for the Boston Globe. Her job was "to report on the events of the day and changes under [her] own roof," with the goal of using her experiences to reflect trends. In writing about topics as seemingly diverse as friendships, marriage, birth, death, her dog, electoral politics, abortion, lingerie, situation comedies, God, and country, Diamant connected with her audience by tapping into the zeitgeist. Organized into six parts, this memoir includes sections on love and marriage, mother and child, friendships, the challenges of balancing a secular and religious calendar, midlife, and what it means to embrace Judaism. Because Diamant (like her readers) was "reinventing the female psyche and soul," the essays she has included here are deeply personal and, admittedly, "a sort of diary." The result is a humorous, honest, and friendly collection impossible not to love. Highly recommended for all public libraries. [Previewed in Prepub Alert, LJ 6/1/03.]-Pam Kingsbury, Florence, AL Copyright 2003 Reed Business Information. </article>
452Who's to Say What's Obscene?: Politics, Culture, and Comedy in America TodayPaul Krassner0<p><P>Krassner published The Realist from 1958-2001, but when People magazine called him "Father of the underground press," he immediately demanded a paternity test. His style of personal journalism constantly blurs the line between observer and participant. Krassner currently writes for High Times, the porn industry's Adult Video News, and blogs for Huffington Post. Arianna Huffington is the co-founder and editor-in-chief of The Huffington Post, a nationally syndicated columnist, and author of twelve books. The Huffington Post is one of the most widely-read, linked to, and frequently-cited media brands on the Internet. In 2006, she was named to the Time 100, Time Magazine's list of the world's 100 most influential people.</p>Paul Krassner, Arianna Huffington (Foreword by), Wavy Gravywhos-to-say-whats-obscenepaul-krassner97808728650130872865010$15.33PaperbackCity Lights BooksJuly 2009American Humor - Peoples & Cultures2405.30 (w) x 7.90 (h) x 0.80 (d)<p>“Krassner is absolutely compelling. He has lived on the edge so long he gets his mail delivered there.”—<i>San Francisco Chronicle</i></p> <p>In this collection of irreverent and satirical essays, counterculture icon Paul Krassner explores the moral obscenity of contemporary politics and culture—from censorship of cartoons depicting the Prophet Mohammed to lessons learned from his mentor, Lenny Bruce.</p> <p><b>Paul Krassner</b> is the founding editor of <i>The Realist</i>. He currently writes for <i>High Times</i>, <i>Adult Video News</i>, The Huffington Post, and CounterPunch.</p><p><P>Satirical essays by a countercultural icon about the moral obscenity of contemporary politics, culture, and comedy.</p><h3>Publishers Weekly</h3><p><P>Krassner (<I>Confessions of a Raving Unconfined Nut</I>), publisher of the <I>Realist</I> magazine, ruminates on American social and political hypocrisy in these essays that drift between current events and the heyday of the 1960s counterculture when the author dropped acid with the Merry Pranksters and palled around with Abbie Hoffman. Krassner weighs in on the last election cycle, the decriminalization of marijuana, and racism, with a stated (and largely achieved) goal of illuminating the gulf between what society says and what it does. The essays focus mostly on other humorists, and while he points out that today "sarcasm passes for irony," he's far from a curmudgeon and praises such current comics as Sacha Baron Cohen and Sarah Silverman. Krassner says, "It doesn't have to get a belly laugh, it just has to be valid criticism, which is the classic definition of satire," and while this book lingers too long on nostalgic remembrances and tackles serious issues too directly to get constant laughs, it makes a convincing case for the importance-and political necessity-of irreverence. <I>(Aug.)</I></P>Copyright &copy; Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.</p><article> <h4>Publishers Weekly</h4><p>Krassner (<i>Confessions of a Raving Unconfined Nut</i>), publisher of the <i>Realist</i> magazine, ruminates on American social and political hypocrisy in these essays that drift between current events and the heyday of the 1960s counterculture when the author dropped acid with the Merry Pranksters and palled around with Abbie Hoffman. Krassner weighs in on the last election cycle, the decriminalization of marijuana, and racism, with a stated (and largely achieved) goal of illuminating the gulf between what society says and what it does. The essays focus mostly on other humorists, and while he points out that today "sarcasm passes for irony," he's far from a curmudgeon and praises such current comics as Sacha Baron Cohen and Sarah Silverman. Krassner says, "It doesn't have to get a belly laugh, it just has to be valid criticism, which is the classic definition of satire," and while this book lingers too long on nostalgic remembrances and tackles serious issues too directly to get constant laughs, it makes a convincing case for the importance-and political necessity-of irreverence. <i>(Aug.)</i></p> Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. </article> <article> <h4>The Nation</h4>[Krassner] uses the concept of 'obscenity' as a moral framing device to drive a series of free-form observations on war, drugs, sex, entertainment culture and connections between the past and the present. Krassner is not only concerned with identifying what is not obscene (in his view, pretty much anything to do with sex); he crafts a definition that instead encompasses greed, dishonesty, cruelty and murder. . . . Throughout the book Krassner retains the affect of a hip elder statesman with a perpetual twinkle in his eye, reminding his readers that politics without humor is boring and that laughter without a moral compass is lame.<br> —Danny Goldberg </article><article> <h4>Booklist</h4>Krassner writes on anything that catches his eye: the war on drugs, stand-up comedy, Don Imus, to mention just three topics. . . . The collection also includes a number of touching memorials to cultural icons Krassner has known, including Allen Ginsberg, George Carlin, Kurt Vonnegut, and Robert Anton Wilson.<br> —Jack Helbig </article> <article> <h4>Book News</h4>For readers unfamiliar with Krassner, his credentials--author, journalist, editor, talk show guest--seem fairly safe. But combine those with his role as a co-founder of the Yippie movement, his membership in Ken Kesey's Merry Pranksters, and his X-rated standup comedy routine and those initial credentials sound downright dangerous. Krassner is a satirist and he uses that skill here with his irreverent takes on the hypocrisies and absurdities in politics, comedy, and other aspects of American life. Offensive or funny? It's a matter of taste.<br> </article> <article> <h4>The Bohemian</h4>All of the essays in Krassner's new book have been published before--in High Times, The Huffington Post, The Nation and The L.A. Weekly--but they all read as though they were written yesterday. That's because Krassner is always shocking, always provocative and for all his shenanigans, amazingly serious about the pornography of power and the obscenity of war (as well as Somali pirates and piracy on the web).<br> —Jonah Raskin </article> <article> <h4>The Playboy Nightstand</h4>Krassner lives in a world where Truth and Satire are swingers, changing partners so often you never know who belongs with whom. His latest collection of entertaining essays, which originally appeared in publications as diverse as High Times, The Nation, Adult Video NewsOnline and the Huffington Post (Arianna Huffington wrote the introduction), covers comedy, the drug war, the counterculture, dead icons and freedom. Don't miss the parts they left out of the Borat movie, the short history of racism in standup and the discussion of whether Moses might have been tripping when he parted the Red Sea. </article> <article> <h4>Ben Trentelman</h4>Krassner very blatantly points out how, through a carefully staged smoke and mirror routine, our priorities are being manipulated by politicians, media, and the filthy rich. . . . Ignore anything that is actually newsworthy and focus on Bono dropping the F bomb on TV or Janet Jackson's nip slip during the super bowl. What is truly obscene: all content that we enjoy as entertainment being controlled by a very small group of wealthy businessmen, or Tommy Chong selling a few bongs over state lines?<br> — <i>Salt Lake Underground</i> </article>
453Impossible PrincessKevin Killian0<p><P>Kevin Killian has written a book of poetry, Argento Series, novels Shy and Arctic Summer, a memoir, Bedrooms Have Windows, and short story collections Little Men, a PEN Oakland award winner, and I Cry Like a Baby. Killian co-wrote Jack Spicer's biography, Poet Be Like God, and co-edited Spicer's The Train of Thought, The Tower of Babel, and collected poems.</p>Kevin Killianimpossible-princesskevin-killian97808728652800872865282$15.95PaperbackCity Lights BooksNovember 2009Fiction, American Literature Anthologies, Anthologies, Gay & Lesbian Studies, Fiction Subjects2005.50 (w) x 7.90 (h) x 0.60 (d)<p>“Whatever his subject matter, Killian maintains full authority—offering up a homoerotic interpretation of Flannery O’Connor’s <i>A Good Man Is Hard to Find</i> and a brilliant imagined history of Hank Williams. Here, under the author’s careful control and easygoing charisma, everything seems up for grabs, and almost anything seems possible.”—<i>Time Out New York</i></p> <p><i>Impossible Princess</i> is the third collection of gay short fiction by PEN Award–winning San Francisco–based author <b>Kevin Killian</b>. A member of the “new narrative” circle including Dennis Cooper and Kathy Acker, Killian is a master short story writer, crafting campy and edgy tales that explore the humor and darkness of desire. A former director of Small Press Traffic and a co-editor of <i>Mirage/Periodical</i>, Killian co-wrote Jack Spicer’s biography, <i>Poet Be Like God</i>, and co-edited three Spicer books, including <i>My Vocabulary Did This To Me: Collected Poems</i>. His latest book, <i>Action Kylie</i>, is a collection of poems devoted to Kylie Minogue.</p><p><P>Impossible Princess is a book John Rechy's or Dennis Cooper's characters would read.</p><h3>Publishers Weekly</h3><p>Ten homoerotic stories by Killian (Spreadeagle) explore startling encounters between the straight and gay worlds. Several of the stories, set in the 1970s, appeared in Killian's previous collections, such as &ldquo;Hot Lights,&rdquo; in which a strapped-for-cash student gets hired for a hardcore porn shoot, and &ldquo;Spurt,&rdquo; set in a Long Island motel where a couple of commuters congregate to indulge in morbid sex. Others are elaborate romances, such as &ldquo;Dietmar Lutz Mon Amour,&rdquo; where an erotic encounter with a security guard in the basement of San Francisco's De Young museum provides a fulfilling intellectual kinship for the married narrator, and &ldquo;Too Far,&rdquo; in which a straight swimming pool salesman from Maryland clearly wants to experiment with a man at a party, though he may get more than he anticipates. Killian is best being self-consciously writerly, as in &ldquo;Rochester,&rdquo; in which a na&iuml;ve writer arrives at the dilapidated home of the legendary writer &ldquo;Kevin Killian,&rdquo; only to discover a decrepit has-been who keeps a pet chimpanzee typing in the bedroom. Fans of Killian's work will be pleased to find fresh stimulation with shades of Dennis Cooper. (Nov.)</p><P>Young Hank Williams 7<P>Too Far 13<P>Zoo Story 37<P>Spurt 43<P>Ricky's Romance 61<P>Dietmar Lutz Mon Amour 73<P>Hot Lights 109<P>White Rose 119<P>Rochester 131<P>Greensleeves 147<article> <h4>Publishers Weekly</h4>Ten homoerotic stories by Killian (Spreadeagle) explore startling encounters between the straight and gay worlds. Several of the stories, set in the 1970s, appeared in Killian's previous collections, such as “Hot Lights,” in which a strapped-for-cash student gets hired for a hardcore porn shoot, and “Spurt,” set in a Long Island motel where a couple of commuters congregate to indulge in morbid sex. Others are elaborate romances, such as “Dietmar Lutz Mon Amour,” where an erotic encounter with a security guard in the basement of San Francisco's De Young museum provides a fulfilling intellectual kinship for the married narrator, and “Too Far,” in which a straight swimming pool salesman from Maryland clearly wants to experiment with a man at a party, though he may get more than he anticipates. Killian is best being self-consciously writerly, as in “Rochester,” in which a naïve writer arrives at the dilapidated home of the legendary writer “Kevin Killian,” only to discover a decrepit has-been who keeps a pet chimpanzee typing in the bedroom. Fans of Killian's work will be pleased to find fresh stimulation with shades of Dennis Cooper. (Nov.) </article> <article> <h4>Fanzine</h4>Readers familiar with Killian's earlier work, no matter how familiar they believe themselves to be, are entering foreign terrain. It's much darker here in the framing, but just as fantastic. Familiar or not, it's a place worth seeing.<br> —Jesse Hudson </article><article> <h4>Peter Dube</h4>. . . in [Killian's] pages, characters don't so much stumble into experience as embrace it, tear it apart, and ache for more and different kinds of it. His body of work, which includes (and hybridizes) fiction, poetry, the memoir and the essay, is marked by a playful rigor and an openness that takes nothing at face value. It wields an uncanny ability to be penetrating and generous at once. All these are qualities that have made him — deservedly — a cult figure among discerning readers everywhere.<br> — <i>Ashé Journal</i> </article> <article> <h4>Juliette Tang</h4>When it comes to unpretty and unsentimental sex shed of the layers of accumulated euphemism, Killian doles it out in spades whether readers are prepared for it or not. <br> — <i>San Francisco Bay Guardian</i> </article> <article> <h4>Book Marks</h4>What's the secret of Killian's prodigious talents with prose, poetry, plays, biographies - and, as is the case with most of the tales in this genius collection, literary porn? All is revealed in 'Rochester' (written with Tony Leuzzi), in which a star-struck reader of 'this great man' finally meets 'Kevin Killian' after hot and heavy e-mail correspondence - only to find he's a dirty old man living with a chimpanzee who hammers out stories for him on a battered electric typewriter. 'Spurt,' more grounded in morose reality, is about a jaded commuter's motel trysts with damaged men; erotic fantasy also fuels 'Too Far,' in which a virginal, sexually confused swimming pool salesman, obsessed by Kylie Minogue, meets a has-been British pop star who tickles his libido. Five of the 10 short stories in this exhilarating collection by one of gay lit's luminaries are reprints - but because the books in which they originally appeared are long out of print, and because they're so darned good, this collection is better than new.<br> —Richard Labonte </article> <article> <h4>Bay Area Reporter</h4>In the new stories of Impossible Princess, Killian's only gotten more edgy, imaginative, funny and weirdo, bonko, crazy sexy. It's amazing the way he blends such wild provocations of porn with immersion in pop culture and philosophical musings. He's a pretty unique writer, stimulating a reader from brain to bone.<br> &amp;$151;John F. Karr </article> <article> <h4>Time Out New York</h4>Whatever his subject matter, Killian maintains full authority-offering up a homoerotic interpretation of Flannery O'Connor's A Good Man Is Hard to Find and a brilliant imagined history of Hank Williams. Here, under the author's careful control and easygoing charisma, everything seems up for grabs, and almost anything seems possible. </article>
454This Bridge We Call Home: Radical Visions for TransformationGloria E. Anzaldua0<p><P>Gloria E. Anzald&#250;a is a self-described tejana patlache (queer) nepantlera spiritual activist and has played a pivotal role in defining U.S. feminisms, Chicano/a issues, ethnic studies, and queer theory. Her book <b>Borderlands/La frontera&#58; The New Mestiza</b> was selected as one of the 100 best books of the century by <b>Hungry</b> <b>Mind Review</b> and the <b>Utne Reader.</b><br>AnaLouise Keating is a nepantlera, spiritual activist, and associate professor of Women's Studies at Texas Women's University. She is the author of <b>Women Reading Women Writing</b> and has published articles on critical "race" theory, queer theory, and Latina and African American women writers.</p>Gloria E. Anzaldua (Editor), AnaLouise Keating (Editor), Analouise Keating (Editor), Analouise Keatingthis-bridge-we-call-homegloria-e-anzaldua97804159368280415936829$44.84PaperbackTaylor & Francis, Inc.September 20022002American Literature Anthologies, Women's Biography, Anthologies, General & Miscellaneous Literary Criticism, Gay & Lesbian Studies, Women's Biography, Gay & Lesbian Biographies6246.00 (w) x 8.80 (h) x 1.40 (d)<p>More than twenty years after the ground-breaking anthology <b>This Bridge Called My Back</b> called upon feminists to envision new forms of communities and practices, Gloria E. Anzaldúa and AnaLouise Keating have painstakingly assembled a new collection of over eighty original writings that offers a bold new vision of women-of-color consciousness for the twenty-first century. Written by women and men—both "of color" and "white"—<b>this bridge</b> <b>we call home</b> will challenge readers to rethink existing categories and invent new individual and collective identities.</p> <p><b>2002 Lambda Literary Award Finalist, Nonfiction Anthology.</b> </p><p><P>More than twenty years after the ground-breaking anthology <b>This Bridge Called My Back</b> called upon feminists to envision new forms of communities and practices, Gloria E. Anzald&#250;a and AnaLouise Keating have painstakingly assembled a new collection of over eighty original writings that offers a bold new vision of women-of-color consciousness for the twenty-first century. Written by women and men&#151;both "of color" and "white"&#151;<b>this bridge</b> <b>we call home</b> will challenge readers to rethink existing categories and invent new individual and collective identities.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Giving Thanks</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface: (Un)natural bridges, (Un)safe spaces</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Charting Pathways, Marking Thresholds ... A Warning, An Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword: AfterBridge: Technologies of Crossing</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%">I</TD><TD WIDTH="70%">"Looking for my own bridge to get over" ... exploring the impact</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Open the Door</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Chameleon</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">Del puente al arco iris: transformando de guerrera a mujer de la paz - From Bridge to Rainbow: Transforming from Warrior to Woman of Peace</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Nacido en un Puente/Born on a Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Engaging Contradictions, Creating Home ... Three Letters</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">Bridges/Backs/Books: A Love Letter to the Editors</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Bridging Different Views: Australian and Asia-Pacific Engagements with This Bridge Called My Back</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">Thinking Again: This Bridge Called My Back and the Challenge to Whiteness</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">The Spirit of This Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Remembering This Bridge, Remembering Ourselves: Yearning, Memory, and Desire</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">Seventh Fire</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%">II</TD><TD WIDTH="70%">"Still struggling with the boxes people try to put me in" ... resisting the labels</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">Interracial</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">Los Intersticios: Recasting Moving Selves</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">Gallina Ciega: Turning the Game on Itself</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%">15</TD><TD WIDTH="70%">Que Onda Mother Goose: The Real Nursery Rhyme from El Barrio</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%">16</TD><TD WIDTH="70%">The Hipness of Mediation: A Hyphenated German Existence</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%">17</TD><TD WIDTH="70%">Living Fearlessly With and Within Differences: My Search for Identity Beyond Categories and Contradictions</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%">18</TD><TD WIDTH="70%">A Letter to a Mother, from Her Son</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%">19</TD><TD WIDTH="70%">Young Man Popkin: A Queer Dystopia</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%">20</TD><TD WIDTH="70%">Transchildren, Changelings, and Fairies: Living the Dream and Surviving the Nightmare in Contemporary America</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%">21</TD><TD WIDTH="70%">The Real Americana</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%">22</TD><TD WIDTH="70%">Shades of a Bridge's Breath</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%">23</TD><TD WIDTH="70%">Nomadic Existence: Exile, Gender, and Palestine (an E-mail Conversation between Sisters)</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%">24</TD><TD WIDTH="70%">(Re)Writing Home: A Daughter's Letter to Her Mother</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%">25</TD><TD WIDTH="70%">In the End (Al Fin) We are all Chicanas (Somos Todos Chicanas): pivotal positions for change</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%">III</TD><TD WIDTH="70%">"Locking arms in the master's house" ... omissions, revisions, new issues</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">26</TD><TD WIDTH="70%">Burning House</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%">27</TD><TD WIDTH="70%">"What's Wrong with a Little Fantasy?" Storytelling from the (Still) Ivory Tower</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%">28</TD><TD WIDTH="70%">Footnoting Heresy: E-mail Dialogues</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%">29</TD><TD WIDTH="70%">Memory and the New-Born: The Maternal Imagination in Diaspora</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%">30</TD><TD WIDTH="70%">The "White" Sheep of the Family: But Bleaching is like Starvation</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%">31</TD><TD WIDTH="70%">Lesbianism, 2000</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%">32</TD><TD WIDTH="70%">"Now That You're White Man": Changing Sex in a Postmodern World - Being, Becoming, and Borders</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%">33</TD><TD WIDTH="70%">Poets, Lovers, and the Master's Tools: A Conversation with Audre Lorde</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%">34</TD><TD WIDTH="70%">"All I Can Cook is Crack on a Spoon": A Sign for a New Generation of Feminists</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%">35</TD><TD WIDTH="70%">Don't Touch: Recuerdos (Self-Destruction)</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%">36</TD><TD WIDTH="70%">Premature</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%">37</TD><TD WIDTH="70%">The Reckoning</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%">IV</TD><TD WIDTH="70%">"A place at the table" ... surviving the battles, shaping our worlds</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">38</TD><TD WIDTH="70%">Puente del Fuego</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%">39</TD><TD WIDTH="70%">Vanish is a Toilet Bowl Cleaner</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%">40</TD><TD WIDTH="70%">Yo'Done Bridge is Fallin' Down</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%">41</TD><TD WIDTH="70%">Council Meeting</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%">42</TD><TD WIDTH="70%">For My Sister: Smashing the Walls of Pretense and Shame</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%">43</TD><TD WIDTH="70%">Resisting the Shore</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%">44</TD><TD WIDTH="70%">Standing on This Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%">45</TD><TD WIDTH="70%">Stolen Beauty</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%">46</TD><TD WIDTH="70%">Looking for Warrior Woman (Beyond Pocahontas)</TD><TD WIDTH="10%" ALIGN="RIGHT">314</TD><TR><TD WIDTH="20%">47</TD><TD WIDTH="70%">So Far from the Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">325</TD><TR><TD WIDTH="20%">48</TD><TD WIDTH="70%">The Ricky Ricardo Syndrome: Looking for Leaders, Finding Celebrities</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%">49</TD><TD WIDTH="70%">Survival</TD><TD WIDTH="10%" ALIGN="RIGHT">339</TD><TR><TD WIDTH="20%">50</TD><TD WIDTH="70%">Imagining Differently: The Politics of Listening in a Feminist Classroom</TD><TD WIDTH="10%" ALIGN="RIGHT">341</TD><TR><TD WIDTH="20%">V</TD><TD WIDTH="70%">"Shouldering more identity than we can bear" ... seeking allies in academe</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">51</TD><TD WIDTH="70%">Nurturance</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%">52</TD><TD WIDTH="70%">Aliens and Others in Search of the Tribe in Academe</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%">53</TD><TD WIDTH="70%">The Fire in My Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">369</TD><TR><TD WIDTH="20%">54</TD><TD WIDTH="70%">Notes from a Welfare Queen in the Ivory Tower</TD><TD WIDTH="10%" ALIGN="RIGHT">372</TD><TR><TD WIDTH="20%">55</TD><TD WIDTH="70%">Being the Bridge: A Solitary Black Woman's Position in the Women's Studies Classroom as a Feminist Student and Professor</TD><TD WIDTH="10%" ALIGN="RIGHT">381</TD><TR><TD WIDTH="20%">56</TD><TD WIDTH="70%">This World is My Place</TD><TD WIDTH="10%" ALIGN="RIGHT">390</TD><TR><TD WIDTH="20%">57</TD><TD WIDTH="70%">Missing Ellen and Finding the Inner Life: Reflections of a Latina Lesbian Feminist on the Politics of the Academic Closet</TD><TD WIDTH="10%" ALIGN="RIGHT">391</TD><TR><TD WIDTH="20%">58</TD><TD WIDTH="70%">The Cry-Smile Mask: A Korean-American Woman's System of Resistance</TD><TD WIDTH="10%" ALIGN="RIGHT">397</TD><TR><TD WIDTH="20%">59</TD><TD WIDTH="70%">Andrea's Third Shift: The Invisible Work of African-American Women in Higher Education</TD><TD WIDTH="10%" ALIGN="RIGHT">403</TD><TR><TD WIDTH="20%">60</TD><TD WIDTH="70%">Recollecting This Bridge in an Anti-Affirmative Action Era: Literary Anthologies, Academic Memoir, and Institutional Autobiography</TD><TD WIDTH="10%" ALIGN="RIGHT">415</TD><TR><TD WIDTH="20%">61</TD><TD WIDTH="70%">Healing Suenos for Academia</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%">VI</TD><TD WIDTH="70%">"Yo soy to otro yo - I am your other I" ... forging common ground</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">62</TD><TD WIDTH="70%">My tears are wings</TD><TD WIDTH="10%" ALIGN="RIGHT">439</TD><TR><TD WIDTH="20%">63</TD><TD WIDTH="70%">The Colors Beneath Our Skin</TD><TD WIDTH="10%" ALIGN="RIGHT">440</TD><TR><TD WIDTH="20%">64</TD><TD WIDTH="70%">Connection: The Bridge Finds its Voice</TD><TD WIDTH="10%" ALIGN="RIGHT">449</TD><TR><TD WIDTH="20%">65</TD><TD WIDTH="70%">The Body Politic - Meditations on Identity</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%">66</TD><TD WIDTH="70%">Speaking of Privilege</TD><TD WIDTH="10%" ALIGN="RIGHT">458</TD><TR><TD WIDTH="20%">67</TD><TD WIDTH="70%">The Latin American and Caribbean Feminist/Lesbian Encuentros: Crossing the Bridge of Our Diverse Identities</TD><TD WIDTH="10%" ALIGN="RIGHT">463</TD><TR><TD WIDTH="20%">68</TD><TD WIDTH="70%">Sitting in the Waiting Room of Adult and Family Services at SE 122nd in Portland, Oregon, with My Sister and My Mother Two Hours Before I Return to School (April 1995)</TD><TD WIDTH="10%" ALIGN="RIGHT">470</TD><TR><TD WIDTH="20%">69</TD><TD WIDTH="70%">Tenuous Alliance</TD><TD WIDTH="10%" ALIGN="RIGHT">473</TD><TR><TD WIDTH="20%">70</TD><TD WIDTH="70%">Chamizal</TD><TD WIDTH="10%" ALIGN="RIGHT">483</TD><TR><TD WIDTH="20%">71</TD><TD WIDTH="70%">Linkages: A Personal-Political Journey with Feminist-of-Color Politics</TD><TD WIDTH="10%" ALIGN="RIGHT">486</TD><TR><TD WIDTH="20%">VII</TD><TD WIDTH="70%">"I am the pivot for transformation" ... enacting the vision</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">72</TD><TD WIDTH="70%">Girl and Snake</TD><TD WIDTH="10%" ALIGN="RIGHT">495</TD><TR><TD WIDTH="20%">73</TD><TD WIDTH="70%">Thawing Hearts, Opening a Path in the Woods, Founding a New Lineage</TD><TD WIDTH="10%" ALIGN="RIGHT">496</TD><TR><TD WIDTH="20%">74</TD><TD WIDTH="70%">Still Crazy After All These Tears</TD><TD WIDTH="10%" ALIGN="RIGHT">506</TD><TR><TD WIDTH="20%">75</TD><TD WIDTH="70%">"And Revolution is Possible": Re-Membering the Vision of This Bridge</TD><TD WIDTH="10%" ALIGN="RIGHT">510</TD><TR><TD WIDTH="20%">76</TD><TD WIDTH="70%">Witch Museum</TD><TD WIDTH="10%" ALIGN="RIGHT">517</TD><TR><TD WIDTH="20%">77</TD><TD WIDTH="70%">Forging El Mundo Zurdo: Changing Ourselves, Changing the World</TD><TD WIDTH="10%" ALIGN="RIGHT">519</TD><TR><TD WIDTH="20%">78</TD><TD WIDTH="70%">In the Presence of Spirit(s): A Meditation on the Politics of Solidarity and Transformation</TD><TD WIDTH="10%" ALIGN="RIGHT">530</TD><TR><TD WIDTH="20%">79</TD><TD WIDTH="70%">Continents</TD><TD WIDTH="10%" ALIGN="RIGHT">539</TD><TR><TD WIDTH="20%">80</TD><TD WIDTH="70%">Now let us shift ... the path of conocimiento ... inner work, public acts</TD><TD WIDTH="10%" ALIGN="RIGHT">540</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Works Cited</TD><TD WIDTH="10%" ALIGN="RIGHT">579</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors' Biographies</TD><TD WIDTH="10%" ALIGN="RIGHT">593</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editors' Biographies</TD><TD WIDTH="10%" ALIGN="RIGHT">602</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">603</TD></TABLE>
455Our Own Stories: Readings for Cross-Cultural CommunicationNorine Dresser0Norine Dresserour-own-storiesnorine-dresser97802018467060201846705$25.65PaperbackLongman Publishing GroupAugust 19952nd EditionLanguage Arts &amp; Disciplines, General1617.90 (w) x 10.12 (h) x 0.32 (d)
456Sky Begins at Your FeetCaryn Mirriam-Goldberg0Caryn Mirriam-Goldbergsky-begins-at-your-feetcaryn-mirriam-goldberg97818881604371888160438$15.69PaperbackIce Cube PressSeptember 2009Cancer Patients - Biography, American Literature Anthologies2426.10 (w) x 8.90 (h) x 0.80 (d)<article> <h4>Library Journal</h4>If you're going to write about your breast cancer diagnosis, it doesn't hurt being the poet laureate of Kansas. With a poet's eye and lyricism, Mirriam-Goldberg describes all the emotions and trials patients and their families experience, allowing readers to see past the struggle to the richness beyond. Highly recommended. </article>
457Hot Biscuits: Eighteen Stories by Women and Men of the Ranching WestMax Evans0<p><P>Max Evans, the author of <i>Bluefeather Fellini, The Rounders, The Hi Lo Country</i>, and twenty-two other books, lives in Albuquerque, New Mexico. He received the Owen Wister Award for lifelong contributions to the field of western literature from the Western Writers of America.<p><P>Candy Vyvey Moulton has written or co-written eleven books on western history and has won the Spur Award. Moulton makes her home near Encampment, Wyoming, where she edits the Western Writers of America <i>Roundup Magazine.</i></p>Max Evans (Editor), Candy Moultonhot-biscuitsmax-evans9780826328892082632889X$12.95HardcoverUniversity of New Mexico PressJuly 20021STHistory, Europe<p>For more than twenty years Max Evans has been trying to assemble a book of stories by working cowboys-men who were ranch hands with at least five years of paid experience and women who had either been raised on ranches or joined their husbands on a double hire-out for five years or more. With the expert help of Candy Moulton he has succeeded in collecting eighteen stories set in the Working West after 1920 that meet his inflexible requirements:<I> experience plus imagination plus innate writing ability. </I> <p>As Evans notes in his introduction, subdivisions, condos, and ranchettes are shrinking the Working West every day: "Some of those who once lived it, and those few who are so agonizingly still working it with bloodied souls, must put it down on paper. . . . If we fail to act with immediacy the truth will continue to dissipate. . . with frightening rapidity." <p>The stories in this anthology range as wide as the Rockies, from a murder mystery to the tale of a unique horse trainer, to a family's desperate battle against a grass and forest fire to the story of a world famous violinist. But they share a common denominator: biscuits. Almost every story includes hot biscuits as a feature of daily life in the Working West. Biscuits, it turns out, are more important in western life than guns and maybe more than coffee. In the West, people who could make superior biscuits received more respect than the mayor and the police chief combined. <p>The authors of the stories in <I>Hot Biscuits</I> are Taylor Fogerty, J. P. S. Brown, Willard Holopeter, Elaine Long, Sinclair Browning, Slim Randles, Lori Van Pelt, Grem Lee, Dick Hyson, Sally C. Bates, Virginia Bennett, Curt Brummett, Jimbo Brewer, Paula Paul, Helen C. Avery, Gwen Peterson, and the editors.</p>Introduction: To the Wonder of Reality<br> One Man's Land<br> Cowboys Fly<br> Guiding Light<br> The Violinist's Story<br> The Rough String Rider<br> Night Ride<br> Natural Causes<br> The Stormy Blue Jitney<br> Open Winter<br> Junior<br> Spooky Cook<br> Nightwatch<br> Wreck<br> The Old Man<br> Divine Intervention<br> Dry Bogged<br> The Present<br> Once A Cowboy<br> Afterword: Cowboy Truths<br>
458Santa Fe Nativa: A Collection of Nuevomexicano WritingRosalie C. Otero0<p>Rosalie C. Otero is the director of the University Honors Program, University of New Mexico, Albuquerque, and the associate dean of University College. She has written several book chapters, articles, and short fiction.<p>A. Gabriel Mel&eacute;ndez is professor of American studies at the University of New Mexico, Albuquerque.<p>Enrique R. Lamadrid is a literary folklorist and cultural historian in the University of New Mexico's Department of Spanish and Portuguese. In 2005, he was awarded the Americo Paredes Prize by the American Folklore Society in recognition of his work as a cultural activist.<p>Miguel A. Gandert is professor of journalism and communication, University of New Mexico, Albuquerque.</p>Rosalie C. Otero (Editor), Enrique R. Lamadrid (Editor), A. Gabriel Melendez (Editor), Miguel A. Gandertsanta-fe-nativarosalie-c-otero97808263481800826348181$15.84HardcoverUniversity of New Mexico PressNovember 2009BilingualAmerican Literature Anthologies244<p>The belief that land is sacred, embodying the memory and inheritance of those who sacrificed to settle it, is common among New Mexican Hispanos, or Nuevomexicanos, and Santa Fe serves as their unique geographic and symbolic center. The city will celebrate the four hundredth anniversary of its founding in 2010 and this anthology honors its role as the foundation of New Mexican Hispanic culture.</p> <p>Divided into nine parts, this collection reflects the displacement that many Hispanos feel having watched their hometown transform into a tourist and art Mecca. Parts I and II pay homage to Santa Fe through the sentiment that Hispano writers express for the city. Parts III and IV provide historical maps for places that have been reconstructed or obliterated by development, while Part V is dedicated to Santa Fe's distinctive neighborhoods. Parts VI and VII express nostalgia for traditional lifeways. Part VIII illustrates the spirit of Santa Fe and Part IX reflects on traditions that stand the test of time.</p> <p><b>2010 Southwest Book of the Year, Tucson-Pima County Public Library</b></p><p>This anthology honors Santa Fe's role as the foundation of New Mexican Hispanic culture.</p>
459Literary AustinDon Graham0<p>DON GRAHAM is the J. Frank Dobie Regents Professor of American and English Literature at the University of Texas at Austin. In 2006, he received the Chancellor's Council Outstanding Teaching Award. He is the author of numerous books and articles, including <i>Giant Country: Essays on Texas</i> (1998); and <i>Kings of Texas: The 150-Year Saga of an American Ranching Empire</i> (2003). In 2003 Graham edited <i>Lone Star Literature: From the Red River to the Rio Grande.</i> Graham has lived in Austin since the late 1970s.</p>Don Grahamliterary-austindon-graham97808756534260875653421HardcoverTexas Christian University PressApril 2007New EditionHistory<p>Don Graham brings together the history, color, and character of Texas's capital city since 1839 when it was selected, on the advice of Mirabeau B. Lamar, as the site for a new capital of the then-Republic of Texas.<p>Essays, fiction, and poetry reveal the variety of literary responses to Austin through the decades and are organized in a roughly chronological fashion to reveal the themes, places, and personalities that have defined the life of the city.<p> Austin was always about three things: natural beauty, government, and education; thus, many of the pieces in this volume dwell upon one and sometimes all of these themes.<p> Besides O. Henry, the other most important literary figures in the city's history were J. Frank Dobie, Roy Bedichek, and Walter P. Webb: folklorist, naturalist, historian. During their heyday, from the 1930s through the early 1960s, they were the face of literary culture in the city. They remain a source of interest, pride, and sometimes controversy.<p> Austin is a well-known haven of liberal political activism, represented by such well-known figures as Lyndon B. Johnson, Ralph Yarborough, Ann and David Richards, Liz Carpenter, Willie Morris, John Henry Faulk, and Molly Ivins.<p> The city is also a haven for literary writers, many of whom appear in these pages: Carolyn Osborn, Rolando Hinojosa-Smith, Dagoberto Gilb, Stephen Harrigan, and Lawrence Wright, to name a few. Among the poets, Thomas Whitbread, Dave Oliphant, David Wevill, and Christopher Middleton have long been on the scene.<p> Certain sites recur-the University Tower, Barton Springs, various watering holes of another kind-so that anybody who has ever spent time in Austin will experience twinges of nostalgia for vanished icons, closed-down venues, and long-gone sites of pleasure brought to life once again, in these pages.</p><h3>Tom Dodge, - The Dallas Morning News</h3><p>Mr. Graham has developed, via nonfiction, fiction, and poetry, a clear picture of Austin, its history and its present realities and postures.</p>
460The Best American Short Plays 2004-2005Barbara Parisi0Barbara Parisithe-best-american-short-plays-2004-2005barbara-parisi97815578371271557837120$15.83PaperbackApplause Theatre and Cinema BooksAugust 2008Drama Anthologies, American Drama, American Literature Anthologies3325.50 (w) x 8.40 (h) x 0.70 (d)<p>(Best American Short Plays). The acclaimed series has a new editor. Applause is proud to continue the series that for over 60 years has been the standard of excellence for one-act plays in America. Our new editor, Barbara Parisi, has selected the following 14 plays: Crazy Eights by David Lindsay-Abaire; He Came Home One Day While I Was Washing Dishes by K. Biadaszkiewicz; Fin &amp; Euba by Audrey Cefaly; I'll Do it Tomorrow by Michael Roderick; Arkadelphia by Samuel Brett Williams; Reading List by Susan Miller; Such a Beautiful Voice Is Sayeda's and Karima's City by Yussef El Guindi; Charlie Blake's Boat by Graeme Gillis; The News by Billy Aronson; Heights by Amy Fox; The Devil Is in the Details by Jill Elaine Hughes; Letty on a Bench by Jolene Goldenthal; and Erros-Love Is Deaf by Cherie Vogelstein.</p><p><P>The acclaimed series has a new editor. Applause is proud to continue the series that for over 60 years has been the standard of excellence for one-act plays in America. Our new editor, Barbara Parisi, has selected the following 14 plays&#58; Crazy Eights by David Lindsay-Abaire; He Came Home One Day While I Was Washing Dishes by K. Biadaszkiewicz; Fin and Euba by Audrey Cefaly; I'll Do it Tomorrow by Michael Roderick; Arkadelphia by Samuel Brett Williams; Reading List by Susan Miller; Such a Beautiful Voice Is Sayeda's and Karima's City by Yussef El Guindi; Charlie Blake's Boat by Graeme Gillis; The News by Billy Aronson; Heights by Amy Fox; The Devil Is in the Details by Jill Elaine Hughes; Letty on a Bench by Jolene Goldenthal; and Erros-Love Is Deaf by Cherie Vogelstein.</p>
461En Otra Voz: Antolog&#237;a de Literatura Hispana de los Estados UnidosNicolas Kanellos0Nicolas Kanellos (Editor), Jose B. Fernandez (With), Kenya Dworkin-Mendezen-otra-voznicolas-kanellos97815588534611558853464$8.39PaperbackArte Publico PressAugust 20021st EditionPeoples & Cultures - American Anthologies6086.02 (w) x 9.12 (h) x 1.28 (d)<article> <h4>Publishers Weekly</h4>An award-winning author of reference works, Kanellos has put together a noteworthy Spanish-language anthology of Hispanic writing in the United States. Part of the Recovering the U.S. Hispanic Literary Heritage project and at least 10 years in the making, this collection includes pieces from the colonial times to the present, challenging those who think that Hispanic literature is a 40-year-old phenomenon. After a very useful introduction, the book is divided chronologically into three sections, which represent different aspects of the Hispanic experience in the United States, from those born here, those who have immigrated, and those in exile. In more than 130 texts, most of them previously unpublished or hard to find, readers will find the usual suspects (Maria Ruiz de Burton), others who deserve to be more widely read (Julio Arce), and others relatively unknown (Jaime Montesinos). There are also those mainly associated with the Latin American literary canon, like Jose Marti and Luisa Valenzuela. Since the anthology aims to gather not only the best but the most representative texts as well, there is some unevenness in the selection: wonderful pieces by Eusebio Chacon or Aristeo Brito, for instance, are included together with others that are representative but mediocre. Nonetheless, this first-time record of Hispanic literature in this country is essential for public, school, and academic libraries and bookstores. Edmundo Paz Soldan, Cornell Univ., Ithaca, NY Copyright 2002 Cahners Business Information. </article>
462Common WealthMarjorie Maddox0<p>Marjorie Maddox is Director of Creative Writing and Professor of English at Lock Haven University. A resident of central Pennsylvania since 1990, she has published several award-winning poetry collections, including <em>Transplant, Transport, Transubstantiation</em> (2004), <em>When the Wood Clacks Out Your Name: Baseball Poems</em> (2001), and <em>Perpendicular as I</em> (1994).</p> <p>Jerry Wemple is Associate Professor of English at Bloomsburg University. He is the author of <em>You Can See It from Here</em> (2000), which won the Naomi Long Madgett Poetry Award, and <em>The Civil War in Baltimore</em> (2005). He grew up in the Susquehanna Valley.</p>Marjorie Maddox (Editor), Jerry Wemplecommon-wealthmarjorie-maddox97802710272100271027215$33.55PaperbackPenn State University PressOctober 20051st EditionPoetry, American Literature Anthologies, Anthologies2885.50 (w) x 9.00 (h) x 0.80 (d)<p>Over the years, Pennsylvania has been graced with an abundance of writers whose work draws imaginatively on the state’s history and culture. <em>Common Wealth</em> sings the essence of Pennsylvania through contemporary poetry. Whether Pennsylvania is their point of origin or their destination, the featured poets ultimately find what matters: heritage, pride, work, inventiveness, struggle, faith, beauty, hope.</p> <p>Keystone poets Marjorie Maddox and Jerry Wemple celebrate Pennsylvania with this wide range of new and veteran poets, including former state poet Samuel Hazo, National Book Award winner Gerald Stern, Pulitzer Prize winners Maxine Kumin, W. S. Merwin, and W. D. Snodgrass, and Reading-born master John Updike. The book’s 103 poets also include such noted authors as Diane Ackerman, Maggie Anderson, Jan Beatty, Robin Becker, Jim Daniels, Toi Derricotte, Gary Fincke, Harry Humes, Julia Kasdorf, Ed Ochester, Jay Parini, Len Roberts, Sonia Sanchez, Betsy Sholl, and Judith Vollmer.</p> <p>In these pages, poems sketch the landscapes and cultural terrain of the state, delving into the history, traditions, and people of Philadelphia, “Dutch” country, the coal-mining region, the Poconos, and the Lehigh Valley; the Three Rivers region; the Laurel Highlands; and Erie and the Allegheny National Forest. Theirs is a complex narrative cultivated for centuries in coal mines, kitchens, elevated trains, and hometowns, a tale that illuminates the sanctity of the commonplace—the daily chores of a Mennonite housewife, a polka dance in Coaldale, the late shift at a steel factory, the macadam of the Pennsylvania Turnpike. With its panoramic vision of Pennsylvania, its culture, and its thriving literary heritage, <em>Common Wealth</em> is a collection of remembrance for a state that continues to inspire countless contributions to American literature.</p><p><b>Contents</b></p> <p>PREFACE XIII</p> <p><b>PART I: GREETINGS FROM THE COMMONWEALTH!</b></p> <p>“Pennsylvania,” Gabriel Welsch</p> <p>“The Map,” Kathryn Hellerstein</p> <p>“Coming East from Cleveland to Philadelphia at Harvest,”</p> <p> Jeanne Murray Walker</p> <p>“Route 81,” David Chin</p> <p>“Me’n Bruce Springsteen Take My Baby Off to College,”</p> <p> Barbara Crooker</p> <p><b>PART II.: BEGINNINGS: PHILADELPHIA, “DUTCH” COUNTRY, AND THEIR ENVIRONS</b></p> <p>“Philly Things,” David Livewell</p> <p>“Colors,” Jeanne Murray Walker</p> <p>“Rowers on the Schuykill,” Leonard Kress</p> <p>“Listening for Bridge Builders,” David Livewell</p> <p>“Crazy Mary Rides the El,” Michele A. Belluomini</p> <p>“Spiritual Exercise, Kensington, Philadelphia,” Leonard Kress</p> <p>“If You Are Reading This,” Lynn Levin</p> <p>“Preliminary Sketches: Philadelphia,” Elizabeth Alexander</p> <p>“Our Lady of the Cabbages,” Deborah Burnham</p> <p>“10 PM at a Philadelphia Recreation Center,” Peter Krok</p> <p>“The Star Show,” Robin Becker</p> <p>“A Poem for a Black Boy,” Sonia Sanchez</p> <p>“Chester County Winter Day,” George Fleck</p> <p>“Spiritual Morning,” Robin Becker</p> <p>“A Hill in Pennsylvania,” Nathaniel Smith</p> <p>“In the Small World,” Sandra Kohler</p> <p>“Mennonites,” Julia Kasdorf</p> <p>“Mennonite Farm Wife,” Janet Kauffman</p> <p>“Female Ancestor,” Ann Hostetler</p> <p>“Buggy Ride at Sixteen,” Marjorie Maddox</p> <p>“Papaya: Lancaster County,” Juanita Brunk</p> <p>“Back with the Quakers,” Betsy Sholl</p> <p>“Before the Silver Chord Is Loosed,” Helen Mallon</p> <p>“In Carpenter’s Woods,” Gerald Stern</p> <p>“Halfway,” Maxine Kumin</p> <p>“Potter’s Field, Germantown,” Robin Hiteshew</p> <p>“Wallace Stevens House Prayer,” Heather Thomas</p> <p>“Shillington,” John Updike</p> <p>“Route 222: Reading to Kutztown,” Heather Thomas</p> <p>“The Idea of the Ordinary,” Carmine Sarracino</p> <p><b>PART III: CIRCLING EAST: MINES, MOUNTAINS, AND MILLS</b></p> <p>“Ode to Coal,” Sherry Fairchok</p> <p>“Coalscape,” Craig Czury</p> <p>“Coal Crackers,” James Hoch</p> <p>“Burning Mountain,” W.S. Merwin</p> <p>“Christ Comes to Centralia,” Barbara Crooker</p> <p>“Centralia (October 31, 1986),” Karen Blomain</p> <p>“This Is Not My Cousin,” Valerie Fox</p> <p>“What They Wanted Us to Bring Back,” Sherry Fairchok</p> <p>“Family Portrait, 1933,” Peter Oresick</p> <p>“Working the Face,” Jay Parini</p> <p>“Coal Train,” Jay Parini</p> <p>“The Miner’s Wife Leaves Home,” Karen Blomain</p> <p>“So the Coal Was Gone,” Thomas Kielty Blomain</p> <p>“Showing a Friend My Town,” Harry Humes</p> <p>“March 10, 1951,” Craig Czury</p> <p>“Bones &amp; Ashes,” Helen Ruggieri</p> <p>“Photograph,” Anthony Petrosky</p> <p>“The Strippings,” Linda Tomol Pennisi</p> <p>“Cousin, Will You Take My Hand?” Jerry Wemple</p> <p>“Susquehanna: The Projects,” Ruth Ellen Kocher</p> <p>“The Field (an Excerpt),” Linda Tomol Pennisi</p> <p>“The Jeweler,” Peter Oresick</p> <p>“Real Faux Pearls,” Betsy Sholl</p> <p>“Polka Dancing to Eddie Blazonczyk and His Versatones in Coaldale, Pennsylvania,” Leonard Kress</p> <p>“A Different House,” Paul Martin</p> <p>“In Cursive,” Len Roberts</p> <p>“Spring Peepers, April, Wassergass,” Len Roberts</p> <p>“Easter Sunday, Seisholtzville,” Ann E. Michael</p> <p>“We Never Leave,” Jason Moser</p> <p>“Sprawl,” Ann E. Michael</p> <p>“Hawk Falls,” Dan Maguire</p> <p>“Climbing the Three Hills in Search of the Best Christmas Tree,” Len Roberts</p> <p>“Lehighton,” David Staudt</p> <p>“Gallivanting,” Paul Martin</p> <p>“Bombogenesis,” Karen Blomain</p> <p>“The Quarry,” Paul Martin</p> <p>“J.B. Phones Me at the End of Summer, Asking Where I Find Silence in the Lehigh Valley,” Steven Myers</p> <p>“The Poconos,” Robin Becker</p> <p>“Deer,” Harry Humes</p> <p><b>PART IV: HILLS AND RIDGES: THE SUSQUEHANNA VALLEY AND CENTRAL PENNSYLVANI</b>A</p> <p>“Naming Heraclitus,” Sandra Kohler</p> <p>“November Textures,” Karl Patten</p> <p>“Cousins,” Charles J. Rice</p> <p>“The Agnes Mark,” Gary Fincke</p> <p>“Renovo,” Sandra Kohler</p> <p>“Freight,” Julia Kasdorf</p> <p>“The Little League World Series: First Play,” Marjorie Maddox</p> <p>“Going Back,” Gregory Djanikan</p> <p>“Nocturne: Roller Mills Flea Market,” Nicole Cooley</p> <p>“Clearfield County Fair,” Ginny MacKenzie</p> <p>“The Bloomsburg Fair,” JoAnne Growney</p> <p>“Racetrack Downriver,” David Staudt</p> <p>“Fishing the Little J. Beneath the Methodist Church,” Harry Humes</p> <p>“The Company We Keep,” Ron Mohring</p> <p>“Worlds End,” Barbara Crooker</p> <p>“Winter Walks, Perry County,” Susan Weaver</p> <p>“It Isn’t Raining,” Cynthia Hogue</p> <p>“Pleasure Gap,” Bruce Bond</p> <p>“Aunt Lena Committed to Bellefonte State Hospital,” Ginny Mackenzie</p> <p>“Running through Danville State Hospital,” Michael Hardin</p> <p>“Laid Off in July,” Matthew Perakovich</p> <p>“Awl Street,” Jerry Wemple</p> <p>“Harrisburg Echoes (Excerpts),” Robert Small</p> <p>“Nights Like This,” Julia Kasdorf</p> <p>“Three Mile Island Siren,” Jack Veasey</p> <p>“Dream City,” Barbara DeCesare</p> <p>“Twelve Facts about the Immigrants: A Prose Poem,” Carmine Sarracino</p> <p>“Acoustic Shadows,” Bruce Bond</p> <p>“Gettysburg,” Samuel Hazo</p> <p>“The Battlefield Museum Guide Speaks,” Carmine Sarracino</p> <p><b>PART V: SOUTHWESTERN PENNSYLVANIA: THE THREE RIVERS REGION AND THE LAUREL HIGHLANDS</b></p> <p>“Lines Written in a Pittsburgh Skyscraper,” Diane Ackerman</p> <p>“Bells,” Deirdre O’Connor</p> <p>“Listening to Jimmy Garrison (Pittsburgh, PA.),” Sonia Sanchez</p> <p>“The Dancing,” Gerald Stern</p> <p>“Integration (Kennywood Park, June 1963),” Daniel J. Wideman</p> <p>“My Father Likes Pittsburgh,” Jeffrey Oaks</p> <p>“Pittsburgh Poem,” Jan Beatty</p> <p>“Brick,” Kristin Kovacic</p> <p>“My Grandfather’s Cronies,” Deirdre O’Connor</p> <p>“Steelers! Steelers! Steelers!,” Ann Hayes</p> <p>“Class A, Salem, the Rookie League,” Gary Fincke</p> <p>“Slaving,” Daniel J. Wideman</p> <p>“Closed Mill,” Maggie Anderson</p> <p>“One of Many Bars in Ford City, Pennsylvania,” Peter Oresick</p> <p>“Spill,” Judith Vollmer</p> <p>“Listening to Birds after a Mild Winter,” Judith Vollmer</p> <p>“Audubon’s Nature Preserve, Fox Chapel,” Sharon F. McDermott</p> <p>“Desire,” Lynn Emanuel</p> <p>“Panther Hollow Bridge, Pittsburgh,” Jim Daniels</p> <p>“Mysteries of Pittsburgh,” Toi Derricotte</p> <p>“In Her Mind, She’s Already Quit,” Leslie Anne Mcilroy</p> <p>“Miracle Mile,” Ed Ochester</p> <p>“Buddy Picture,” Charles Clifton</p> <p>“Leaving Pittsburgh,” Kristin Kovacic</p> <p>“Gray,” Maggie Anderson</p> <p>“Imagining the Johnstown Flood,” Jerry Wemple</p> <p>“Flash Flood,” W.D. Snodgrass</p> <p>“Altoona,” E.A. Miller</p> <p>“Memorial Day, Elderton, Pennsylvania,” Ed Ochester</p> <p>“Home Town,” W.D. Snodgrass</p> <p>“Apollo Is a Pink Town,” JoAnne Growney</p> <p>“Pennsylvania September: The Witnesses,” Marjorie Maddox</p> <p>“Spring: Fayette County, PA,” Luise van Keuren</p> <p>“This Hill Will Get You There,” Patricia Jabbeh Wesley</p> <p>“Turning into a Pond,” Gerald Stern</p> <p><b>PART VI: NORTH BY NORTHWEST: THE ALLEGHENIES AND ERIE</b></p> <p>“Second Coming in Northern Pennsylvania,” Steven Huff</p> <p>“When I Looked Next,” Michael Teig</p> <p>“After Tithonus and Aurora, Thoughts on a Life of Work,” David Swerdlow</p> <p>“Bullet Shell Heart,” Kirk Nesset</p> <p>“Jacklighting,” Antonio Vallone</p> <p>“White Tent in the Alleghenies,” David Staudt</p> <p>“Mountain Night,” Berwyn Moore</p> <p>“Swimming in Lake Erie: Intermediate Beginners,” Deborah Burnham</p> <p>“The Resurrection of Lake Erie,” Gerald Costanzo</p> <p>“Confession Off the Lake,” George Looney</p> <p>“Yet,” John Repp</p> <p>“Bus Stop at West 12th Street,” Sean Thomas Dougherty</p> <p>“In the Old Neighborhood It Begins in the Urgency of Whoever Is Nameless It Pulls the Night Hard in the Hands,” Sean Thomas Dougherty</p> <p>“Driving in Someone Else’s Light,” Mark S. Borczon</p> <p>“In a Diner in Franklin, Pennsylvania,” George Looney</p> <p>“Meditation in Oil City, PA,” Philip Terman</p> <p>“The Auctioneer,” Philip Terman</p> <p>“Tractor Pull,” Brad Comann</p> <p>“If We Were as Brilliant as Groundhogs,” Philip Terman</p> <p>“On Gobbler’s Knob,” Shirley S. Stevens</p> <p>“The History of Summer,” Sharon F. McDermott</p> <p>ACKNOWLEDGMENTS</p> <p>THE POETS</p> <p>INDEX</p>
463American SatireNicholas Bakalar0Nicholas Bakalar, Stephen Kochamerican-satirenicholas-bakalar97804520117480452011744$26.44PaperbackPenguin Group (USA)April 1997Humor - History & Criticism, American Humor - Peoples & Cultures, American Literature Anthologies4805.44 (w) x 8.04 (h) x 1.00 (d)<p>This entertaining, informative collection covers the best of American satire—from Ben Franklin's cutting satiric attacks to Nathaniel Hawthorne's <i>Celestial Railroad,</i> Calvin Trillin's <i>Old Marrieds,</i> Mark Twain's <i>American Abroad</i> to P.J. O'Rourke's <i>The Innocents Abroad—Updated,</i> a late 20th-century take on Twain's classic piece. "Entertaining and satisfying...An excellent introduction."—<i>Amazon.com</i>.</p><p>Preface Introduction<br> <b>Thomas Morton (ca. 1590-ca. 1647)</b><br> New English Canaan<br> <b>Ebenezer Cook (fl. 1708)</b><br> The Sot-Weed Factor <b>Francis Hopkinson (1737-1791)</b><br> A Pretty Story<br> <b>Benjamin Franklin (1706-1790)</b><br> On Sending Felons to America The Sale of the Hessians Model of a Letter of Recommendation Rules by Which a Great Empire May Be Reduced to a Small One Humourous Reasons for Restoring Canada<br> <b>Alexander Hamilton (1712-1756)</b><br> The Tuesday Club<br> <b>Philip Freneau (1752-1832)</b><br> The British Prison Ship<br> <b>Hugh Brackenridge (1748-1816)</b><br> Modern Chivalry<br> <b>Washington Irving (1783-1859)</b><br> Tales of a Traveler<br> <b>Nathaniel Hawthorne (1804-1864)</b><br> The Celestial Railroad<br> <b>Fanny Fern (1811-1872)</b><br> Have We Any Men Among Us?<br> Tom Pax's Conjugal Soliloquy To Gentlemen Has a Mother a Right to Her Children?<br> Fresh Leaves A Chapter for Parents<br> <b>James Russell Lowell (1819-1891)</b><br> The Biglow Papers<br> <b>Ambrose Bierce (1842-1914?)</b><br> The Devil's Dictionary<br> <b>Finley Peter Dunne (1867-1936)</b><br> Mr. Dooley<br> <b>Mark Twain (1835-1910)</b><br> Fenimore Cooper's Literary Offenses A Helpless Situation Advice to Youth The Art of Inhumation (from <i>Life on the Mississippi</i>)<br> American in Europe (from <i>A Tramp Abroad</i>)<br> The War Prayer<br> <b>George Ade (1866-1944)</b><br> The Sultan of Sulu<br> <b>Stephen Crane (1871-1900)</b><br> A newspaper is a collection of half-injustices War Is Kind<br> <b>Guy Wetmore Carryl (1873-1904)</b><br> How Little Red Riding Hood Came to be Eaten How Rudeness and Kindness Were Justly Rewarded<br> <b>Edith Wharton (1862-1937)</b><br> Xingu Expiation<br> <b>H. L. Mencken (1880-1956)</b><br> Rondo on an Ancient Theme<br> <b>Sinclair Lewis (1885-1951)</b><br> A Letter from the Queen<br> <b>Will Rogers (1879-1935)</b><br> A Day at the Republican Convention At the Democratic Convention<br> <b>Dorothy Parker (1893-1967)</b><br> Words, Words, Words Far From Well Comment One Perfect Rose<br> <b>James Thurber (1894-1961)</b><br> Tom, the Young Kidnapper<br> <b>Langston Hughes (1902-1967)</b><br> Ballad of the Landlord Ku Klux American Heartbreak<br> <b>Kurt Vonnegut (1922- )</b><br> In a Manner That Must Shame God Himself<br> <b>Russell Baker (1925- )</b><br> Universal Military Motion<br> <b>Art Buchwald (1925- )</b><br> Pictures from Vietnam Telling the Truth<br> <b>Gore Vidal (1925- )</b><br> Ronnie and Nancy: A Life in Picture<br> <b>Calvin Trillin (1935- )</b><br> Old Marrieds<br> <b>P. J. O'Rourke (1947- )</b><br> The Innocents Abroad, Updated<br> <b>Molly Ivins (1944- )</b><br> H. Ross Went Seven Bubbles Off Plumb (and Other Tales)<br> New Heights of Piffle</p>
464Appalachia inside Out, Vol. 2Robert J. Higgs0Robert J. Higgs (Editor), Jim W. Miller (Editor), Ambrose N. Manningappalachia-inside-outrobert-j-higgs97808704987630870498762$17.69PaperbackUniversity of Tennessee PressNovember 19951st EditionUnited States - Civilization, Regional American Anthologies, Southern Region - History - General & Miscellaneous4326.10 (w) x 9.00 (h) x 0.99 (d)The two volumes of Appalachia Inside Out constitute the most comprehensive anthology of writings on Appalachia ever assembled. Representing the work of approximately two hundred authors-fiction writers, poets, scholars in disciplines such as history, literary criticism, and sociology-Appalachia Inside Out reveals the fascinating diversity of the region and lays to rest many of the reductive stereotypes long associated with it.<p>The two volumes of Appalachia Inside Out constitute the most comprehensive anthology of writings on Appalachia ever assembled. Representing the work of approximately two hundred authors-fiction writers, poets, scholars in disciplines such as history, literary criticism, and sociology-Appalachia Inside Out reveals the fascinating diversity of the region and lays to rest many of the reductive stereotypes long associated with it.</p><h3>Booknews</h3><p>An anthology of fiction, poetry, history, literary criticism and folklore about the mountainous region and the influences on it. The selections in volume 2 are organized around themes such as family and community, dialect and language, sports and play, and regional identity and the future. Annotation c. Book News, Inc., Portland, OR (booknews.com)</p><article> <h4>Booknews</h4>An anthology of fiction, poetry, history, literary criticism and folklore about the mountainous region and the influences on it. The selections in volume 2 are organized around themes such as family and community, dialect and language, sports and play, and regional identity and the future. Annotation c. Book News, Inc., Portland, OR (booknews.com) </article>
465New Stories from the SouthwestD. Seth Horton0<p><P>D. Seth Horton was born in San Diego and graduated from the<br> University of Arizona with an MFA in creative writing. A former fiction<br> editor for the <i>Sonora Review</i>, he currently lives in Tucson with his wife.</p>D. Seth Horton (Editor), Ray Gonzaleznew-stories-from-the-southwestd-seth-horton97808040110750804011079$19.22PaperbackOhio University PressDecember 20071Short Story Anthologies, Regional American Anthologies, American Literature Anthologies2885.50 (w) x 8.25 (h) x 0.70 (d)<p>The beauty and barrenness of the southwestern landscape naturally lends itself to the art of storytellers. It is a land of heat and dryness, a land of spirits, a land that is misunderstood by those living along the coasts.<br> <i>New Stories from the Southwest</i> presents nineteen short stories that appeared in North American periodicals between January and December 2006. Though many of these stories vary by aesthetics, tone, voice, and almost any other craft category one might wish to use, they are nevertheless bound together by at least one factor, which is that the landscape of the region plays a key role in their narratives. They each evoke and explore what it means to exist in this unique corner of the country.<br> Selected by editor D. Seth Horton, the former fiction editor for the <i>Sonora Review</i>,<br> from a wide cross-section of journals and magazines, and with a foreword by noted writer Ray Gonzalez, <i>New Stories from the Southwest</i> presents a generous sampling of the best of contemporary fiction situated in this often overlooked area of the country. Swallow Press is particularly pleased to publish this wide-ranging collection of stories from both new and established writers.</p><p><P><i>New Stories from the Southwest</i> presents nineteen short stories that appeared<br> in North American periodicals between January and December 2006. <br> Selected by editor D. Seth Horton, the former fiction editor for the <i>Sonora Review</i>,<br> from a wide cross-section of journals and magazines, and with a foreword<br> by noted writer Ray Gonzalez, <i>New Stories from the Southwest </i>presents a<br> generous sampling of the best of contemporary fiction situated in this often<br> overlooked area of the country. Swallow Press is particularly pleased to publish<br> this wide-ranging collection of stories from both new and established writers.</p>
466Writing New England: An Anthology from the Puritans to the PresentAndrew Delbanco0<p><b>Andrew Delbanco</b> is Julian Clarence Levi Professor in the Humanities at Columbia University. Among his many publications are <i>The Puritan Ordeal</i> and <i>The Real American Dream&#58; A Meditation on Hope</i> (both from Harvard).</p>Andrew Delbancowriting-new-englandandrew-delbanco97806740060340674006038$1.99HardcoverHarvard University PressOctober 20011st EditionRegional American Anthologies5126.42 (w) x 9.46 (h) x 1.49 (d)<p>The story of New England writing begins some 400 years ago, when a group of English Puritans crossed the Atlantic believing that God had appointed them to bring light and truth to the New World. Over the centuries since, the people of New England have produced one of the great literary traditions of the world—an outpouring of poetry, fiction, history, memoirs, letters, and essays that records how the original dream of a godly commonwealth has been both sustained and transformed into a modern secular culture enriched by people of many backgrounds and convictions.</p> <p><i>Writing New England</i>, edited by the literary scholar and critic Andrew Delbanco, is the most comprehensive anthology of this tradition, offering a full range of thought and style. The major figures of New England literature—from John Winthrop and Anne Bradstreet to Emerson, Hawthorne, Dickinson, and Thoreau, to Robert Frost, Wallace Stevens, Robert Lowell, Anne Sexton, and John Updike—are of course represented, often with fresh and less familiar selections from their works. But <i>Writing New England</i> also samples a wide range of writings including Puritan sermons, court records from the Salem witch trials, Felix Frankfurter's account of the case of Sacco and Vanzetti, William Apess's eulogy for the Native American King Philip, pamphlets and poems of the Revolution and the Civil War, natural history, autobiographical writings of W. E. B. Du Bois and Malcolm X, Mary Antin's account of the immigrant experience, John F. Kennedy's broadcast address on civil rights, and A. Bartlett Giamatti's memoir of a Red Sox fan.</p> <p>Organized thematically, this anthology provides a collective self-portrait of the New England mind. With an introductory essay on the origins of New England, a detailed chronology, and explanatory headnotes for each selection, the book is a welcoming introduction to a great American literary tradition and a treasury of vivid writing that defines what it has meant, over nearly four centuries, to be a New Englander.</p> <p>From the Preface:</p> <p>"Imposing one unitary meaning on New England would be as foolish as it would be unconvincing. Yet one purpose of this book is to convey some sense of New England's continuities and coherence...Not all the writers in this book are major figures (a few are barely known), but all are here because of the bracing freshness with which they describe places, people, ideas, and events to which, even if the subject is familiar, we are re-awakened."</p>Long before the modern dogma took hold that early childhood experience determines adult character, Alexis de Tocqueville applied the idea to America. Convinced that the childhood of the United States was to be found in colonial New England, he wrote, "if we would understand the prejudices, the habits, and the passions which rule" the life of the mature man, "we must watch the infant in his mother's arms." Today, however, not many Americans—not even, perhaps, many New Englanders—feel that in observing the strict Protestants who emigrated to New England nearly four centuries ago they are watching their younger selves.<br><p>The story of New England writing begins some 400 years ago, when a group of English Puritans crossed the Atlantic believing that God had appointed them to bring light and truth to the New World. Over the centuries since, the people of New England have produced one of the great literary traditions of the world--an outpouring of poetry, fiction, history, memoirs, letters, and essays that records how the original dream of a godly commonwealth has been both sustained and transformed into a modern secular culture enriched by people of many backgrounds and convictions. <P> <i>Writing New England</i>, edited by the literary scholar and critic Andrew Delbanco, is the most comprehensive anthology of this tradition, offering a full range of thought and style. The major figures of New England literature--from John Winthrop and Anne Bradstreet to Emerson, Hawthorne, Dickinson, and Thoreau, to Robert Frost, Wallace Stevens, Robert Lowell, Anne Sexton, and John Updike--are of course represented, often with fresh and less familiar selections from their works. But <i>Writing New England</i> also samples a wide range of writings including Puritan sermons, court records from the Salem witch trials, Felix Frankfurter's account of the case of Sacco and Vanzetti, William Apess's eulogy for the Native American King Philip, pamphlets and poems of the Revolution and the Civil War, natural history, autobiographical writings of W. E. B. Du Bois and Malcolm X, Mary Antin's account of the immigrant experience, John F. Kennedy's broadcast address on civil rights, and A. Bartlett Giamatti's memoir of a Red Sox fan. <P> Organized thematically, this anthology provides a collective self-portrait of the New England mind. With an introductory essay on the origins of New England, a detailed chronology, and explanatory headnotes for each selection, the book is a welcoming introduction to a great American literary tradition and a treasury of vivid writing that defines what it has meant, over nearly four centuries, to be a New Englander.</p><h3>Publishers Weekly</h3><p>Despite the proliferation of regional studies, particularly of the American South, there are relatively few collections of or studies about New England writing. Perhaps it's because New England was the original region. Emily Dickinson, Ralph Waldo Emerson and Henry James are not generally considered New Englanders so much as Americans. Delbanco, a renowned scholar of the Puritan experience in America (author of The Puritan Ordeal), wants to call attention to the fact that these writers were not simply from New England but of it. In this beautifully conceived collection, Delbanco has interspersed with unchallenged figures such as Thoreau and Hawthorne a few pieces that have been all but lost to the general reading public. William Apess, for example, is represented by an excerpt from his 1836 Eulogy on King Philip, chastising white for dispossessing Native Americans. Apess was a New Englander of Indian descent who became a Methodist preacher and eventually joined the Mashpee Indians on Cape Cod, leading a rebellion against their white overseers: "And while you ask yourselves, 'What do they, the Indians, want?' you have only to look at the unjust laws made for them and say, 'They want what I want.' " In his introduction, Delbanco sounds the "keynote" of the original New England identity as "the throbbing heart of Christianity in the New World." As the new Eden did not fulfill itself, he concludes, New Englanders began an "inward turn toward self-admonition [which] is the hallmark of what Henry James called 'the New England conscience.' " This is an excellent gathering of letters, poems, stories, essays and excerpts from novels and histories. (Sept.) Copyright 2001 Cahners BusinessInformation.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronology</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Model of Christian Charity</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From A Brief Recognition of New England's Errand into the Wilderness</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface to God's Determinations Touching His Elect</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Christian Philosopher</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Spider Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Forest Hymn"</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Nature</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Dialogue"</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Two Years before the Mast</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From American Notebooks</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the History of the Puritan Commonwealth</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Four Trees upon a Solitary Acre"</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Maine Woods</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Oldest Inhabitant - The Weather of New England"</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"What Pragmatism Means"</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Out, Out -"</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Snow Man"</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Outermost House</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Mr. Edwards and the Spider"</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Another Night in the Ruins"</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Mayflies"</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Christ the Fountain of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Before the Birth of One of Her Children"</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Personal Narrative</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Should Have Been Too Glad, I See"</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Education of Henry Adams</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Darkwater</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"To Earthward"</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"In the Waiting Room"</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Richer, the Poorer</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Uncle Tom's Cabin</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Morgesons</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Bostonians</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Miniver Cheevy"</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Literary Friends and Acquaintance</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Cambridge Ladies"</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Late George Apley</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Last Hurrah</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Reunion"</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Plumbing"</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Parsons' Mill</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From New England's First Fruits</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dogood Papers, No. 4</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Conversations with Children</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Christian Nurture</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "Equality before the Law"</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Inaugural Address</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Function of a University"</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Sex Education"</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Schoolmasters</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to His Wife</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Rights of the British Colonies Asserted and Proved</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters concerning Brook Farm</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Argument before the Supreme Court in the Amistad Case</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Lady in the White Dress, Whom I Helped into the Omnibus"</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Speech in the United States Senate</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Three Sermons</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Battle-Hymn of the Republic"</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transcendental Wild Oats</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From What Social Classes Owe to Each Other</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Natural Law"</TD><TD WIDTH="10%" ALIGN="RIGHT">328</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Broadcast Address</TD><TD WIDTH="10%" ALIGN="RIGHT">333</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Green Fields of the Mind"</TD><TD WIDTH="10%" ALIGN="RIGHT">338</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Examination of Susanna Martin</TD><TD WIDTH="10%" ALIGN="RIGHT">343</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Eulogy on King Philip</TD><TD WIDTH="10%" ALIGN="RIGHT">346</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From My Bondage and My Freedom</TD><TD WIDTH="10%" ALIGN="RIGHT">356</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Jewish Cemetery at Newport"</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Promised Land</TD><TD WIDTH="10%" ALIGN="RIGHT">361</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From "The Case of Sacco and Vanzetti"</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Journal Letters</TD><TD WIDTH="10%" ALIGN="RIGHT">381</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Boston Adventure</TD><TD WIDTH="10%" ALIGN="RIGHT">387</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Lottery"</TD><TD WIDTH="10%" ALIGN="RIGHT">391</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"For the Union Dead"</TD><TD WIDTH="10%" ALIGN="RIGHT">399</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Autobiography of Malcolm X</TD><TD WIDTH="10%" ALIGN="RIGHT">402</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Her Kind"</TD><TD WIDTH="10%" ALIGN="RIGHT">416</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Death at an Early Age</TD><TD WIDTH="10%" ALIGN="RIGHT">418</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Common Ground</TD><TD WIDTH="10%" ALIGN="RIGHT">422</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Hamatreya"</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A White Heron"</TD><TD WIDTH="10%" ALIGN="RIGHT">436</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The American Scene</TD><TD WIDTH="10%" ALIGN="RIGHT">445</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Maine Speech"</TD><TD WIDTH="10%" ALIGN="RIGHT">447</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to The Cape Codder</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Scenic View"</TD><TD WIDTH="10%" ALIGN="RIGHT">452</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">455</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">461</TD></TABLE><article> <h4>Boston Globe</h4><p>Now arrives the definitive New England reader, a book written for the New England booster, the New England admirer, and, of course, that character indigenous to these parts, the New England reader...[Andrew Delbanco's] luminous opening essay distills one of the great truths about great New England writing: It is produced by 'the sort of mind that, with an acute sense of its own fallibility, seeks moral knowledge in the wisdom literature of the past.' But Delbanco's greatest gift is his sense of judgment. He knows, for example, that it is impossible to understand New England...without a passing acquaintance with Henry David Thoreau, Henry Adams, Henry James, Henry Wadsworth Longfellow—and, lest we forget, Henry Beston. He knows, too, that there is a difference between choosing the best known and the best representative selection of a writer's work...One of the great New England virtues, besides a sense of the vanity of human wishes, is thrift, and here Delbanco has produced a metaphor of the region. There is not a page wasted in this volume, not an entry without a reason.<br> — David M. Shribman</p> </article> <article> <h4>Choice</h4><p>There is nothing now in print quite like <i>Writing New England</i>. Three things make the book stand out: its enlargement of one's sense of the varieties of people who, over time, have inhabited New England; its insights into one region's contributions to the country at large; and its sheer readability. Strongly recommended.<br> — D. D. Kummings</p> </article><article> <h4>Commonweal</h4><p>Handsomely produced...[and] imaginatively done...[This] anthology succeeds admirably in conveying, in Delbanco's words, "how New Englanders have come to live in different and distinct regions of cultural inheritance." It manages also, in its inclusions and rediscoveries, to extend Thoreau's remark in his "Ktaadn" section from <i>The Maine Woods</i> printed here: "I am reminded by my journey how exceedingly new this country still is."<br> — William H. Pritchard</p> </article> <article> <h4>Concord Beacon</h4><p>Readers concerned that a New England anthology of writing would slip into mawkish paeans to autumn and Yankee wisdom should know that Delbanco does not shy from the darker aspects of our region and its history...Delbanco's business, at least in book form, has always been America—its culture, history and literature: whether he is anthologizing Emerson, Lincoln or the Puritans, or writing about American religion...Delbanco ensures that the path between past and present remains open and well-trod.<br> — Tim Lemire</p> </article> <article> <h4>Salem Evening News</h4><p><i>Writing New England</i> is a readable, usable, invaluable gift to readers of American literature and to those who appreciate the virtues of anthology...The literary landscape in New England is precious in its beauty; harsh in its honesty, and soaring in its genius. Merely by possessing this book we stake a claim in the bounty.<br> — Rae Francoeur</p> </article> <article> <h4>Times Literary Supplement</h4><p>Andrew Delbanco's attractive anthology, which offers a judicious selection of material, pertinent both for readers who are new to the writing of the region and for those who it well. As Delbanco explains in his preface, he has tried to keep the anthology in line with his conviction that New England itself includes "different and distinct regions of cultural inheritance." He also works hard to show how the continuities in New England writing are inflected differently by African-Americans, Jewish Americans, Irish Americans, working-class Americans and American women, particularly when set along-side the classic texts produced by privileged white men. The anthology is wonderfully diverse.<br> — Kate Fullbrook</p> </article> <article> <h4>Publishers Weekly</h4>Despite the proliferation of regional studies, particularly of the American South, there are relatively few collections of or studies about New England writing. Perhaps it's because New England was the original region. Emily Dickinson, Ralph Waldo Emerson and Henry James are not generally considered New Englanders so much as Americans. Delbanco, a renowned scholar of the Puritan experience in America (author of The Puritan Ordeal), wants to call attention to the fact that these writers were not simply from New England but of it. In this beautifully conceived collection, Delbanco has interspersed with unchallenged figures such as Thoreau and Hawthorne a few pieces that have been all but lost to the general reading public. William Apess, for example, is represented by an excerpt from his 1836 Eulogy on King Philip, chastising white for dispossessing Native Americans. Apess was a New Englander of Indian descent who became a Methodist preacher and eventually joined the Mashpee Indians on Cape Cod, leading a rebellion against their white overseers: "And while you ask yourselves, 'What do they, the Indians, want?' you have only to look at the unjust laws made for them and say, 'They want what I want.' " In his introduction, Delbanco sounds the "keynote" of the original New England identity as "the throbbing heart of Christianity in the New World." As the new Eden did not fulfill itself, he concludes, New Englanders began an "inward turn toward self-admonition [which] is the hallmark of what Henry James called 'the New England conscience.' " This is an excellent gathering of letters, poems, stories, essays and excerpts from novels and histories. (Sept.) Copyright 2001 Cahners BusinessInformation. </article> <article> <h4>Library Journal</h4>Associate director of the Royal Shakespeare Company for over 35 years, Barton leads a highly talented cast Ian McKellen, Judi Dench, David Suchet, Michael Pennington, and Jane Lapotaire, to name only a few in programs that discuss and workshop Shakespeare's verse, prose, sonnets, soliloquies, and set speeches. Divided into two sections, the first on the practical aspects of performing Shakespeare, the second on issues such as irony and passion, this volume comprehensively explores the nuances that help actors create rich characters for a modern audience. Not a quick read, this absorbingly detailed book dissects Shakespeare's work, demystifying and clarifying the heightened language in his writings by demonstrating common-sense and textual points that help an actor understand the roles and the qualities needed to play the parts with humanity and balance. Packed with examples, direction, and intelligent conversation, this book is recommended for actors, teachers, and students. Elizabeth Stifter, Brooklyn, NY Copyright 2001 Cahners Business Information. </article> <article> <h4>Kirkus Reviews</h4>Who and what made New England the nation's intellectual and literary center is apparent in this expansive collection of writings by the abiding masters and luminaries of the day. To illustrate the nuances of the "hope and disillusion, confidence and self-doubt" that inform the New England mind, Delbanco ("The Real American Dream", 1999, etc.) divides the selections into several sections. In each, writers explore the attitudes and characteristics that came to define the region: an ideal of justice, an intolerance of newcomers, and a "proprietary intimacy" with the land. Delbanco offers John Winthrop and Samuel Danforth as exemplars of the self-approbation behind "The Founding Idea." In the "Education" chapter, John McPhee describes the career of a Yankee schoolmaster, and an account is given of Harvard president Charles Eliot's restructuring of the American university. The New Englander's discontent with worldly imperfection is illustrated (in the "Dissident Dreamers" chapter) by the spectacle of John Quincy Adams arguing the "Amistad "case before the Supreme Court, and by A. Bartlett Giamatti's unquenchable faith in the Boston Red Sox. The collection contains some old chestnuts (such as Emerson's "Nature"), but it also has some real treats (such as the radio comedian Fred Allen's hilarious defense of his local paper, "The Cape Codder"). The abundance and sureness of the writing is comforting, as it intimates a limitlessness of New England creativity-but the paucity of contemporary contributions may suggest otherwise. The few living writers excerpted (e.g., John Updike, Geoffrey Wolff), compared to the feast of authors from the past, gives the collection an elegiac feel-and raises thequestion of whether today's mobile society can establish a regional literary heritage. For now, then, no matter. Read this for the writers-Alcott, O'Connor, Frost, Jewett-and if you tire of them, read 20 others. This is a smorgasbord; we are unlikely to see its kind again soon. (9 halftones, not seen) </article>
467Crazy Woman Creek: Women Rewrite the American WestNancy Curtis0<p><p>LINDA HASSELSTROM is the author of many highly acclaimed books of nonfiction and poetry and the coeditor of Leaning into the Wind and Woven on the Wind. She divides her time between Wyoming and South Dakota.<p></p>Nancy Curtis (Adapted by), Nancy Curtis (Editor), Gaydell Colliercrazy-woman-creeknancy-curtis97806182493360618249338$9.52PaperbackHoughton Mifflin HarcourtMay 2004NoneAmerican Literature Anthologies, Anthologies3366.00 (w) x 9.00 (h) x 0.75 (d)<p>Crazy Woman Creek is a collection of prose and poetry about real women in the West and their connection to a larger whole. Long troubled by the misguided images of skinny cowgirls on prancing palominos, the editors embarked on a mission to set the record straight. They wanted these western women to reveal the realities of their lives in their own words.<br> In Crazy Woman Creek, 153 women west of the Mississippi write of the ways they shape and sustain their communities. Whether these groups are organized, imposed, or spontaneous, this collection shows that where women gather, anything is possible. Readers will encounter Buddhists in Nebraska, Hutterites in South Dakota, rodeo moms rather than soccer moms. A woman chooses horse work over housework; neighbors pull together to fight a raging wildfire; a woman rides a donkey across Colorado to raise money after the tragedy at Columbine. Women recall harmony found at a drugstore, at a powwow, in a sewing circle. Lively, heartfelt, urgent, enduring, Crazy Woman Creek celebrates community—connections built or strengthened by women that unveil a new West.</p>Introduction: Beyond Crazy Woman Creek<br> <br> "We celebrate community and stories."<br> —Jane Kirkpatrick<br> <br> One hot day not long ago, the three editors of this collection were bouncing <br> along a two-lane highway between Recluse and Story, Wyoming. One of us <br> was driving; we all own beat-up SUVs with enough cargo space to haul the <br> boxes of books and fliers we take to readings. The windows were down, so <br> we inhaled the zest of sagebrush and tasted the difference in dust from <br> plateaus or creek bottoms. Two of us visited in front while the third, nesting <br> among our luggage in the back seat, leaned forward to make remarks.<br> <br> The tires rumbled as we crossed a bridge. "Crazy Woman Creek," <br> one of us snarled. "Why isn't it ever Samantha Wilson Creek?"<br> "Or," said the beautiful and brilliant editor, "Wonderful Woman <br> Creek?"<br> "Or even," said the serious one, "First Woman Doctor Creek."<br> "Strangers must think all the memorable women in the Old West <br> were nuts," said the cynical one, "or prostitutes like Mother Featherlegs."<br> "Or nameless," said the thoughtful one. "And what does that tell <br> you about the men who did the naming?"<br> "My home state was just full of places with 'squaw' in the name <br> until pretty recently," said the one from South Dakota.<br> "And Wyoming still has those little sharp-pointed hills called <br> Maggie's Nipples," said the one who collects maps.<br> "Squaw Hill, Old Woman Creek, Crazy Mountains," mumbled <br> somebody from the back seat.<br> "Is anythingimportant named after ordinary women?" said the <br> exlibrarian. "Like rivers or mountains? Are there any memorials to women <br> homesteaders?"<br> "I guess you could count the Tetons," said the one who shoots a <br> muzzle loader, "thanks to some lonely French fur trapper; they never looked <br> like breasts to me."<br> "My grandmother," mentioned the oldest one, "always said a <br> decent woman's name appeared in public only three times: at birth, at her <br> marriage, and at her death. I guess our tombstones are supposed to be our <br> monuments."<br> "The good news is, we have to die first," snapped the grouchy one.<br> <br> "What knits us are the rhythms of our female lives."<br> —Rosemerry Wahtola Trommer<br> <br> Nearly everyone has a favorite, and different, image of the West, where myth <br> and reality gallop into the same sunset. Maybe you had to be crazy to settle <br> here, especially if you were a woman. Both legend and history record <br> extremes in temperature, elevation, snowfall, drought, fire, and flood. Lyric <br> and chronicle celebrate courage and cowardice, profusion and famine, beauty <br> and monotony, peace and lawlessness. Pioneers heading west from Europe <br> or the Eastern states were often called lunatics by their relatives.<br> Conflict and change are inherent in the West, though Westerners <br> are perceived to be mostly honest, hard-working, independent lovers of <br> freedom, who are tough or tender, depending on the need. Westerners are <br> renowned for building friendly settlements in the middle of hardship. This <br> book stands solidly on a tradition that cherishes paradox. The editors of <br> Crazy Woman Creek think women furnished more to the Western character <br> than their labor feeding campfires and rearing children. So why weren't more <br> mountains, statues, or government buildings named for women?<br> Perhaps Westerners thought anyone could do women's work, and <br> maybe some of us accepted that judgment. The contrary West has always <br> had room for both the minister's wife and the mistress; sometimes they <br> worked together toward a common goal. And maybe naming features of the <br> landscape after shady ladies is further evidence of the puzzle that is the <br> West.<br> Many modern Western women, including some of the writers of <br> this collection, still live remote from what passes for modern civilization, but <br> they are also part of a cooperative community. Like their foremothers, they <br> work hard, respect themselves, and can laugh at their mistakes. They may <br> burst into song in the middle of a cattle drive or turn the air blue with curses <br> while fixing a flat tire. Outrageous behavior may be the key to survival; our <br> history sparkles with tales of women who prevailed because they were <br> unpredictable enough to outsmart the bad guys.<br> Westerners have always admired these crazy women, knowing <br> that every good idea was once considered mad. Near my home, a statue <br> celebrates Esther Hobart Morris, the first woman judge in America. Wyoming <br> was still a territory when Esther joined a group of women who had the <br> outrageous idea that they should be able to vote and hold public office; <br> woman suffrage passed here in 1869.<br> Still, modern Western women are tired of being nameless. Crazy <br> Woman Creek presents ordinary women from west of the Mississippi River <br> telling personal—and true—stories about their connections to the rest of the <br> world. The writers in these pages accept some traditional Western views and <br> renounce others. Carving their own images on the land in deed, word, and <br> thought, they are rewriting history for all of us.<br> <br> "We are most aware of the inevitable tug of time."<br> —Sarah Byrn Rickman<br> <br> This collection of writing by contemporary Western women is a conversation <br> in prose and poetry for readers and writers. Modern Western women keep <br> house, do outside chores, haul children and horses to 4-H meetings and <br> rodeos. They learned from their mothers and grandmothers, but they are also <br> absorbing new ideas: how to hold a job in town, or travel the Internet as well <br> as gravel roads. Their work has rarely been acknowledged publicly or <br> permanently. A bawdy-house madam was more likely to be remembered in <br> myth and on maps than an ordinary housewife, but both were overshadowed <br> by male adventurers who wrote the history books. This book is one way to <br> recognize the ways women have shaped and sustained Western <br> communities and contributed, sometimes silently, to the true legacy of the <br> West.<br> Crazy Woman Creek also portrays the new story we are writing, <br> as strangers move West to inhabit the land differently. As a contributor to <br> this volume notes, "What each of these groups can't see is that at the core, <br> they . . . love the same place and want the same thing." (Unless otherwise <br> credited, quotations in this introduction are from contributors' writing in Crazy <br> Woman Creek.)<br> We may not always realize or acknowledge the likeness, but <br> each individual is linked to every other by similar experiences, interests, <br> attitudes, and beliefs. A crisis may bring us together, but it is easy to forget <br> those bonds when our opinions clash. These days, "the natives . . . are a <br> little bitter" toward "the newcomers, 'those damn environmentalists.'" Old-<br> timers wonder, sometimes in loud outrage, what will happen to the <br> neighborhoods we have cherished. We are afraid that as the places change, <br> we will lose the values we esteem—honesty, friendliness, self-sufficiency, <br> moral courage.<br> The Native Americans probably said the same things as <br> immigrant wagons rumbled across the buffalo grass—yet the descendants of <br> people who bickered and brawled in different languages are now accepted as <br> native Westerners. We think the true stories in Crazy Woman Creek will <br> continue to inspire intelligent conversations about community.<br> In the Old West, both men and women sometimes used force to <br> get their way. Though we favor peaceful negotiation, we don't want to forget <br> those tough old broads rudely memorialized in our place-names. Moving <br> beyond Crazy Woman Creek doesn't mean forgetting their legacy. We'll offer <br> new neighbors coffee and banana bread. But if some newcomer doesn't think <br> the name Maggie's Nipples is politically correct, we might resist changing <br> the name to Margaret's Mammaries.<br> <br> "Until we find meaning in the stories of our lives, we're destined to wander in <br> the wilderness, even though we're in a promised land."<br> —Jane Kirkpatrick<br> <br> We three editors have known one another for more than twenty years. <br> Collecting writing by Western women in two previous anthologies taught us <br> that "we could count on each other," and working together has made us <br> friends.<br> Gaydell, a librarian before she retired, writes and operates <br> Backpocket Books from a small ranch near Sundance. Nancy helps manage <br> the family ranch near Glendo and directs High Plains Press, publishing <br> books about Wyoming and the West. Linda lives in Cheyenne and owns a <br> South Dakota ranch where she conducts writing retreats for women.<br> All three of the anthologies we have edited together, including <br> Crazy Woman Creek, grew out of the Western landscape and the women <br> who inhabit it. During the past decade, the editors have driven thousands of <br> miles together, speculating about how each collection might develop, while <br> discussing a zillion other topics. When we traveled to promote the books <br> through readings and autograph parties, we inevitably came home feeling <br> invigorated.<br> Our first partnership grew out of conversations about strong <br> women who helped form the Western communities where we grew up. We <br> encouraged women from six Western states to tell us how they survived in <br> troubled times. Though we'd heard these stories all our lives, we weren't sure <br> women would reveal them to readers who live mostly in cities. Would urban <br> dwellers appreciate these Western truths?<br> Western women sent a stack of submissions taller than any of <br> us, proving that the tough, shrewd women of the real West aren't all in <br> cemeteries as hard to find as the Mother Featherlegs Monument. (Yes, she <br> was probably a prostitute. Local cowboys nicknamed her for the lacy red <br> pantaloons she wore tied at the ankles when she rode her horse to town, but <br> they seemed to respect her for her grit rather than her profession.)<br> Teamwork created Leaning into the Wind: Women Write from the <br> Heart of the West. Making our selections on the basis of authenticity and <br> quality, we chose 246 essays and poems contributed by 206 women. Some <br> of them had never before written for publication, but they were—ah—crazy <br> enough to trust us.<br> Thousands of books sold before the official publication date, <br> thereby demonstrating that we'd found readers as well as writers. The <br> publication party at Devils Tower, Wyoming, in June 1997 created legends. <br> Mindy, an assistant editor for Houghton Mifflin, came from Boston a few days <br> early to meet us, donned a Western hat, and staunchly ate Rocky Mountain <br> oysters at a ranch branding. (She later moved west.)<br> <br> "A small community . . . is a microcosm of the larger world."<br> —Marcia Hensley<br> <br> On the day of the celebration, we waited nervously at the foot of Devils Tower. <br> As contributors arrived, we handed each a complimentary copy. A gray-<br> haired woman in a red Western suit and riding boots stood a little taller as <br> she said, "It's a real book! I thought it would be mimeographed or something!"<br> Men leaned on pickups in the parking lot; a father and his children <br> watched deer in the meadow; grandmothers played with babies. At picnic <br> tables in the shade, the contributors read, talked, and signed books. More <br> stories prompted "laughter as we heaped our plates" with a meal provided by <br> the Crook County Cattlewomen. A local woman served three huge cakes; <br> one was decorated with an image of Devils Tower, one with a cowgirl, and <br> one with the book title.<br> A new association that began to form around the book set the <br> pattern for all three collections. "As subtly as the snow melted into the land, <br> our lives began to melt into the community."<br> Since we were in Wyoming, the wind was blowing; we duct-taped <br> a box of tissues to the podium, and many women used it as they read and <br> told stories in strong or halting voices. A guitarist sang during intermissions, <br> while the audience limbered up and collected autographs. The reading lasted <br> seven hours, but no one complained. After driving several hours to get there, <br> ranch folks left early, knowing they would have to do chores in the dark. <br> Some of us were reminded of small-town picnics long ago; others, younger or <br> more urban, had never seen anything like that day.<br> What would such a gathering have been like in Boston? we asked <br> our East Coast editor. Less open, less warm, she said; "the women would <br> have worn less comfortable shoes and tried to stand by the most important <br> person."<br> Part of the story of the book's creation ended that day, but our <br> lives had become entwined with those of our contributors and readers. Many <br> of us keep in contact, weaving more narratives from the connections we <br> formed, or strengthened, at Devils Tower. Contributors come to read with us <br> everywhere we go; they write books and encourage other women in <br> community efforts. Leaning, they say, validates their struggles, encourages <br> them to defend their beliefs. Readers elsewhere realize that these Western <br> women have opinions that must be considered in decisions about the West. <br> Dozens of readers tell us they keep the book on their bedside tables, so they <br> can reread favorite parts.<br> Some reviewers didn't realize that the book was written by real <br> women about the hardships and joys to be found in today's West. Befuddled <br> by their own myths, they asked whether these stories by "pioneer women" <br> were really true.<br> That night, when we editors collapsed, we were already thinking of <br> the next anthology. A reader later wrote, "This isn't a book. It's a communion."<br> <br> "Our lives are a song of communities."<br> —Kathryn E. Kelley<br> <br> As usual, the editors drove around the West promoting the book. Thriftily, we <br> shared motel rooms, discovering that Gaydell writes at sunrise, eats leftover <br> Chinese food for breakfast, and always packs chocolate; that Nancy takes <br> her own coffeepot; that Linda doesn't own a hair dryer. At each stop, we <br> greeted "women we had just met, yet knew to our bones because their <br> stories were our own." Although our opinions sometimes differed wildly—on <br> religion, politics, or agriculture—we found ourselves linked by shared <br> experiences, our worlds expanding with each new acquaintance.<br> While those first contributors are part of a unique Western <br> population, each is also linked to others in an expanding spiral of influence. <br> Our journeys create widening circles of connection, "interwoven communities" <br> of people who know one another's friends or relatives or home neighborhoods. <br> How many circles, we wonder, swirl around each of us?<br> As we editors learned to appreciate and trust one another more, <br> we began to talk about women's friendships. We asked one another: What <br> do other Western women value in their friends? The theme of our second <br> anthology, Woven on the Wind, had materialized.<br> <br> "I see the process at work—the connections that I did not see and could not <br> value before."<br> —Barbara Jessing<br> <br> In Leaning into the Wind, contributors wrote about their work, their dogs, their <br> husbands, their work, their horses and goats, their children, work, the <br> weather that complicated their lives, and work.<br> For the second book, we asked them to write about the one topic <br> they'd avoided: other women. Who were their friends, and why? If they had no <br> women friends, how did they persevere? We feared that comradeship <br> between women might be too private to publicize, but we were wrong; "in <br> spite of the hard work, or maybe because of it, we found time for fun and <br> friendship."<br> Women from sixteen Western states and three Canadian <br> provinces told us stories of friendship both fulfilling and disappointing. From <br> more than a thousand manuscripts, we selected essays and poems by 148 <br> women. Houghton Mifflin published Woven on the Wind: Women Write About <br> Friendship in the Sagebrush West in 2001.<br> Tattered Cover, Denver's legendary independent bookstore, <br> generously hosted our May publication party during a typical plains spring <br> blizzard. One writer snowshoed several miles from her mountain home, <br> hoping to hitch a ride—only to find the highway blocked by drifts. Still, <br> dozens of women gathered with our new editor from Boston to read and <br> celebrate. Later, in a newsletter, we joyfully shared the warm reviews with our <br> contributors, strengthening and deepening our bonds with one another. The <br> writing "carries the weight of a communal essay," said one well-known writer, <br> on the book's jacket. Women who live a long way from bookstores and malls <br> exchange copies, celebrating friendship the way our forebears did when they <br> helped each other butcher a buffalo or stitch a quilt.<br> <br> "Telling stories. Keeping faith."<br> —Mary Sojourner<br> <br> A community of women has arisen around the three anthologies. With each <br> new project, we refreshed past acquaintance and found new writers. These <br> strong women "nurture not only their families but also their communities," <br> and, like the books, will help preserve the truths of real Western lives for our <br> future.<br> So the theme of the third collection arose naturally from the <br> writing and connections created by the first two. We believe, with many of <br> these writers, that women who can lead are no more important than women <br> who follow: women who clean the churches, make sandwiches for firefighters <br> and for mourners at funerals. We understand that "as a group, we are <br> leaders." On occasion, it is appropriate to act alone, but sometimes <br> our "power to be heard comes through community, not individuality." These <br> books are one way that Western women, some of whom came here from <br> other parts of the world, have united to provide support for one another and to <br> make their voices heard.<br> We drove all over Nebraska, Colorado, the Dakotas, Montana, and <br> Utah to promote Woven, and meanwhile we discussed ideas for a third <br> anthology. We met contributors and readers in bookstores, county libraries, <br> museums, coffee shops, book festivals, and in a huge concrete bunker that <br> was once an underground water tank but now serves as an art center. <br> Everywhere, we joined a "convergence of women."<br> We'd planned to meet a Nebraska writer for lunch but arrived late, <br> to .nd her family's feed store locked. At the local hotel café, a waitress said <br> the woman usually ate lunch at home, and gave us directions. We chuckled <br> at the familiar way a neighborhood keeps track of its residents.<br> In Billings, Montana, we read with contributors on the sale floor of <br> a cattle auction barn. Many in the audience had never entered a sale barn <br> before, so one contributor's husband, an auctioneer, conducted a mock sale <br> to show how such sales proceed, and to start the performance. We <br> explained that the entire floor of the ring—freshly washed for our <br> appearance—is a scale that weighs the livestock as they are sold and <br> flashes the total onto a large screen, to help buyers calculate their bids. We <br> thanked our hosts for turning off the scale, so that our combined tonnage was <br> not revealed to the audience.<br> <br> "And once we started speaking out, we were never silent again."<br> —Mary Zelinka<br> <br> Crazy Woman Creek collects 158 selections in prose or poetry from 153 <br> contributors, portraying diverse communities in twenty-one states and one <br> Canadian province, all west of the Mississippi River.<br> From the rainy mountains of Oregon to the cornfields of Iowa, from <br> the wheat fields of Saskatchewan to the arid plains of Texas, we solicited <br> women's writing. For the first time in this anthology series, we relied on <br> technology, e-mailing our call for manuscripts to twenty-two states, Mexico, <br> and Canada's Western provinces. We flung our electronic message out to <br> thousands of individuals and organizations focused on writing, reading, <br> storytelling, journalism, rural life, the West, women's studies, and other <br> fields; to radio stations, newspapers, magazines, publishers, and <br> bookstores; to state and regional arts councils, extension services, and on-<br> line discussion groups. Nearly four hundred women responded, sending us <br> almost seven hundred answers in the form of essays and poems.<br> Though writers were not allowed to submit their contributions by e-<br> mail, we did ask for and receive some submissions on computer disks; in <br> certain cases, we were able to transfer documents directly to our own <br> computers without having to retype them, one of the time-devouring chores of <br> the earlier books. We also worked with some writers on their manuscripts by <br> e-mail. We met to discuss the anthology only once and conducted the rest of <br> our business electronically, despite computer gremlins and outages caused <br> by floods, blizzards, Wyoming wind, and fire.<br> We cannot say that "we never left anyone out," but we are grateful <br> also to the women who submitted pieces we are not able to publish. Their <br> thoughts helped shape our perceptions of this book, and their writings <br> inspired agonizing debates. Our most difficult task was deleting pieces we <br> relished, in order to adhere to our contractual word limit.<br> We delight in the diversity of these texts. Women whose lives <br> differ from ours demonstrate that the West is no fantasy paradise where <br> everyone dresses, votes, and thinks alike. As editors, we must present the <br> truth, because we answer to our contributors. Some of these women are <br> downright cantankerous!<br> As in our two previous collections, in Crazy Woman Creek we <br> allowed submissions to determine content and organization, and we might <br> have created several other books from the available materials. As one <br> contributor writes, "making community is like making rag rugs: it requires a <br> lot of stitching-together, a decision not to regard any one scrap of fabric as <br> essential to the design." Every one of us, and all the brilliant things we say <br> and write, are merely scraps in a crazy quilt. Remove one of us, ten of us, <br> thousands of us, and the design will change, but the creation will be braided <br> anew, the gap filled by another rag or ribbon, so that the community remains <br> strong and beautiful.<br> <br> "People opened their arms . . . gathered us in."<br> —Phyllis Dugan<br> <br> In "Women Driving Pickups," the writers focus on spontaneous community, <br> groups likely to gather without regular meeting dates, agendas, or officers. <br> Many of these true stories involve a change of perspective: an Alaskan town <br> hosts Vietnamese refugees; a "posse of lesbians" helps a newcomer; San <br> Francisco commuters ignore their squabbles to rally around a larger issue.<br> Sometimes, cooperation converges on need: a village in <br> Washington conspires to keep a retarded woman safe; Canadian women <br> provide food baskets; a hippie mother in California creatively supports her <br> local library; an Afghan and a Mormon help a new mother of twins. Some <br> women meet in a hot tub to visit, others in pickups or laundromats; a rancher <br> reports on the reactions of cowboys when she chooses horse work over <br> housework.<br> The title was inspired by Ashley Coats's essay. This part of the <br> book reflects, metaphorically as well as realistically, that "surge of <br> understanding" which may flash between people even when they seem to be <br> speeding down the road in separate vehicles, going different directions.<br> <br> "A unity of women."<br> —Grace E. Reimers Kyhn<br> <br> "Hallelujah and a Show of Hands" centers on organized groups, men and <br> women who meet at set times for a specific purpose. Contributors tell stories <br> of the past and present, and sometimes they consider the future. Here, too, <br> are women impatient with the restrictions of organized groups, women who <br> want to "effect change rather than discuss it," who urge us to "get off the <br> Internet and into the streets." An assortment of societies function or fail in <br> these pages: a New Age commune, gatherings of Buddhists in Nebraska, <br> Benedictine nuns in Colorado, and Hutterites in South Dakota. One writer <br> describes how women ran a Wyoming railroad, until they lost their jobs when <br> the men returned from war. Women recall harmony found at the drugstore, at <br> the beauty parlor, at a powwow, in a sewing circle. Groups cooperate in <br> running races and in saving a historic meeting hall, meet to discuss books or <br> write them, to ride horses, organize funerals, support rape victims.<br> We found the title in Helen M. Wayman's droll look at a group of <br> church women confronting change, the poem "Hallelujah! Faith Circle!" The <br> bickering "Lutern" women behave in pretty standard fashion for the West, <br> resisting transformation as long as possible—but they also persist until they <br> reach a compromise.<br> <br> "This twist of women, Bonded by our hands, Our hearts."<br> —Lora K. Reiter<br> <br> "Cowgirl Up, Cupcakes" recognizes that whereas we seek membership in <br> some groups, other societies select us. Though the choice of fellowship may <br> not be ours, we often find possibilities we hadn't considered. These writers <br> find humor, despair, admiration, or hope in characters tossed together by <br> circumstance or genetics.<br> Contributors write of those who build on painful experiences to <br> create joy and who learn to relish the eccentricity of neighbors they never <br> would have chosen. Others scrutinize their families, musing on benefits and <br> obligations gleaned in weeding the garden, harvesting food, teaching an <br> appreciation for language, or "doin' for the less fortunates."<br> The writers discover communion between saints and spirits in a <br> cemetery; between a hospital patient and the nurses and aides who care for <br> him; among strangers who rally around a cancer patient; between women <br> who are addicted to gambling. Women write of the opportunities inherent in <br> the natural cycles of birth and death, health and illness. Time and memory <br> connect the five-year-old helping her grandmother make tortillas to the <br> grandma passing down tortilla lore. Embracing age, women tell how they <br> learned to create their own companionship. In crises, these women have <br> found an astonishing array of avenues for supporting one another.<br> The title emerges from Ellen Vayo's story about the efforts of her <br> mother and the Ladies of Charities to combat hardship after World War II. <br> When times were tough, these women didn't put up with whining, but their <br> efforts left a legacy of laughter and toughness their children remember and <br> practice.<br> <br> "How does a community originate?"<br> —Judy Ann<br> <br> This book began with the real West and its women, and with writing collected <br> in the two previous books, both published by Houghton Mifflin. Instead of <br> erecting monuments, the writers in these pages demonstrate community <br> connections in story form. We expect the books to provide inspiration for our <br> descendants a lot longer than the average fad does, whether it's a trendy <br> bestseller or a marble obelisk.<br> Traveling together, the editors admired miles of countryside, saw <br> hundreds of Real Estate for Sale signs, and noticed malls and subdivisions <br> attempting to encircle small towns. "Like the View?" says one sign; "Buy it!" <br> We discussed the idea that anyone can own nature and asked how this trend <br> will affect the Western communities where we live and work. Moseying along <br> in Flora the Explorer, spitting dust, we pondered the future of Westerners and <br> wannabes in city and country and began this third collaboration.<br> After all, "woven inside women's ways of knowing" are centuries of <br> survival in spite of tragedy. Whether we live in a subdivision or on a ranch, a <br> logging hamlet or a tourist burg, we want to be in a place where neighbors <br> mourn one another's losses, help each other build new lives, work together to <br> resolve conflicts without rending the fabric of the neighborhood. When we <br> succeed in identifying with fellow citizens, "the community wins," and we all <br> benefit.<br> Crazy Woman Creek became a wild and crazy gathering of <br> viewpoints as complex as the Western landscape and the women—and <br> men—who inhabit it. Contributors may contradict each other, but they <br> manage to get along as well as folks ever have in the West.<br> As traditional Western communities are subdivided and expanded, <br> we wonder if new residents can ever settle comfortably into old <br> neighborhoods. To do so, they must banish the myths and see the reality, <br> understand that such places are not static photographs of folks in big hats on <br> horses. We have all seen what one contributor describes as "the ugly face <br> this normally friendly little town can wear." We know that Western <br> communities, like gatherings of people anywhere, can be bleak or cozy.<br> All three of us editors have lived most of our lives in the kind of <br> traditional rural neighborhoods described by some contributors in the writings <br> that follow. We recognize and love "that hometown sense of belonging, that <br> like-mindedness" some writers report in the pages to follow. But through their <br> writing we've also met women whose backgrounds are entirely different from <br> ours, whose only bond to the land was their grandparents' reminiscences <br> about farm life. They, too, speak in these pages; they care deeply about the <br> West and want to belong. Have they arrived too late? We hope not.<br> Some of these writers argue that a community can exist only in a <br> particular place and must be composed of people who knew your <br> grandparents and your parents. In many ways, we identify with this opinion, <br> as can many Westerners who grew up in the sheltered assurance of a long <br> and settled family history. But most of us can no longer expect our families <br> to live in one place for several generations.<br> Are our lively Western communities doomed to exist only as <br> brown photographs of a flat landscape in a dusty book? Will future residents <br> see the West through sepia-toned spectacles?<br> The stories and poems in Crazy Woman Creek offer lively and <br> varied views of the ways people come together in today's West, and ideas <br> that may help us take a fresh look at the idea of community. Perhaps <br> members of Western communities can create new ways of living together in <br> settlements where residents accept the past as well as the future. Those <br> rural settlements where we grew up were founded on the belief that "being <br> part of a community is much more than owning property within its <br> boundaries." Like several other contributors, we don't think that idea is <br> obsolete.<br> As other writers note, bemoaning our losses and hating <br> newcomers do not improve a community. If folks who can't stand change just <br> move away, they alter more than one neighborhood. Some women write <br> about the challenge of staying in one place, adjusting as it reconstructs <br> itself. Even when we feel most powerless, they say, we are not alone. An <br> Idaho sheep rancher, for example, figured out how to educate newcomers, <br> instead of cursing them. She now says, "In our community, we are all making <br> new friends."<br> Can neighborliness survive even as our landscape is being <br> bulldozed and paved over? Before we can answer that question, we need to <br> get acquainted. In order to participate as members of any community, we <br> need to exchange our stories, to teach, and to learn. In this book, some <br> women write guidelines for retaining or re-creating the best qualities of old-<br> time Western neighborhoods.<br> Everyone knows parables that can show us a path when we are <br> lost, can heal us, recall us to our best selves. Telling stories from our lives, <br> say the experts, helps us understand the events that have happened to us, <br> no matter how difficult they have been. Sharing our burdens may assuage our <br> loneliness, allow us to support one another without self-pity.<br> Will getting to know our neighbors help us arbitrate a better future <br> for our communities? We cannot keep our settlements forever in the past, <br> though our mothers may have lived and died on the banks of Crazy Woman <br> Creek without complaint, and without considering the implications. But if we <br> invite a new neighbor in for a visit, or help him change a flat tire, we might <br> begin to help people in our neighborhood decide together how much change <br> we can accept. Newcomers and longtime residents may learn to live in <br> peace, even if compromise means we must change Bitch Basin to Mountain <br> Meadow Estates.<br> One contributor remarks, about a tragic story told and retold in her <br> town, that "we needed to draw the suffering of our neighbors into our lives and <br> to claim their pain before we could begin to heal as individuals and as <br> community." Repeating such a story, she implies, is not merely gossip, but a <br> way of learning about each other, one that leads to the discovery of how <br> much we have in common. Human nature tugs us toward one another. To <br> determine the best possible future for Western settlements—or any other <br> neighborhood—we need to get closer than we can by cell phone or a distant <br> wave through the windshield.<br> Another woman writes that she felt isolated in precisely the kind <br> of subdivision many rural residents fear will replace our wide-open <br> spaces. "Suddenly, community mattered," she writes. Searching for <br> connections, she recalled how her mother and grandmother took casseroles <br> to the bereaved and listened to their sadness. At first, she felt awkward <br> copying her elders' gestures; she thought, "Maybe if I practiced, I would get <br> better at it." And she did.<br> Creating connections requires work, commitment, and time. Just <br> moving in isn't enough; membership in a group or community has value only <br> if it is earned in those countless rituals that make up our busy days. Offer a <br> lift to a neighbor, visit with the pharmacist; small gestures splice us together, <br> weaving bonds that become friendship and cooperation. A resident of a <br> unique Iowa enclave says, "Those who stay and prosper are the ones who <br> come to cherish Amana for what it is. They join in, take part, and help out." <br> Any group could benefit from such involvement, as could the people who <br> choose to participate—a mutual benefit.<br> <br> "There is no power struggle here; we are all givers."<br> —Judy Ann<br> <br> Like the two collections of writing that preceded it, Crazy Woman Creek: <br> Women Rewrite the American West has been created by its contributors. <br> We asked women to draw upon their experiences living west of the <br> Mississippi River, to write a good and true story about contemporary women <br> in any community, whether it's a place, an organization, or a spontaneous <br> gathering. Although men were not excluded, we wanted stories focused on <br> women, and on how their actions affect others. Our yardstick would be, as <br> always, authenticity and quality of writing.<br> Evaluating manuscripts, we were alert for writing that grew out of <br> strong convictions, whether we agreed with the conclusions or not. If a <br> particular subject drew the attention of several writers, we worked to eliminate <br> repetition and to select the most appropriate account. We loved brilliantly <br> written compositions, but we also appreciated the work of less experienced <br> writers whose beliefs and emotions were an important component in the <br> collective voice. We asked ourselves how to balance prose and poetry, how <br> much attention to pay to geographical distribution. Eventually, we agreed, the <br> true stories we chose had to possess a quality we call heart.<br> <br> "Listen up sister."<br> —Sureva Towler<br> <br> Historical legends recounting the source of the name of Wyoming's Crazy <br> Woman Creek, running through the wild north-central region, are published at <br> www.travelwyoming.com, but local chronicles are more informal and more <br> vivid.<br> One Wyoming writer told us that when the family crossed it, her <br> husband always said, "Look, kids! There's your mom's creek: Crazy Woman <br> Creek." He encouraged their kids to call it "Mom Creek." She's not married to <br> him anymore, and she grits her teeth when she tells that story.<br> Margaret Smith, who lives near the creek, tells us that after the <br> crazy woman of legend died, her spirit inhabited the canyon walls. "For many <br> years, people in the region could point to a woman's face in the rocks," she <br> says. The woman looked as if she were crying—or screaming.<br> Jane Wells, a contributor to this anthology, also lives nearby, and <br> calls Crazy Woman Canyon "a monument of tumbled granite, rushing snow <br> melt, deep shadows, and brilliant sunlight."<br> Perhaps the canyon has become a cenotaph to one woman driven <br> mad by grief, and the tales of today's inhabitants are fitting honors for all the <br> nameless women of the West. Recalling the legends, keeping the stories <br> alive can remind us of the power we women share.<br> Every winter day, Jane Wells leaves her bed before dawn and in <br> the moonlight pitches hay to the horses, breaks ice in the creek with an ax, <br> and does other ranch chores before heading to her day job in town. She's <br> standing behind the information desk at the museum when some tourists <br> from Germany ask if she knows the origin of the name of Crazy Woman <br> Canyon.<br> She takes a deep breath and looks them straight in the eye. "As a <br> matter of fact," she says, "I do. It was named after me." That's the attitude <br> represented by this book.<br> <br> "Start learning now how to make community."<br> —Lisa Heldke<br> <br> A Western woman might be independent enough to kiss a bull or brave <br> enough to tickle a bear, and she tells her own stories. She is part of the <br> tradition that produced Crazy Woman Creek, but she's rewriting the West <br> with her words as well as her actions.<br> If you can't see women in your neighborhood who are creating <br> community, look in the mirror. "You will be held accountable," if not by <br> others, certainly by yourself. Community requires you "to be your sister's <br> keeper, to accept aid when you need it, and to offer help when it is your <br> responsibility —woman to woman." One contributor reminds herself, "A <br> simple, hand-prepared meal is one way back to oneself. I need to remember <br> this." Let us all remember.<br> Another contributor asserts, "One of the great myths of our age is <br> that community is something you belong to, not something you work for." <br> Why shouldn't the principle apply in families, in city neighborhoods, <br> anywhere? Simply moving our belongings is not joining a community. Being <br> at home requires us to contribute.<br> Many of us in the rural West, as elsewhere, have "learned that to <br> live near each other meant more than just sharing an address. We also had a <br> responsibility to each other." Being responsible to one another can work in an <br> apartment block, in a subdivision, in any group. Several writers focused <br> precisely and movingly on "the price we pay for alienation and disconnection, <br> the price we pay when a community shuts its eyes. "We've all seen <br> examples of this particular expense in our communities.<br> Let's not wait for a disaster to pull together. Let's gather our <br> energy and purpose, "enter the circle that we may dance." Connections can <br> be woven of few and fragile threads. Remember: "it's your community if you <br> are willing to work for it."<br> <br> "We write into the storm together."<br> —Lucy Adkins<br> <br> Cowgirl up, cupcakes, and create community wherever you are, even if you <br> and your confederates are way beyond Crazy Woman Creek.<br> <br> Copyright © 2004 by Gaydell Collier, Nancy Curtis, and Linda M. <br> Hasselstrom. Reprinted by permission of Houghton Mifflin Company.<p>Crossing the eponymous Wyoming creek together in a truck one day, the three editors wondered why it is that memorable women in the Old West so frequently are portrayed as either insane, loose, or nameless. Their cure is this collection of bite-size prose and poetry by contemporary Western women telling personal stories about their connections to the West and the rest of the world. It's a tribute to the ordinary and the unconventional ways that women have shaped and sustained communities and contributed (often silently and namelessly) to the legacy of the West. The editors' third anthology of women's writing, it includes the work of 153 women from Nebraska Buddhists to suburban rodeo moms. Annotation &copy;2004 Book News, Inc., Portland, OR</p><h3>Library Journal</h3><p>The editors and many of the authors featured in Leaning into the Wind and Woven on the Wind have reunited for another likable collection of essays and poetry featuring women of the American West. This hodgepodge is comfortable and folksy yet diverse. Where else can a reader find an essay by a Nebraska Buddhist followed by a poem recalling "Vagina Dialogues on a Road Trip"? Themes emerge throughout the collection-how women minister to one another with food and a helping hand, how laughter heals and protects, and how vitally important relationships are to women, especially to those living in remote areas. Many selections are heartwarming, some are chilling in their truthfulness, and many demonstrate the necessary humor of survivors. Recommended for public and academic libraries with regional collections.-Jan Brue Enright, Augustana Coll. Lib., Sioux Falls, SD Copyright 2004 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction : beyond Crazy Woman Creek</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Banana bread and coffee</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The shearing</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Object of affection</TD><TD WIDTH="10%" ALIGN="RIGHT">4</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the line dance cafe</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Posse to the rescue</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Superior laundry, Sheridan, Wyoming</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Right place, wrong time</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Casserole culture in highlands ranch</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Patchwork for baby</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wonderbra soldiers</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Picking peaches</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Run toward suffering</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Watch the big house burn</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Room for a small house</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The hippie central library fest</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rhino rump, chicken palace, and kindness</TD><TD WIDTH="10%" ALIGN="RIGHT">29</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Waiting to dance</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where the river bends</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Far-flung neighbors</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I suppose it was the food</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bound</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Soakers unite</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No one baked cookies</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boomtown, babies, and strawberry pie</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No treasure in Bismarck</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grab your shawls, girls!</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Warm hearts, cold reality</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Standing in line at Aldrich's Grocery</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A light shawl on a cool night</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Echoes on the wind</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cliff dwellings : Mesa Verde</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Path to a small world</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Simply, soul soup</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After moving away from 610</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Have cattle, will travel</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Women of the Journal star</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Valley essential : Gladys Smith</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old women's domain</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mine shack memories</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Well - you told me to</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Surviving at great cost</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Canton to Spearfish</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The brown sofa</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Feedings the spirit</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the greasy spoon</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vagina dialogues on the road trip</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shelter for each other</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Champagne toast at midnight</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The logging bee</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wood ash on the wind</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nevada firestorm</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Women in pickups</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gifts from our hands and hearts</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To dance with grace</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tupperware therapy</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Banding together in San Francisco</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Concert of energy</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Writing into the storm</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Too busy to be church ladies</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How do I thank ...?</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We four</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A haunting experience</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rejuvenating the Clearfield Hall and me</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The wolf pack in the school district</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The non-musicals sing their last song</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fifty years of potluck</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The woman who didn't fit in</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wednesdays at Walgreens</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A couple of nights before Christmas</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why we still sing when other choirs dissolved</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Savoring the circle</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Perching</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hallelujah! faith circle!</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bingo babes</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm afraid I can't attend the next meeting</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Concerning my Hutterite cousins</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Straightforward and unafraid</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The spite and malice sewing circle</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A square of winter light</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Speak, throw up, or die</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What it took</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You always start with a baptism</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The brotherhood of railroad workers</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Our ladies of the farm</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Convergence of horse-crazy women</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hook and turn</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cindergals never looked back</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The hobo Mark swooshed</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Endurance in harmony</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The caring Cleveland club</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A good thing to do</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The circle dance</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I bring you the gift of my dying"</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ramah farmers' market</TD><TD WIDTH="10%" ALIGN="RIGHT">163</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Forecasting the future of food</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Down gravel roads</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman sculpted of stones</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Making room for Jesus and Buddha</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What I hate most about you</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pickin' chickens</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Watch where you step</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Comments from the crow's-nest</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rodeo moms</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When the world split</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tuesday tea</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Choir practice at the Bongo Lounge</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Popcorn in the ER</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old woman with a mind</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Electric Avenue books</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">September 12, 2001</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Funeral meats</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Weeders, all</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The communion of saints</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Desert filament</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The far side of Maple Street</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Quilting a dissertation</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The living, the warm</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The elegance of white things</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Celebrating mass in a nightgown</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In a time of war</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stitching my life project</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I like it that way</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leaving sad town</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Silent renewal</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">More alike than different</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ongoing sustenance</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tapestry woven of stories</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Your sister's keeper</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ghost dance II</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Feeling North Dakota and looking California</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Things I would not miss</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stretching friendship</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Alone, not lonely</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tortilla round</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Slot mamas</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Crone circle : grandmothers giving wisdom</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">United Methodist fellowship</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beadwork</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Colorado ritual</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cowgirl up, cupcakes</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Re-entry : homeward bound</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Liesel, you're a good Christian</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sonnet for my grandchild</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Never silent again</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The drumbeat continues</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Checkup, checkout</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Plant sale grows roots</TD><TD WIDTH="10%" ALIGN="RIGHT">261</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One panel of a quilt</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One word at a time</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dealing Uno and life</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Anaconda copper dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Where they know my name</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La Mujer y Su Cultura</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On watermelon and stout roads</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A world apart</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Belongings</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">AfterWord</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Credits</TD><TD WIDTH="10%" ALIGN="RIGHT">298</TD></TABLE><article> <h4>Library Journal</h4>The editors and many of the authors featured in Leaning into the Wind and Woven on the Wind have reunited for another likable collection of essays and poetry featuring women of the American West. This hodgepodge is comfortable and folksy yet diverse. Where else can a reader find an essay by a Nebraska Buddhist followed by a poem recalling "Vagina Dialogues on a Road Trip"? Themes emerge throughout the collection-how women minister to one another with food and a helping hand, how laughter heals and protects, and how vitally important relationships are to women, especially to those living in remote areas. Many selections are heartwarming, some are chilling in their truthfulness, and many demonstrate the necessary humor of survivors. Recommended for public and academic libraries with regional collections.-Jan Brue Enright, Augustana Coll. Lib., Sioux Falls, SD Copyright 2004 Reed Business Information. </article>
468Circle of Women: An Anthology of Contemporary Western Women WritersKim Barnes0<p><strong>Mary Clearman Blew</strong> is Professor of English and Creative Writing at the University of Idaho, Moscow. She is the author of <em>Bone Deep in Landscape</em>, <em>Balsamroot: A Memoir</em>, <em>Lambing Out And Other Stories</em> (University of Oklahoma Press) and <em>Sister Coyote: Montana Stories</em> and is coeditor of <em>Circle of Women: An Anthology of Contemporary Western Women's Writing</em>.</p>Kim Barnes (Editor), Mary Clearman Blewcircle-of-womenkim-barnes97808061336760806133678$19.95PaperbackUniversity of Oklahoma PressNovember 2001RED RIVERAmerican Literature Anthologies, Anthologies4168.10 (w) x 5.40 (h) x 1.00 (d)<p>This striking array of stories, essays, and poems reflects women’s experiences in the American West. Though the tales they tell reflect a variety of viewpoints, these writers share the struggle against the overwhelming isolation brought on by gender and the physical environment.</p> <p><i>Contributors include:Christina Adam, Gretel Ehrlich, Anita Endrezze, Tess Gallagher, Molly Gloss, Pam Houston, Teresa Jordan, Cyra McFadden, Deirdre McNamer, Melanie Rae Thon, Marilynne Robinson, Annick Smith, Terry Tempest Williams, and Claire Davis</i></p> <p>&nbsp;</p> <p>A striking array of stories, essays, and poems reflecting women's experiences of the American West. Combining illustrious writers with exciting but lesser known regional authors, this volume is at once brave, sensitive, and complex--representing the West in a way readers have not seen before. </p><p><br> </p> <p><font size="+2">Chapter One</font></p> <p><br> </p> <p>&nbsp;&nbsp;&nbsp; Mary Clearman Blew</p> <p>&nbsp;&nbsp;&nbsp; The Sow in the River</p> <p><br> </p> <p>In the sagebrush to the north of the mountains in central Montana, where the Judith River deepens its channel and threads a slow, treacherous current between the cutbanks, a cottonwood log house still stands. It is in sight of the highway, about a mile downriver on a gravel road. From where I have turned off and stopped my car on the sunlit shoulder of the highway, I can see the house, a distant and solitary dark interruption of the sagebrush. I can even see the lone box elder tree, a dusty green shade over what used to be the yard.</p> <p>&nbsp;&nbsp;&nbsp; I know from experience that if I were to keep driving over the cattle guard and follow the gravel road through the sage and alkali to the log house, I would find the windows gone and the door sagging and the floor rotting away. But from here the house looks hardly changed from the summer of my earliest memories, the summer before I was three, when I lived in that log house on the lower Judith with my mother and father and grandmother and my grandmother's boyfriend, Bill.</p> <p>&nbsp;&nbsp;&nbsp; My memories seem to me as treacherous as the river. Is it possible, sitting here on this dry shoulder of a secondary highway in the middle of Montana where the brittle weeds of August scratch at the sides of the car, watching the narrow blue Judith take its time to thread and wind through the bluffs on its way to a distant northern blur, to believe in anything but today? The past eases away with the current. I cannot watch a single drop of water out of sight. How can I trust memory, which slips and wobbles and grinds its erratic furrows like a bald-tired truck fighting for traction on a wet gumbo road?</p> <p><br> </p> <p align="center">* * *</p> <p><br> </p> <p>Light flickers. A kerosene lamp in the middle of the table has driven the shadows back into the corners of the kitchen. Faces and hands emerge in a circle. Bill has brought apples from the box in the dark closet. The coil of peel follows his pocketknife. I bite into the piece of quartered apple he hands me. I hear its snap, taste the juice. The shadows hold threats: mice and the shape of nameless things. But in the circle around the lamp, in the certainty of apples, I am safe.</p> <p>&nbsp;&nbsp;&nbsp; The last of the kerosene tilts and glitters around the wick. I cower behind Grammy on the stairs, but she boldly walks into the shadows, which reel and retreat from her and her lamp. In her bedroom the window reflects large pale her and timorous me. She undresses herself, undresses me; she piles my pants and stockings on the chair with her dress and corset. After she uses it, her pot is warm for me. Her bed is cold, then warm. I burrow against her back and smell the smoke from the wick she has pinched out. Bill blows his nose from his bedroom on the other side of the landing. Beyond the eaves the shapeless creatures of sound, owls and coyotes, have taken the night. But I am here, safe in the center.</p> <p>&nbsp;&nbsp;&nbsp; I am in the center again on the day we look for Bill's pigs. I am sitting between him and Grammy in the cab of the old Ford truck while the rain sheets on the windshield. Bill found the pigpen gate open when he went to feed the pigs this morning, their pen empty, and now they are nowhere to be found. He has driven and driven through the sagebrush and around the gulches, peering out through the endless gray rain as the truck spins and growls on the gumbo in low gear. But no pigs. He and Grammy do not speak. The cab is cold, but I am bundled well between them with my feet on the clammy assortment of tools and nails and chains on the floorboards and my nose just dashboard level, and I am at home with the smell of wet wool and metal and the feel of a broken spring in the seat.</p> <p>&nbsp;&nbsp;&nbsp; But now Bill tramps on the brakes, and he and Grammy and I gaze through the streaming windshield at the river. The Judith has risen up its cutbanks, and its angry gray current races the rain. I have never seen such a Judith, such a tumult of water. But what transfixes me and Grammy and Bill behind our teeming glass is not the ruthless condition of the river—no, for on a bare air at midcurrent, completely surrounded and only inches above that muddy roiling water, huddle the pigs.</p> <p>&nbsp;&nbsp;&nbsp; The flat top of the ait is so small that the old sow takes up most of it by herself. The river divides and rushes around her, rising, practically at her hooves. Surrounding her, trying to crawl under her, snorting in apprehension at the water, are her little pigs. Watching spellbound from the cab of the truck, I can feel their small terrified rumps burrowing against her sides, drawing warmth from her center even as more dirt crumbles under their hooves. My surge of understanding arcs across the current, and my flesh shrivels in the icy sheets of rain. Like the pigs I cringe at the roar of the river, although behind the insulated walls of the cab I can hear and feel nothing. I am in my center and they are in theirs. The current separates us irrevocably, and suddenly I understand that my center is as precarious as theirs, that the chill metal cab of the old truck is almost as fragile as their ring of crumbling sod.</p> <p>&nbsp;&nbsp;&nbsp; And then the scene darkens and I see no more.</p> <p><br> </p> <p align="center">* * *</p> <p><br> </p> <p>For years I would watch for the ait. When I was five my family moved, but I learned to snatch a glimpse whenever we drove past our old turnoff on the road from Lewistown to Denton. The ait was in plain view, just a hundred yards downriver from the highway, as it is today. <i>Ait</i> was a fancy word I learned afterward. It was a fifteen-foot-high steep-sided, flat-topped pinnacle of dirt left standing in the bed of the river after years of wind and water erosion. And I never caught sight of it without the same small thrill of memory: that's where the pigs were.</p> <p>&nbsp;&nbsp;&nbsp; One day I said it out loud. I was grown by then. "That's where the pigs were."</p> <p>&nbsp;&nbsp;&nbsp; My father was driving. We would have crossed the Judith River bridge, and I would have turned my head to keep sight of the ait and the lazy blue threads of water around the sandbars.</p> <p>&nbsp;&nbsp;&nbsp; My father said, "What pigs?"</p> <p>&nbsp;&nbsp;&nbsp; "The old sow and her pigs," I said, surprised. "The time the river flooded. I remember how the water rose right up to their feet."</p> <p>&nbsp;&nbsp;&nbsp; My father said, "The Judith never got that high, and there never was any pigs up there."</p> <p>&nbsp;&nbsp;&nbsp; "Yes there were! I remember!" I could see the little pigs as clearly as I could see my father, and I could remember exactly how my own skin had shriveled as they cringed back from the water and butted the sow for cold comfort.</p> <p>&nbsp;&nbsp;&nbsp; My father shook his head. "How did you think pigs would get up there?" he asked.</p> <p>&nbsp;&nbsp;&nbsp; <i>Of course they couldn't.</i></p> <p>&nbsp;&nbsp;&nbsp; His logic settled on me like an awakening in ordinary daylight. Of course a sow could not lead nine or ten suckling pigs up those sheer fifteen-foot crumbling dirt sides, even for fear of their lives. And why, after all, would pigs even try to scramble to the top of such a precarious perch when they could escape a cloudburst by following any one of the cattle trails or deer trails that webbed the cutbanks on both sides of the river?</p> <p>&nbsp;&nbsp;&nbsp; Had there been a cloudburst at all? Had there been pigs?</p> <p>&nbsp;&nbsp;&nbsp; No, my father repeated. The Judith had never flooded anywhere near that high in our time. Bill Hafer had always raised a few pigs when we lived down there on the river, but he kept them penned up. No.</p> <p><br> </p> <p align="center">* * *</p> <p><br> </p> <p>Today I lean on the open window of my car and yawn and listen to the sounds of late summer. The snapping of grasshoppers. Another car approaching on the highway, roaring past my shoulder of the road, then fading away until I can hear the faint scratches of some small hidden creature in the weeds. I am bone-deep in landscape. In this dome of sky and river and undeflected sunlight, in this illusion of timelessness, I can almost feel my body, blood, and breath in the broken line of the bluffs and the pervasive scent of ripening sweet clover and dust, almost feel the sagging fence line of ancient cedar posts stapled across my vitals.</p> <p>&nbsp;&nbsp;&nbsp; The only shade in sight is across the river where box elders lean over a low white frame house with a big modern house trailer parked behind it. Downstream, far away, a man works along a ditch. I think he might be the husband of a second cousin of mine who still lives on her old family place. My cousins wouldn't know me if they stopped and asked me what I was doing here.</p> <p>&nbsp;&nbsp;&nbsp; Across the highway, a trace of a road leads through a barbed-wire gate and sharply up the bluff. It is the old cutoff to Danvers, a town that has dried up and blown away. I have heard that the cutoff has washed out, further up the river, but down here it still holds a little bleached gravel. Almost as though my father might turn off in his battered truck at fifteen miles an hour, careful of his bald wartime tires, while I lie on the seat with my head on his thigh and take my nap. Almost as though at the end of that road will be the two grain elevators pointing sharply out of the hazy olives and ochers of the grass into the rolling cumulus, and two or three graveled streets with traffic moving past the pool hall and post office and dug-out store where, when I wake from my nap and scramble down from the high seat of the truck, Old Man Longin will be waiting behind his single glass display case with my precious wartime candy bar.</p> <p>&nbsp;&nbsp;&nbsp; Yes, that little girl was me, I guess. A three-year-old standing on the unswept board floor, looking up at rows of canned goods on shelves that were nailed against the logs in the 1880s, when Montana was still a territory. The dust smelled the same to her as it does to me now.</p> <p>&nbsp;&nbsp;&nbsp; Across the river, that low white frame house where my cousin still lives is the old Sample place. Ninety years ago a man named Sample fell in love with a woman named Carrie. Further up the bottom—you can't see it from here because of the cottonwoods—stands Carrie's deserted house in what used to be a fenced yard. Forty years ago Carrie's house was full of three generations of her family, and the yard was full of cousins at play. Sixty years ago the young man who would be my father rode on horseback down that long hill to Carrie's house, and Sample said to Carrie, <i>Did your brother Albert ever have a son? From the way the kid sits his horse, he must be your brother's son</i>.</p> <p>&nbsp;&nbsp;&nbsp; Or so the story goes. Sample was murdered. Carrie died in her sleep. My father died of exposure.</p> <p><br> </p> <p align="center">* * *</p> <p><br> </p> <p>The Judith winds toward its mouth. Its current seems hardly to move. Seeing it in August, so blue and unhurried, it is difficult to believe how many drownings or near drownings the Judith has counted over the years. To a stranger it surely must look insignificant, hardly worth calling a river.</p> <p>&nbsp;&nbsp;&nbsp; In 1805 the explorers Lewis and Clark, pausing in their quest for the Pacific, saw the mountains and the prairies of central Montana and the wild game beyond reckoning. They also noted this river, which they named after a girl. Lewis and Clark were the first white recorders of this place. In recording it, they altered it. However indifferent to the historical record, those who see this river and hear its name, <i>Judith</i>, see it in a slightly different way because Lewis and Clark saw it and wrote about it.</p> <p>&nbsp;&nbsp;&nbsp; In naming the river, Lewis and Clark claimed it for a system of governance that required a wrenching of the fundamental connections between landscape and its inhabitants. This particular drab sagebrush pocket of the West was never, perhaps, holy ground. None of the landmarks here is invested with the significance of the sacred buttes to the north. For the Indian tribes that hunted here, central Montana must have been commonplace, a familiar stretch of their lives, a place to ride and breathe and be alive.</p> <p>&nbsp;&nbsp;&nbsp; But even this drab pocket is now a part of the history of the West, which, through a hundred and fifty years of white settlement and economic development, of rapid depletion of water and coal and timber and topsoil, of dependence upon military escalation and federal subsidies, has been a history of the transformation of landscape from a place to be alive in into a place to own. This is a transformation that breaks connections, that holds little in common. My deepest associations with this sunlit river are private. Without a connection between outer and inner landscape, I cannot tell my father what I saw. "There never was a sow in the river," he said, embarrassed at my notion. And yet I know there was a sow in the river.</p> <p><br> </p> <p align="center">* * *</p> <p><br> </p> <p>All who come and go bring along their own context, leave their mark, however faint. If the driver glanced out the window of that car that just roared past, what did he see? Tidy irrigated alfalfa fields, a small green respite from the dryland miles? That foreshortened man who works along the ditch, does he straighten his back from his labors and see his debts spread out in irrigation pipes and electric pumps?</p> <p>&nbsp;&nbsp;&nbsp; It occurs to me that I dreamed the sow in the river at a time when I was too young to sort out dreams from daylight reality or to question why they should be sorted out and dismissed. As I think about it, the episode does contain some of the characteristics of a dream. That futile, endless, convoluted search in the rain, for example. The absence of sound in the cab of the truck, and the paralysis of the onlookers on the brink of that churning current. For now that I know she never existed outside my imagination, I think I do recognize that sow on her slippery pinnacle.</p> <p>&nbsp;&nbsp;&nbsp; Memory lights upon a dream as readily as an external event, upon a set of rusty irrigation pipes and a historian's carefully detailed context through which she recalls the collective memory of the past. As memory saves, discards, retrieves, fails to retrieve, its logic may well be analogous to the river's inexorable search for the lowest ground. The trivial and the profound roll like leaves to the surface. Every ripple is suspect.</p> <p>&nbsp;&nbsp;&nbsp; Today the Judith River spreads out in the full sunlight of August, oblivious of me and my precious associations, indifferent to the emotional context I have framed it with. My memory seems less a record of landscape and event than a superimposition upon what otherwise would continue to flow, leaf out, or crumble according to its lot. What I remember is far less trustworthy than the story I tell about it. The possibility for connection lies in story.</p> <p>&nbsp;&nbsp;&nbsp; Whether or not I dreamed her, the sow in the river is my story. She is what I have saved, up there on her pinnacle where the river roils.</p> <blockquote> <hr noshade size="1"> <font size="-2">Excerpted from <b>Circle of Women</b> by . Copyright © 1994 by Mary Clearman Blew and Kim Barnes. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.</font> <hr noshade size="1"> </blockquote> <br> <br><p>This striking array of stories, essays, and poems reflects women's experiences in the American West. Though the tales they tell reflect a variety of viewpoints, these writers share the struggle against the overwhelming isolation brought on by gender and the physical environment.</p><h3>Publishers Weekly</h3><p>Through poems, essays and stories from 35 contributors, readers can travel into a world of rodeos, saloons, canyons, sagebrush, isolation and wilderness, immersing themselves, like the narrator in editor Blew's piece, ``bone-deep in landscape.'' What Teresa Jordan calls the ``interior'' or ``hidden stories'' of family, loneliness and emotional trial have been largely passed over by traditional male Western storytellers, but this collection offers insight into more intimate epics like Jordan's story of an Indian girl and her father, an ex-convict unable to make a life for himself off the reservation, who teaches her to make her life ``her own.'' The collection starts with Blew's nostalgic blurring of dream and memory but ends with Terry Tempest Williams's ``The Clan of One-Breasted Women'' about a Utah Mormon who discovers that the flash of light she thought was a dream was a real nuclear explosion and breaks with conservative tradition by questioning authority when her mother, both grandmothers and six aunts develop breast cancer. Although there are flawed contributions, this evocative collection with works by Tess Gallagher, Melanie Rae Thon, Anita Endrezze, Gretel Ehrlich, Cyra McFadden and others, coheres in examining Western myths and traditions through the lives of women. (July)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sow in the River</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woodcutting on Lost Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Secret of Cartwheels</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Iona Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When I Was Ten, at Night</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Luck</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Just Rewards</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Changing</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Housekeeping</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rules</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Songs Were Horses I Rode</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">They Keep Their Story</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Mary, on the Snake</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Visiting the Hutterites</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scale</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Missing You</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Jailing of Cecelia Capture</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In the Hellgate Wind</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Difference in Effects of Temperature Depending on Geographical Location East or West of the Continental Divide: A Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It's Come to This</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From The Jump-Off Creek</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bones</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leaving Home</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Comes of Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the Stockman Bar, Where the Men Fall in Love, and the Women Just Fall</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Rain or Shine: A Family Memoir</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Entering Smoot, Wyoming Pop. 239</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seasons</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cry</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tracks</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sawyer's Wife</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fires</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In My Next Life</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Red Rock Ceremonies</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Claiming Lives</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moving Day at the Widow Cain's</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Island</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Force of One Voice</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Legend in a Small Town</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Relative Distances</TD><TD WIDTH="10%" ALIGN="RIGHT">271</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Other Side of Fire</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Coyote Is Loping Across the Water</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hunsaker Blood</TD><TD WIDTH="10%" ALIGN="RIGHT">315</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How I Came West, and Why I Stayed</TD><TD WIDTH="10%" ALIGN="RIGHT">326</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From Rima in the Weeds</TD><TD WIDTH="10%" ALIGN="RIGHT">341</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Circle of Women</TD><TD WIDTH="10%" ALIGN="RIGHT">356</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Calling the Coyotes In</TD><TD WIDTH="10%" ALIGN="RIGHT">358</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Smell of Rain</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Clan of One-Breasted Women</TD><TD WIDTH="10%" ALIGN="RIGHT">362</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes on the Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">373</TD></table><article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Through poems, essays and stories from 35 contributors, readers can travel into a world of rodeos, saloons, canyons, sagebrush, isolation and wilderness, immersing themselves, like the narrator in editor Blew's piece, ``bone-deep in landscape.'' What Teresa Jordan calls the ``interior'' or ``hidden stories'' of family, loneliness and emotional trial have been largely passed over by traditional male Western storytellers, but this collection offers insight into more intimate epics like Jordan's story of an Indian girl and her father, an ex-convict unable to make a life for himself off the reservation, who teaches her to make her life ``her own.'' The collection starts with Blew's nostalgic blurring of dream and memory but ends with Terry Tempest Williams's ``The Clan of One-Breasted Women'' about a Utah Mormon who discovers that the flash of light she thought was a dream was a real nuclear explosion and breaks with conservative tradition by questioning authority when her mother, both grandmothers and six aunts develop breast cancer. Although there are flawed contributions, this evocative collection with works by Tess Gallagher, Melanie Rae Thon, Anita Endrezze, Gretel Ehrlich, Cyra McFadden and others, coheres in examining Western myths and traditions through the lives of women. (July) </article> <article> <h4>Library Journal</h4>The editors have selected short stories, poems, essays, and excerpts from novels that present women's perceptions of the American Rocky Mountain West. These pieces, by writers as diverse as Tess Gallagher, Pam Houston, Gretel Ehrlich, and Deidre McNamer, are powerful, moving, and uniquely expressed. The common themes that thread through this collection include growing up, painful or strained family relationships, love for men and friends, and the West itself-mountains, forests, plains, rivers, horses, cowboys, and coyotes. The women describe the hardships that must be endured to survive the rugged terrain, harsh climate, and loneliness of the West. In their writing, past, present, memories, and dreams are reconciled. Recommended for most collections.-Cheryl L. Conway, Univ. of Arkansas Lib., Fayetteville </article>
469The Portable Western ReaderVarious0Various, William Kittredgethe-portable-western-readervarious97801402302600140230262$19.24PaperbackPenguin Group (USA)July 1997Regional American Anthologies6245.14 (w) x 7.80 (h) x 1.35 (d)<p>The American West is as varied in its inhabitants as in its landforms. Yet what has come to stand for "Western" writing is the myth of the wagon train and the lone gunman. In the <b>Portable Wester Reader</b>, William Kittredge has assembled stories, poems, essays, and excerpts that transcend the Western myth and explore the vast range of Western experience. With selections from more than seventy authors, and an introduction and headnotes by William Kittredge. <b>The Portable Western Reader</b> redefines the Western literary landscape.</p><p>The American West is as varied in its inhabitants as in its landforms. Yet what has come to stand for "Western" writing is the myth of the wagon train and the lone gunman. In the Portable Wester Reader, William Kittredge has assembled stories, poems, essays, and excerpts that transcend the Western myth and explore the vast range of Western experience. With selections from more than seventy authors, and an introduction and headnotes by William Kittredge. The Portable Western Reader redefines the Western literary landscape.</p><p>Acknowledgments Introduction: "West of Your Town: Another Country" by William Kittredge Suggestions for Further Reading<br> <b>Part One: Ancient Stories</b><br> Introduction Washington Matthews, "House Made of the Dawn" (Navajo night chant)<br> A. L. Kroeber, "The Woman and the Horse," from <i>Gros Ventre Myths and Tales</i><br> Catharine McClellan, "The Girl Who Married the Bear"<br> Jarold Ramsey, "Coyote and Eagle Go to the Land of the Dead"<br> C. C. Uhlenbeck, "How the Ancient Peigans Lived" (Blackfeet tale)<br> James Welch, from <i>Fools Crow</i><br> James Mooney, from <i>The Ghost-Dance Religion and the Sioux Outbreak of 1890</i><br> Linda Hogan, from <i>Mean Spirit</i><br> John Graves, "The Last Running"<br> Louise Erdrich, "Fleur"<br> Joy Harjo, "Deer Dancer"<br> <b>Part Two: Transcending the Western</b><br> Introduction Walt Whitman, "Song of the Redwood-Tree" from <i>Leaves of Grass</i><br> e. e. cummings, "Buffalo Bill's"<br> D. H. Lawrence, from "Fenimore Cooper's Leatherstocking Tales," in <i>Studies in Classic American Literature</i><br> Meriwether Lewis and William Clark, from the <i>Journals</i><br> A. B. Guthrie Jr., from <i>The Big Sky</i><br> Teddy Blue Abbott, from <i>We Pointed Them North: Recollections of a Cowpuncher</i><br> O. E. Rolvaag, from <i>Giants in the Earth</i><br> Elinore Rupert Stewart, from <i>Letters of a Woman Homesteader</i><br> Wallace Stegner, "Carrion Spring," from <i>Wolf Willow</i><br> Mari Sandoz, from <i>Old Jules</i><br> Dorothy M. Johnson, "The Man Who Shot Liberty Valance<br> Jack London, "A Raid on the Oyster Pirates"<br> JOhn Steinbeck, "The Squatters' Camps," from <i>The Harvest Gypsies</i><br> Robinson Jeffers, "Eagle Valor, Chicken Mind"<br> Ernest Hemingway, "The Clark's Fork Valley, Wyoming"<br> Theodore Roethke, "All Morning"<br> "The Far Field"<br> Norman Maclean, from <i>A River Runs Through It</i><br> Wright Morris, from <i>Ceremony in Lone Tree</i><br> John Haines, "If the Owl Calls Again," from <i>The Owl in the Mask of the Dreamer</i><br> from "Three Days," in <i>The Stars, the Snow, the Fire</i><br> Ivan Doig, from <i>This House of Sky</i><br> Larry McMurtry, "Take My Saddle from the Wall: A Valediction"<br> Mary Clearman Brew, from <i>All But the Waltz</i><br> <b>Part Three: Our Own Stories</b><br> Introduction W. H. Auden, "The West from the Air," from <i>The Dyer's Hand</i><br> Galway Kinnell, "The Bear"<br> William Stafford, "Traveling Through the Dark"<br> "Help from History"<br> "<i>Paso por Aqui</i>"<br> "Late, Passing Prairie Farm"<br> David Wagoner, "A Guide to Dungeness Spit"<br> Ken Kesey, from <i>One Flew Over the Cuckoo's Nest</i><br> Thomas McGrath, "Legends, Heroes, Myth-Figures and Other American Liars"<br> "The Pleasures of the Great Salt Lake"<br> "Longing"<br> Keith Wilson, "The Poem Politic 10: A Note for Future Historians"<br> Edward Abbey, from <i>Desert Solitaire</i><br> Gary Snyder, "Above Pate Valley"<br> "Painting the North San Juan School"<br> "Getting in the Wood"<br> "Dillingham, Alaska, the Willow Tree Bar"<br> Richard Hugo, "Degrees of Gray in Philipsburg"<br> "The Freaks at Spurgin Road Field"<br> "Silver Star"<br> "Driving Montana"<br> "Fort Benton"<br> "Duwamish"<br> "Salt Water Story"<br> Philip Levine, "Sierra Kid"<br> "Soloing"<br> Richard Shelton, "The Hole"<br> "The Stones"<br> Maxine Hong Kingston, "American Father," from <i>China Men</i><br> Raymond Carver, "My Father's Life"<br> Richard Ford, "Communist"<br> David Quammen, "Orphan Calves," from "Walking Out"<br> Thomas McGuane, "The Heart of the Game"<br> Rick Demarinis, "Paraiso: An Elegy"<br> Greg Pape, "Some Names"<br> "Blessing at the Citadel"<br> Tess Gallagher, "Cougar Meat"<br> "The Borrowed Ones"<br> <b>Part Four: Brilliant Possibilities</b><br> Introduction Czeslaw Milosz, "To Robinson Jeffers"<br> N. Scott Momaday, from <i>The Names: A Memoir</i><br> Robert Hass, "On the Coast near Sausalito"<br> "On Squaw Peak"<br> Gretel Ehrlich, "On Water," from <i>The Solace of Open Spaces</i><br> Leslie Marmon Silko, "Storyteller"<br> Marilynne Robinson, from <i>Housekeeping</i><br> David Long, "Lightning"<br> Pattiann Rogers, "A Passing"<br> "Why Lost Divinity Remains Lost"<br> Garrett Hongo, "Yellow Light"<br> "What For"<br> Robert Wrigley, "Ravens at Deer Creek"<br> "Majestic"<br> Alberto Rios, "The Secret Lion," from <i>The Iguana Killer</i><br> Jimmy Santiago Baca, from "Martin," in <i>Martin and Meditations on the South Valley</i> #Section V#<br> Ray Gonzalez, "Snakeskin (A Dream)"<br> "Talk with the Priest"<br> James Galvin, "Water Table"<br> "Coming into His Shop from a Bright Afternoon," from <i>The Meadow</i><br> Terry Tempest Williams, "The Clan of One-Breasted Women," from <i>Refuge: An Unnatural History of Family and Place</i><br> Richard K. Nelson, "The Gifts of Deer," from <i>The Island Within</i><br> Adrian C. Louis, "In the Ghetto on the Prairie There Is Unrequited Love"<br> "Sometimes a Warrior Comes Tired"<br> "America Loomed Before Us"<br> Sherman Alexie, "The Business of Fancydancing"<br> "My Heroes Have Never Been Cowboys"<br> Barry Lopez, "The Passing Wisdom of Birds"<br> Allen Ginsberg, "A Supermarket in California"</p>
470African-American Literature: A Brief Introduction and AnthologyAl Young0Al Young, Robert Youngafrican-american-literatureal-young97806739901740673990176$51.80PaperbackLongmanJanuary 19971st EditionPeoples & Cultures - American Anthologies, African Americans - General & Miscellaneous, African American Literature - Literary Criticism5006.20 (w) x 8.90 (h) x 1.00 (d)This collection includes works by James Baldwin, Toni Morrison, Alice Walker, Jerome Wilson, W.E.B. DuBois, James Weldon Johnson, Langston Hughes, Maya Angelou, Lucille Clifton, Ishmael Reed, and many others.<p>This collection includes works by James Baldwin, Toni Morrison, Alice Walker, Jerome Wilson, W.E.B. DuBois, James Weldon Johnson, Langston Hughes, Maya Angelou, Lucille Clifton, Ishmael Reed, and many others.</p><P><b>Foreword by Ishmael Reed.</b><p><b>I. AUTOBIOGRAPHY.</b><p><i>To My Old Master,</i> Jourdon Anderson (19th century).<p>From <i>Incidents in the Life of a Slave Girl,</i> Harriet Ann Jacobs (1813-1897).<p>From <i>Narrative of the Life of Frederick Douglass,</i> Frederick Douglass ( 1817-1895).<p><i>I Could be a Conjure Doctor and Make Plenty of Money,</i> Lorenzo Ezell (WPA Archives).<p><i>My White Folks Treated Us Good,</i> Marriah Hines (WPA Archives).<p><i>Don&rsquo;t Guess Names Matter Much No Way.</i> Lizzie Williams (WPA Archives).<p>From <i>Satchmo,</i> Louis Armstrong (1900-1971).<p><i>Remembering Richard Wright,</i> Ralph Ellison (1914-1994).<p><i>Somebody Done Hoodoo&rsquo;d the Hoodoo Man,</i> Al Young (b. 1939).<p>From <i>The Motion of Light in Water,</i> Samuel R. Delaney (b. 1942).<p><i>Granddaddy,</i> Itabari Njeri (b. 1954).<p><b>II. FICTION.</b><p><i>The Wife of His Youth,</i> Charles W. Chestnut (1858-1932).<p><i>Sweat,</i> Zora Neale Hurston (1881-1960).<p><i>Esther,</i> Jean Toomer (1894-1967).<p><i>Almos&rsquo; a Man,</i> Richard Wright (1908-1960).<p><i>Headwaiter,</i> Chester Himes (1909-1984).<p><i>Like a Winding Sheet,</i> Ann Petry (b. 1911).<p><i>The Homecoming,</i> Frank Yerby (b. 1916).<p><i>Sonny&rsquo;s Blues,</i> James Baldwin (1924-1987).<p><i>Son in the Afternoon,</i> John A. Williams (b. 1925).<p><i>To Da-duh in Memoriam,</i> Paule Marshall (b. 1929).<p><i>The Jewel in the Lotus,</i> Kristin Hunter (b. 1931).<p><i>Recitatif,</i> Toni Morrison (b. 1931).<p><i>The Sky is Gray,</i> Ernest J. Gaines (b. 1933).<p><i>Answers in Progress,</i> Amiri Baraka (b. 1934).<p><i>Five Years Ago,</i> Clarence Major (b. 1936).<p><i>The Only Man on Liberty Street,</i> William Melvin Kelley (b. 1937).<p><i>The Lesson,</i> Toni Cade Bambara (b. 1939).<p><i>everybody knew bubba riff,</i> John Edgar Wideman (b. 1941).<p><i>Nineteen Fifty-Five,</i> Alice Walker (b. 1944).<p><i>To Die of Old Age in a Foreign Country,</i> Brenda Flanagan (b. 1944).<p><i>Menagerie,</i> Charles Johnson (b. 1948).<p><i>Girl,</i> Jamaica Kincaid (b. 1949).<p><i>Kiswana Browne,</i> Gloria Naylor (b. 1950).<p><i>The End,</i> Terry McMillan (b. 1951).<p><i>The One That Did Not Get Away,</i> Fatima Shaik (b. 1952).<p><i>Guess Who&rsquo;s Coming to Seder,</i> Trey Ellis (b. 1962).<p><i>Paper Garden,</i> Jerome Wilson (b. 1970).<p><b>III. POETRY.</b><p><i>An Evening Thought,</i> Jupiter Hammon (1720?-1806?).<p><i>Bars Fight,</i> Lucy Terry (18th Century).<p><i>Imagination,</i> Phillis Wheatley (1753-1784).<p><i>On Liberty and Slavery,</i> George Moses Horton (1797-1883).<p><i>The Slave Auction,</i> Frances E. W. Harper (1825-1911).<p><i>The Song of Smoke,</i> W. E. B. DuBois (1868-1963).<p><i>Lift Every Voice and Sing,</i> James Weldon Johnson (1871-1938).<p><i>The Creation Sympathy,</i> Paul Laurence Dunbar (1872-1906).<p><i>When Malindy Sings.</i><p><i>We Wear the Mask.</i><p><i>The Tropics in New York,</i> Claude McKay (1891-1948).<p><i>The Lynching.</i><p><i>If We Must Die.</i><p><i>Lamda,</i> Melvin B. Tolson (1898-1966).<p><i>African China.</i><p><i>After Winter,</i> Sterling A. Brown (1901-1989).<p><i>Foreclosure.</i><p><i>Harlem,</i> Langston Hughes (1902-1967).<p><i>The Weary Blues.</i><p><i>The Negro Speaks of Rivers.</i><p><i>I, Too, Sing America.</i><p><i>Mother to Son.</i><p><i>Havana Dreams.</i><p><i>Birmingham Sunday.</i><p><i>Frederick Douglas,</i> Robert Hayden (1913-1980).<p><i>The Whipping.</i><p><i>Homage to the Empress of the Blues.</i><p><i>The Wise,</i> Countee Cullen (1903-1946).<p><i>Incident.</i><p><i>Booker T. and W. E. B.,</i> Dudley Randall (b. 1914).<p><i>An Answer to Lerone Bennett&rsquo;s Questionnaire on a Name for Black Americans.</i><p><i>Miss Molly Means,</i> Margaret Walker (b. 1915).<p><i>October Journey.</i><p><i>First Fight. Then Fiddle,</i> Gwendolyn Brooks (b. 1917).<p><i>On DeWitt Williams on His Way to Lincoln Cemetery.</i><p><i>The Birth in a Narrow Room.</i><p><i>We Real Cool.</i><p><i>Black Muslim Boy in a Hospital,</i> James A. Emmanuel (b. 1921).<p><i>Son.</i><p><i>Walking Parker Home,</i> Bob Kaufman (1925-1986).<p><i>Battle Report.</i><p><i>Willie,</i> Maya Angelou (1928).<p><i>A Far Cry from Africa,</i> Derek Walcott (b. 1930).<p><i>Omeros.</i><p><i>Hard Rock Returns to Prison from the Hospital for the Criminal Insane,</i> Etheridge Knight (1931-1991).<p><i>The Idea of Ancestry.</i><p><i>Haiku.</i><p><i>Preface to a Twenty Volume Suicide Note.</i> Amiri Baraka (b. 1934).<p><i>125th Street and Abomey,</i> Audre Lord (1934-1993).<p><i>A Letter to Dr. Martin Luther King,</i> Sonia Sanchez King (b. 1934).<p><i>My Father&rsquo;s Wars,</i> Collen McElroy (b. 1936).<p><i>Queen of the Ebony Isles.</i><p><i>Good Times,</i> Lucille Clifton (b. 1936).<p><i>Homage to My Hips.</i><p><i>Quilting.</i><p><i>Railroad Bill, A Conjure Man,</i> Ishmael Reed (b. 1938).<p><i>The Reactionary Poet.</i><p><i>Lake Bud.</i><p><i>Blue Ruth&#58; America,</i> Michael S. Harper (b. 1938).<p><i>Time for Tyner&#58; Folksong,</i><p><i>Worship,</i> Primus St. John (b. 1942).<p><i>Church Poem,</i> Joyce Carol Thomas (b. 1942).<p><i>Excerpts from Stagolee's Memoirs,</i> Cecil M. Brown (b. 1943).<p><i>Nikki-Rosa,</i> Nikki Giovanni (b. 1943).<p><i>Third Eye World,</i> David Henderson (b. 1943).<p><i>Death of the Ice Queen.</i><p><i>Poem for My Father,</i> Quincy Troupe (b. 1943).<p><i>Wonders,</i> Lorenzo Thomas (b. 1944).<p><i>Historiography.</i><p><i>The Old O. O. Blues,</i> O. O. Gabugah (b. 1945).<p><i>A Poem for Players.</i><p><i>New and Old Gospel,</i> Nathaniel Mackey (b. 1947).<p><i>American Plethora&#58; MacCorporate MacDream,</i> George Barlow (b. 1950).<p><i>Rite-ing,</i> Ntozake Shange (b. 1948).<p><i>For Billie Holiday,</i> Kofi Natambu (b. 1950).<p><i>A History of Faces.</i><p><i>Banneker,</i> Rita Dove (b. 1952).<p><i>Canary.</i><p><i>&Ouml;.</i><p><i>Tokyo Story,</i> Cyrus Cassells (b. 1958).<p><i>Africa Says,</i> Carl Phillips (b. 1959).<p><i>What Myth Is.</i><p><i>Mujer de Vocanes y Terremotos,</i> Harryette Mullen (b. 1960).<p><i>She Landed on the Moon.</i><p><i>The Venus Hottetot,</i> Elizabeth Alexander (b. 1953).<p><i>Boston Year.</i><p><i>Knowledge is King,</i> Kool Moe Dee (b. 1962).<p><i>The Preserving,</i> Kevin Young (b. 1965).<p><b>IV. DRAMA.</b><p><i>He Who Endures,</i> Bill Harris (b. 1941).<p><b>Alternate Table of Contents by Theme.</b><p><b>Bibliography.</b><p><b>Index.</b><p><b>Acknowledgments.</b>
471El CoroMartin Espada0Martin Espadael-coromartin-espada97815584911131558491112$10.34PaperbackUniversity of Massachusetts PressDecember 1997Poetry, American Literature Anthologies, Anthologies1846.03 (w) x 9.02 (h) x 0.58 (d)El Coro offers proof that Latino/a poetry today is more complex and diverse, more beautiful and powerful, than had been previously acknowledged. Here we find the open expression of anger and grief, self-mocking humor, the music of protest, the quiet assertion of dignity, and the raucous celebration of survival. There are poems about stoop labor and welfare offices and housing projects, but also poems about the Four Horsemen of the Apocalypse and the Minotaur. Among the poets are former farm workers and gang members, a practicing physician, an ex-tenant lawyer, two professional chefs, and a Vietnam veteran. One poet was a political prisoner for six years; another staged a famous hunger strike; still another was indicted for her work with Central American refugees. In many ways this collection of poets comprises a chorus. Their song humanizes in the face of dehumanization.<p>El Coro offers proof that Latino/a poetry today is more complex and diverse, more beautiful and powerful, than had been previously acknowledged. Here we find the open expression of anger and grief, self-mocking humor, the music of protest, the quiet assertion of dignity, and the raucous celebration of survival. There are poems about stoop labor and welfare offices and housing projects, but also poems about the Four Horsemen of the Apocalypse and the Minotaur. Among the poets are former farm workers and gang members, a practicing physician, an ex-tenant lawyer, two professional chefs, and a Vietnam veteran. One poet was a political prisoner for six years; another staged a famous hunger strike; still another was indicted for her work with Central American refugees. In many ways this collection of poets comprises a chorus. Their song humanizes in the face of dehumanization.</p><h3>Library Journal</h3><p>Espada (English, Univ. of Massachusetts) has compiled a successful assortment of 43 Latino poets writing in English, unusual in that a high number live in New England. To eschew favoritism, he arranged an entire generation of contributors alphabetically, mixing well-established names like Gary Soto with several younger lesser-knowns. A mixture of styles is also included: sonnets, prose poems, and concrete poetry are all here. Although most of the selections were previously published locally, their treatment of the themes of the Latino experience, the indignity of racism, and the quest for the preservation of cultural identity make them deserving of a wider audience. Julio Marzan sums it up the best: "Next spring I will be/ Forty years a foreigner." Espada, himself a poet of some renown (Imagine the Angels of Bread, LJ 6/1/96) and a contributor to this volume, has provided a good, useful vehicle for disseminating that broader cultural awareness. Recommended.Lawrence Olszewski, OCLC Lib., Dublin, Ohio</p><article> <h4>Library Journal</h4>Espada (English, Univ. of Massachusetts) has compiled a successful assortment of 43 Latino poets writing in English, unusual in that a high number live in New England. To eschew favoritism, he arranged an entire generation of contributors alphabetically, mixing well-established names like Gary Soto with several younger lesser-knowns. A mixture of styles is also included: sonnets, prose poems, and concrete poetry are all here. Although most of the selections were previously published locally, their treatment of the themes of the Latino experience, the indignity of racism, and the quest for the preservation of cultural identity make them deserving of a wider audience. Julio Marzan sums it up the best: "Next spring I will be/ Forty years a foreigner." Espada, himself a poet of some renown (Imagine the Angels of Bread, LJ 6/1/96) and a contributor to this volume, has provided a good, useful vehicle for disseminating that broader cultural awareness. Recommended.Lawrence Olszewski, OCLC Lib., Dublin, Ohio </article>
472Off Off Broadway Festival Plays, 34th SeriesVarious0Variousoff-off-broadway-festival-plays-34th-seriesvarious97805736975550573697558$8.95PaperbackSamuel French, IncorporatedFebruary 2010Drama, American Literature Anthologies, General & Miscellaneous Drama, Anthologies1165.00 (w) x 8.00 (h) x 0.24 (d)Various Authors <p>One of Manhattan's most established play festivals, the Samuel French Off Off Broadway Short Play Festival fosters the work of emerging writers, giving them the exposure of publication and representation. The festival resulting in this collection was held July 14th-19th, 2009 at The Main Stage Theatre on 42nd Street in New York City. From the initial pool of over 715 submissions, the Final Forty plays were chosen to be performed over a period of one week. A panel of judges comprised of celebrity playwrights, theatrical agents and artistic directors nominated one or more of each evening's plays as finalists. The final round was then held on the last day of the festival. Out of these plays, six winners listed below were chosen by Samuel French, Inc. to receive publication and licensing contracts.</p> <p>Winning plays and playwrights for this collection include: Just Knots by Christina Gorman, The Education Of Macoloco by Jen Silverman, Thucydices by Scott Elmegreen and Drew Fornarola, Drop by J. Michael DeAngelis and Pete Barry, The Student by Matt Hoverman, realer than that by Kitt Lavoie.</p><p>Various Authors<p>One of Manhattan's most established play festivals, the Samuel French Off Off Broadway Short Play Festival fosters the work of emerging writers, giving them the exposure of publication and representation. The festival resulting in this collection was held July 14th-19th, 2009 at The Main Stage Theatre on 42nd Street in New York City. From the initial pool of over 715 submissions, the Final Forty plays were chosen to be performed over a period of one week. A panel of judges comprised of celebrity playwrights, theatrical agents and artistic directors nominated one or more of each evening's plays as finalists. The final round was then held on the last day of the festival. Out of these plays, six winners listed below were chosen by Samuel French, Inc. to receive publication and licensing contracts. <p>Winning plays and playwrights for this collection include&#58; Just Knots by Christina Gorman, The Education Of Macoloco by Jen Silverman, Thucydices by Scott Elmegreen and Drew Fornarola, Drop by J. Michael DeAngelis and Pete Barry, The Student by Matt Hoverman, realer than that by Kitt Lavoie.</p>
473American Wits: An Anthology of Light VerseVARIOUS0<p><P>John Hollander has published eighteen books of poetry, including <i>Picture Window</i> (2003), as well as five books of criticism. He recently retired as Sterling Professor of English at Yale.</p>VARIOUSamerican-witsvarious97819310824951931082499$19.28HardcoverLibrary of AmericaOctober 2003Humor, Poetry, American Literature Anthologies, Anthologies2004.74 (w) x 7.84 (h) x 0.68 (d)Distinguished poet and critic John Hollander offers, for the first time ever, a buoyant guided tour of American light verse-a tradition he delightfully pursues from Ambrose Bierce's sardonic <i>The Devil's Dictionary</i> quatrains to the latter-day comic inventions of Edward Gorey, Kenneth Koch, and James Merrill. Along the way, <i>American Wits</i> gathers a rich harvest of couplets, clerihews, epigrams, parodies, burlesques, and other forms of fractured verse. The varied and often surprising list of contributors includes Edwin Arlington Robinson, Don Marquis, T. S. Eliot, Christopher Morley, Dorothy Parker, F. Scott Fitzgerald, Ogden Nash, Phyllis McGinley, and Anthony Hecht.<p><P>Distinguished poet and critic John Hollander offers, for the first time ever, a buoyant guided tour of American light verse-a tradition he delightfully pursues from Ambrose Bierce's sardonic <i>The Devil's Dictionary</i> quatrains to the latter-day comic inventions of Edward Gorey, Kenneth Koch, and James Merrill. Along the way, <i>American Wits</i> gathers a rich harvest of couplets, clerihews, epigrams, parodies, burlesques, and other forms of fractured verse. The varied and often surprising list of contributors includes Edwin Arlington Robinson, Don Marquis, T. S. Eliot, Christopher Morley, Dorothy Parker, F. Scott Fitzgerald, Ogden Nash, Phyllis McGinley, and Anthony Hecht.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Corporal</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Men</TD><TD WIDTH="10%" ALIGN="RIGHT">2</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Mighty Runner</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miniver Cheevy</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Famous Baths and Bathers</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Philadelphia</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Seattle</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Everything In Its Place</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Vanity of Earthly Greatness</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Embarrassing Episode of Little Miss Muffet</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Harmonious Heedlessness of Little Boy Blue</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wrights' Biplane</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Dives' Dive</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In a Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The song of mehitabel</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Archy at the zoo</TD><TD WIDTH="10%" ALIGN="RIGHT">20</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from mehitabel's extensive past</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballade of the under side</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Factory Windows Are Always Broken</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Colloquial Reply: To Any Newsboy</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Niagara</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kalamazoo</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Us Potes</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballade of Schopenhauer's Philosophy</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rich Man</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To a Thesaurus</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Lines Where Beauty Lingers"</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Immorality</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ancient Music</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Naming of Cats</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Macavity: The Mystery Cat</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tannhauser</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carmen</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rigoletto</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pelleas and Melisande</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Survey of Literature</TD><TD WIDTH="10%" ALIGN="RIGHT">56</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Unusual Combination in Verses of This Character</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Notebook of a Schnook</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Poems in Praise of Practically Nothing</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Songs about Life and Brighter Things Yet; A Survey of the Entire Earthly Panorama, Animal, Vegetable and Mineral, with Appropriate Comment by the Author, of a Philosophic, Whimsical, Humorous or Poetic Nature - a Truly Remarkable Undertaking</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sexes</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elegy Written in a Country Coal-Bin</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Pre-Raphaelite"</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Upper family</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">First Fig</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Second Fig</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thusday</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grown-Up</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ozymandias Revisited</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eschatology</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Have Been Here Before</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A joker who haunts Monticello"</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Flowers of Rhetoric</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ah, To Be In ...</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Portrait of the Artist</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chant for Dark Hours</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Unfortunate Coincidence</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Comment</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Words of Comfort to be Scratched on a Mirror</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">News Item</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song of One of the Girls</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fighting Words</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Inscription for the Ceiling of a Bedroom</TD><TD WIDTH="10%" ALIGN="RIGHT">83</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Experience</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Neigher Bloody Nor Bowed</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bohemia</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Story</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Frustration</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Resume</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Perfect Rose</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballade at Thirty-Five</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Healed</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pour Prendre Conge</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coda</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Danger of Writing Defiant Verse</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Actress</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The way to hump a cow"</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Obit on Parnassus</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sportif</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">History of Education</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Convalescence</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Week End Bid I</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Week End Bid II</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lion</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marble-Top</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Paint What I See</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Village Revisited</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Old Story</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aphrodite Metropolis (III)</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballad of the Salvation Army</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Death and Transfiguration of Fourteenth Street</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cultural Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dirge</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Spring Comes to Murray Hill</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Watchman, What of the First First Lady?</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Please Pass the Biscuit</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Termite</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Panther</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Beginner's Guide to the Ocean</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kind of an Ode to Duty</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Wonder Our Fathers Died</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Necessary Dirge</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Private Dining Room</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What's in a Name? Some Letter I Always Forget</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arthur</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Song of Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">View from a Suburban Window</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Trinity Place</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why, Some of My Best Friends Are Women</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Evening Musicale</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blues for a Melodeon</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New England Pilgrimage</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Day After Sunday</TD><TD WIDTH="10%" ALIGN="RIGHT">137</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Rockefeller's Hat</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Helen</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Princess and the Pea</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballade of Poetic Material</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Under Which Lyre</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Academic Graffiti: "My first name, Wystan"</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">John Milton</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Oscar Wilde</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Parable</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Uncoupled Couplets</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dover Bitch</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Handicap</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">It Never Rains ...</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Firmness</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the Grove Press</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Down There on a Visit</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"From the bathing machine came a din"</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Proctor buys a pupil ices"</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Variations on a Theme by William Carlos Williams</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La Ville de Nice</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Above All That?</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Neo-Classic</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tomorrows</TD><TD WIDTH="10%" ALIGN="RIGHT">160</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Japanese Beetles</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Said ("J. Alfred Prufrock to")</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Said ("Agatha Christie to")</TD><TD WIDTH="10%" ALIGN="RIGHT">166</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Said ("Dame Edith Evans to")</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Said ("J. Edgar Hoover to")</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">High Renaissance</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Working Habits</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Boston</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Antiquity of Warfare</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sources and Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index of Poets, Titles, and First Lines</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD></TABLE>
474Out on the Porch: An Evocation in Words and PicturesReynolds Price0Reynolds Price, Clifton Dowell (Editor), Reynolds Priceout-on-the-porchreynolds-price97809455759310945575939$1.99HardcoverAlgonquin Books of Chapel HillJanuary 1992Outdoor & Recreational Areas, American Literature Anthologies1288.36 (w) x 8.28 (h) x 0.50 (d)Over one hundred contemporary black-and-white photographs and rare pictures from family archives and albums accompany scenes, recollections, and coversations drawn from the many works of Southern writers. <p>The porch is a place where people gather and chat, read the evening paper, or nap after dinner. This volume incorporates vintage and contemporary photographs of porches along with passages from American novels and short stories from writers such as Thomas Wolfe, William Faulkner, Robert Penn Warren, Eudora Welty, Pat Conroy, Kate Chopin, and others. 100 illustrations. </p><p>Over one hundred contemporary black-and-white photographs and rare pictures from family archives and albums accompany scenes, recollections, and coversations drawn from the many works of Southern writers.</p>Ov
47530 SatiresLewis H. Lapham0Lewis H. Lapham30-satireslewis-h-lapham97815658498601565849868$15.95PaperbackNew Press, TheApril 2005Political Science, General<p>Now in paperback, a leading political satirist skewers the pretensions of America's equestrian classes.</p><h3>Publishers Weekly</h3><p>Readers of Harper's magazine will likely recognize many of these dispatches from editor Lapham, examining roughly two decades of political and cultural folly. Many essays have aged well, but others have not; a reimagining of A Christmas Carol (Scrooge returns to his miserly self, an ending more in tune with the Contract with America) is loaded to capacity with mid-'90s topical references, and the very subjects of some chapters have faded into obscurity. The analysis of Steve Forbes's political career, for example, is amusing, but may leave readers struggling to recall the candidacy it describes. Every page offers at least one clever turn of phrase and at least one scornful appraisal of people, like the "self-appointed guardians of the nation's conscience" from academia who "wish to be consulted on matters that almost none of them understand." But those who recognize satire primarily in its farcical vein may wonder at some chapters. Is it really satire to point out that media coverage of the deaths of Princess Diana and John F. Kennedy Jr. was ridiculously overblown, or that Rudy Giuliani's attack on the Brooklyn Museum of Art was glaring political opportunism? It is: satire requires only that vice and absurdity be held up to contempt and ridicule, both of which Lapham supplies in erudite abundance. In one essay, he mentions Voltaire, Mark Twain and Ambrose Bierce. The entire book displays the skill with which he follows in their footsteps, and in another 20 years, one might expect its better chapters to be held in similar regard. (Nov.) Copyright 2003 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Christmas Carol</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Hohenzollern</TD><TD WIDTH="10%" ALIGN="RIGHT">10</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Philosopher Kings</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wall Painting</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Capitalist Tool</TD><TD WIDTH="10%" ALIGN="RIGHT">31</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Back to School</TD><TD WIDTH="10%" ALIGN="RIGHT">41</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Balzac's Garret</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Traveler's Tale</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tower of Babel</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Spring Shows</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sky Writing</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jefferson on Toast</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Man and His Pig</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Italian Opera</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Eyebrow Pencils</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Asset Management</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Natural Selection</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fatted Calf</TD><TD WIDTH="10%" ALIGN="RIGHT">147</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mixed Media</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Performance Art</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Potomac Fever</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hugo, Mon Amour</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tremendous Trifles</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Conventional Wisdom</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hide-and-Go-Seek</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shadowboxing</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Compass Bearings</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When in Rome</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Curtain Calls</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ars Longa, Vita Brevis</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD></TABLE>
476Literary Mama: Reading for the Maternally InclinedAndrea J. Buchanan0Andrea J. Buchanan, Amy Hudockliterary-mamaandrea-j-buchanan97815800515831580051588$10.16PaperbackAvalon Publishing GroupJanuary 2006Motherhood, Family - Literary Anthologies, Parenting - General & Miscellaneous, American Literature Anthologies2715.50 (w) x 7.40 (h) x 0.90 (d)<p>Becoming a mother takes more than the physical act of giving birth or completing an adoption: it takes birthing oneself as a mother through psychological, intellectual, and spiritual work that continues throughout life. Yet most women’s stories of personal growth after motherhood tend to remain untold. As writers and mothers, Andrea Buchanan and Amy Hudock were frustrated by what they perceived as a lack of writing by mothers that captured the ambiguity, complexity, and humor of their experiences. So they decided to create the place they wanted to find, with the kind of writing they wanted to read.</p> <p>This unique collection features the best of the online magazine literarymama.com, a site devoted to mama-centric writing with fresh voices, superior craft, and vivid imagery. While the majority of literature on parenting is not literary or is not written by mothers, this book is both. Including creative nonfiction, fiction, and poetry, <i>Literary Mama</i> celebrates the voices of the maternally inclined, paves the way for other writer mamas, and honors the difficult and rewarding work women do as they move into motherhood.</p><p><p>Becoming a mother takes more than the physical act of giving birth or completing an adoption&#58; it takes birthing oneself as a mother through psychological, intellectual, and spiritual work that continues throughout life. Yet most women&#8217;s stories of personal growth after motherhood tend to remain untold. As writers and mothers, Andrea Buchanan and Amy Hudock were frustrated by what they perceived as a lack of writing by mothers that captured the ambiguity, complexity, and humor of their experiences. So they decided to create the place they wanted to find, with the kind of writing they wanted to read.<p>This unique collection features the best of the online magazine literarymama.com, a site devoted to mama-centric writing with fresh voices, superior craft, and vivid imagery. While the majority of literature on parenting is not literary or is not written by mothers, this book is both. Including creative nonfiction, fiction, and poetry, <I>Literary Mama</i> celebrates the voices of the maternally inclined, paves the way for other writer mamas, and honors the difficult and rewarding work women do as they move into motherhood.<p></p>
477In So Many More Words: Arguments and Adventures, Second EditionRobert Schmuhl0<p><b>Robert Schmuhl</b> is the Walter H. Annenberg-Edmund P. Joyce Chair in American Studies and Journalism and director of the John W. Gallivan Program in Journalism, Ethics, and Democracy at the University of Notre Dame. He is the author or editor of eleven books, including&nbsp;<i>Statecraft&nbsp;and Stagecraft: American&nbsp;Political Life in the Age of Personality</i> (UNDP, 1990, 1992) and&nbsp;<i>Indecent&nbsp;Liberties</i> (UNDP, 2000).&nbsp;</p>Robert Schmuhlin-so-many-more-wordsrobert-schmuhl97802680413420268041342$22.00PaperbackUniversity of Notre Dame PressSeptember 20102nd EditionJournalism - Collections & History, Political Culture, United States Studies - General & Miscellaneous, United States - Civilization, Political Sociology, American Literature Anthologies, U.S. Politics & Government - General & Miscellaneous, Journalism -2886.00 (w) x 9.10 (h) x 0.80 (d)<p>&nbsp;</p> <p>When <i>In So Many Words</i>&nbsp;first appeared in 2006, the Chicago Tribune observed that Robert Schmuhl's collection of essays offered "some of the sharpest and most informative cultural criticism available."</p> <p><b><i>In So Many More Words</i></b> expands on the writings in the first edition and includes seventeen new essays written during the past four years. Schmuhl analyzes the emergence of Barack Obama and evaluates America's new political landscape in light of the 2008 election. Schmuhl also looks at contemporary media and the cultural effects created by bloggers, pundits, and cable shouters. The explosive growth of news sources, he says, "comes at a public price—a continuing fragmentation of audiences and a marked decline in a commonly shared culture."</p> <p>Arranged thematically, the essays are divided into three sections: Matters Political and Journalistic, Matters Literary, and Matters Person, offering readers a wide range of issues and subjects. Schmuhl introduces each section with an explanatory preview and adds postscript reflections at the end of most of the essays.</p> <p>"Readers who enjoy the works of the great <i>International Herald Tribune</i> columnist William Pfaff and the estimable <i>New York Times</i> reporter and columnist Thomas Friedman will find comparable delight in Schmuhl's book. . . . [T]he book ranges confidently across presidential politics, foreign policy, history, the celebrity culture and the present crisis of the news business, all with impressively sure footing." —<i>Chicago Tribune</i></p> <p>Praise for the Expanded Edition:</p> <p>"Bob Schmuhl is the guy I read when I want to understand how things political, cultural, and journalistic interact—and how the world works as a result. He's an analyst who is cool and collected, and so it's cool to know that he's collected, between cloth [two?] covers." —<b>David M. Shribman, Pittsburgh Post-Gazette</b></p> <p>"I've known and respected the work of Bob Schmuhl my entire professional life. This expanded version of his work shines with enthusiasm for journalism, American culture, and the English language." —<b>Roy Peter Clark, The Poynter Institute</b></p><p><P>When In So Many Words first appeared in 2006, the Chicago Tribune observed that Robert Schmuhl's collection of essays offered "some of the sharpest and most informative cultural criticism available."<P>Now, In So Many More Words expands on the writings in the first edition and includes seventeen new essays written during the past four years. Schmuhl analyzes the emergence of Barack Obama and evaluates America's new political landscape in light of the 2008 election. Schmuhl also looks at contemporary media and the cultural effects created by nonstop commentary and argument.</p><P>Preface to the Expanded Edition<P>Acknowledgments<P>Introduction 1<P>Part I Matters Political and Journalistic<P>Reagan and Obama&#58; Not So Different? 7<P>Will Inspiration Lead to Action? 13<P>A New Beginning 17<P>Trying to Bridge the Political Divide 21<P>The Tricky Terrain of Common Ground 25<P>Choosing a President&#58; Is This What We Want? 30<P>A Proposal for Reform 33<P>What It Takes---and What We Do 37<P>Statecraft, Stagecraft---and Spincraft 41<P>Reagan and the 1994 Republican Sweep 43<P>Ronald Reagan, Author 46<P>The Living-Room Factor 49<P>What Teddy White Wrought 52<P>Power, Peril, and the Presidency 58<P>Going Our Way&#58; A New Foreign Policy 68<P>At Decade's End&#58; America in 2010 84<P>The Communal Lifeline 88<P>News without End 95<P>Tempering Media Skepticism&#58; A History Lesson 106<P>Ben Hecht and Chicago 111<P>The Front Page Turns Seventy-Five 118<P>Part II Matters Literary<P>Where Have All the Thinkers Gone? 133<P>Keeping Words Alive 143<P>Never at a Loss for Words 146<P>Rare Red Smith 161<P>Pride and Joy 178<P>A Sentence to Write 181<P>Rites of Writing 184<P>Once Is Not Enough 187<P>Process vs. Product 191<P>Between Books 194<P>Reading Fellow Travelers 197<P>The Gift of New Life 200<P>The Reviewing Stand 203<P>Writers and Dublin Town 209<P>Two Tales of One City 212<P>Frank McCourt Looks for Ghosts 216<P>Part III Matters Personal<P>The End of the Wrigley Connection 221<P>They're Everywhere 224<P>Reducing the Distance 227<P>May 1970 231<P>The Grim Subject of Humor 243<P>Being There 246<P>Scout's Honor 249<P>An Allergy to Abstraction 252<P>Confessions of a Quote Slut 256<P>Lost and Found 261<P>Obsession 265<P>A Look at the New World 268<P>True Confession 275<P>That Yank on the Radio 278
478Georgia Cowboy PoetsDavid Fillingim0David Fillingimgeorgia-cowboy-poetsdavid-fillingim97808814618310881461830$24.17PaperbackMercer University PressMarch 2010Poetry - General & Miscellaneous, American Poetry, American Literature Anthologies2245.90 (w) x 8.90 (h) x 0.70 (d)<p>"In this text, author and editor David Fillingim turns his attention to the West - West Georgia that is. This book examines how the contemporary cowboy poetry revival that sprung up in 1985 in Elko, Nevada, has borne fruit in the Peach State. First, Fillingim traces the history of cowboy poetry and its emergence as a cultural phenomenon. Then he recounts the story of how Georgia became home to a vibrant cowboy poetry scene. But the largest part of the book is an anthology of poems by some of the finest cowboy poets anywhere, and they all happen to be in Georgia." As celebrated cowboy-poet Doris Daley says in the preface, "everywhere is west of somewhere". So settle in, and travel with Fillingim to someplace west of wherever you are, and enjoy this unique combination of shrewd scholarly analysis and heartwarming cowboy poetry.</p><p><P>"In this text, author and editor David Fillingim turns his attention to the West - West Georgia that is. This book examines how the contemporary cowboy poetry revival that sprung up in 1985 in Elko, Nevada, has borne fruit in the Peach State. First, Fillingim traces the history of cowboy poetry and its emergence as a cultural phenomenon. Then he recounts the story of how Georgia became home to a vibrant cowboy poetry scene. But the largest part of the book is an anthology of poems by some of the finest cowboy poets anywhere, and they all happen to be in Georgia." As celebrated cowboy-poet Doris Daley says in the preface, "everywhere is west of somewhere". So settle in, and travel with Fillingim to someplace west of wherever you are, and enjoy this unique combination of shrewd scholarly analysis and heartwarming cowboy poetry.</p>
479Decolonial Voices: Chicana and Chicano Cultural Studies in the 21st CenturyArturo J. Aldama0<p><P>Arturo J. Aldama is Associate Professor in the Department of Chicana/o Studies at Arizona State University. He is the author of Disrupting Savagism&#58;Intersecting Chicana/o, Mexicana/o and Native American Struggles for Representation and several articles on Chicana/o and Native American cultural, literary and filmic studies. He is also Director elect for the Chicana and Chicano literary studies executive committee of the Modern Language Association.<P>Naomi Qui&ntilde;onez is Assistant Professor in the Department of Chicana/o Studies at Cal State Fullerton. She is a widely anthologized poet and the author of Hummingbird Dreams/ Sue&ntilde;o de Colibri; The Smoking Mirror (1998); the editor of Invocation L.A.&#58; Urban Multicultural Poetry. Her scholarly work appears in several anthologies and special issues of top refereed journals.</p>Arturo J. Aldama, Naomi Qui?onezdecolonial-voicesarturo-j-aldama97802532149280253214920$23.95PaperbackIndiana University PressMarch 20021st EditionGeneral & Miscellaneous American Art, Latin America & the Caribbean - Civilization, Latin Americans - General & Miscellaneous, United States - Civilization, Peoples & Cultures - American Anthologies, Regional Studies - Western U.S., Colonialism & Imperial4326.10 (w) x 9.20 (h) x 0.90 (d)<p>The interdisciplinary essays in Decolonial Voices discuss racialized, subaltern, feminist, and diasporic identities and the aesthetic politics of hybrid and mestiza/o cultural productions. This collection represents several key directions in the field: First, it charts how subaltern cultural productions of the US/ Mexico borderlands speak to the intersections of "local," "hemispheric," and "globalized" power relations of the border imaginary. Second, it recovers the Mexican women’s and Chicana literary and cultural heritages that have been ignored by Euro-American canons and patriarchal exclusionary practices. It also expands the field in postnationalist directions by creating an interethnic, comparative, and transnational dialogue between Chicana and Chicano, African American, Mexican feminist, and U.S. Native American cultural vocabularies.</p> <p>Contributors include Norma Alarcón, Arturo J. Aldama, Frederick Luis Aldama, Cordelia Chávez Candelaria, Alejandra Elenes, Ramón Garcia, María Herrera-Sobek, Patricia Penn Hilden, Gaye T. M. Johnson, Alberto Ledesma, Pancho McFarland, Amelia María de la Luz Montes, Laura Elisa Pérez, Naomi Quiñonez, Sarah Ramirez, Rolando J. Romero, Delberto Dario Ruiz, Vicki Ruiz, José David Saldívar, Anna Sandoval, and Jonathan Xavier Inda.</p><p><P>The interdisciplinary essays in Decolonial Voices discuss racialized, subaltern, feminist, and diasporic identities and the aesthetic politics of hybrid and mestiza/o cultural productions. This collection represents several key directions in the field&#58; First, it charts how subaltern cultural productions of the US/ Mexico borderlands speak to the intersections of "local," "hemispheric," and "globalized" power relations of the border imaginary. Second, it recovers the Mexican women's and Chicana literary and cultural heritages that have been ignored by Euro-American canons and patriarchal exclusionary practices. It also expands the field in postnationalist directions by creating an interethnic, comparative, and transnational dialogue between Chicana and Chicano, African American, Mexican feminist, and U.S. Native American cultural vocabularies.<P>Contributors include Norma Alarc&oacute;n, Arturo J. Aldama, Frederick Luis Aldama, Cordelia Ch&aacute;vez Candelaria, Alejandra Elenes, Ram&oacute;n Garcia, Mar&iacute;a Herrera-Sobek, Patricia Penn Hilden, Gaye T. M. Johnson, Alberto Ledesma, Pancho McFarland, Amelia Mar&iacute;a de la Luz Montes, Laura Elisa P&eacute;rez, Naomi Qui&ntilde;onez, Sarah Ramirez, Rolando J. Romero, Delberto Dario Ruiz, Vicki Ruiz, Jos&eacute; David Sald&iacute;var, Anna Sandoval, and Jonathan Xavier Inda.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction: Peligro! Subversive Subjects: Chicana and Chicano Cultural Studies in the 21st Century</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">Pt. I</TD><TD WIDTH="70%">Dangerous Bodies</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">1</TD><TD WIDTH="70%">Millennial Anxieties: Borders, Violence, and the Struggle for Chicana and Chicano Subjectivity</TD><TD WIDTH="10%" ALIGN="RIGHT">11</TD><TR><TD WIDTH="20%">2</TD><TD WIDTH="70%">Writing on the Social Body: Dresses and Body Ornamentation in Contemporary Chicana Art</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%">3</TD><TD WIDTH="70%">New Iconographies: Film Culture in Chicano Cultural Production</TD><TD WIDTH="10%" ALIGN="RIGHT">64</TD><TR><TD WIDTH="20%">4</TD><TD WIDTH="70%">Penalizing Chicano/a Bodies in Edward J. Olmos's American Me</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%">5</TD><TD WIDTH="70%">Biopower, Reproduction, and the Migrant Woman's Body</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%">6</TD><TD WIDTH="70%">Anzaldua's Frontera: Inscribing Gynetics</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%">Pt. II</TD><TD WIDTH="70%">Dismantling Colonial/Patriarchal Legacies</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">7</TD><TD WIDTH="70%">Re(Riting) the Chicana Postcolonial: From Traitor to 21st Century Interpreter</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%">8</TD><TD WIDTH="70%">How the Border Lies: Some Historical Reflections</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%">9</TD><TD WIDTH="70%">"See How I Am Received": Nationalism, Race, and Gender in Who Would Have Thought It!</TD><TD WIDTH="10%" ALIGN="RIGHT">177</TD><TR><TD WIDTH="20%">10</TD><TD WIDTH="70%">Engendering Re/Solutions: The (Feminist) Legacy of Estela Portillo Trambley</TD><TD WIDTH="10%" ALIGN="RIGHT">196</TD><TR><TD WIDTH="20%">11</TD><TD WIDTH="70%">Unir los Lazos: Braiding Chicana and Mexicana Subjectivities</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%">12</TD><TD WIDTH="70%">Borders, Feminism, and Spirituality: Movements in Chicana Aesthetic Revisioning</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%">Pt. III</TD><TD WIDTH="70%">Mapping Space and Reclaiming Place</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%">13</TD><TD WIDTH="70%">Border/Transformative Pedagogies at the End of the Millennium: Chicana/o Cultural Studies and Education</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%">14</TD><TD WIDTH="70%">On the Bad Edge of La Frontera</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%">15</TD><TD WIDTH="70%">"Here Is Something You Can't Understand ...": Chicano Rap and the Critique of Globalization</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%">16</TD><TD WIDTH="70%">A Sifting of Centuries: Afro-Chicano Interaction and Popular Musical Culture in California, 1960-2000</TD><TD WIDTH="10%" ALIGN="RIGHT">316</TD><TR><TD WIDTH="20%">17</TD><TD WIDTH="70%">Narratives of Undocumented Mexican Immigration as Chicana/o Acts of Intellectual and Political Responsibility</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%">18</TD><TD WIDTH="70%">Teki Lenguas del Yollotzin (Cut Tongues from the Heart): Colonialism, Borders, and the Politics of Space</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%">19</TD><TD WIDTH="70%">The Alamo, Slavery, and the Politics of Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">366</TD><TR><TD WIDTH="20%">20</TD><TD WIDTH="70%">Color Coded: Reflections at the Millennium</TD><TD WIDTH="10%" ALIGN="RIGHT">378</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">389</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Index</TD><TD WIDTH="10%" ALIGN="RIGHT">393</TD></TABLE><article> <h4>Choice</h4>"Aldama (Arizona State Univ.) and Quiñones (California State Univ., Fullerton) have assembled a remarkable range of essays on topics ranging from dresses and body art, film, popular music (including Chicano rap), and literary works to race, nationalism, and gender.... This essential work cuts across disciplinary boundaries and illuminates many aspects of contemporary Chicana/o life." —Choice, November 2002 </article>
480More Mirth of a Nation: The Best Contemporary HumorMichael J. Rosen0<p><P>The editor of <i>More Mirth of a Nation&#58; The Best Contemporary Humor,</i> Michael J. Rosen has been called the unofficial organizer of the National Humor Writer's Union, a pretty good idea for an organization that could offer all kinds of benefits to its struggling members (currently numbering more than 300 who have never been published in <i>The New Yorker</i> or aired on NPR). He has been called other things as well, like in third grade, and then in seventh grade especially, by certain older kids known as "hoods," who made his life miserable, specifically during gym class, lunch period and after school. Later, much later, the <i>Washington Post</i> called him a "fidosopher" because of his extensive publications on dogs, dog training, and dog-besotted people. The <i>New York Times</i> called him an example of creative philanthropy in their special "Giving" section for persuading "writers, artists, photographers and illustrators to contribute their time and talents to books" that benefit Share Our Strength's anti-hunger efforts and animal-welfare causes. As an author of a couple dozen books for children, he's been called...okay, enough with the calling business.<P>For nearly twenty years, he served as literary director at the Thurber House, a cultural center in the restored home of James Thurber. Garrison Keillor, bless his heart, called it (sorry) "the capital of American humor." While there, Rosen helped to create The Thurber Prize for American Humor, a national book award for humor writing, and edited four anthologies of Thurber's previously unpublished and uncollected work, most recently <i>The Dog Department&#58; James Thurber on Hounds, Scotties</i> and <i>Talking Poodles,</i> happily published by HarperCollins as well.<P>In his capacity as editor for this biennial, Rosen reads manuscripts year round, beseeching and beleaguering the nation's most renowned and well-published authors, and fending off the rants and screeds from folks who've discovered the ease of self-publishing on the web. Last summer, Rosen edited a lovely book, <i>101 Damnations&#58; The Humorists' Tour of Personal Hells;</i> while some critics (all right, one rather outspoken friend) considered this a book of complaints, Rosen has argued that humor, like voting and picketing and returning an appliance that "worked" all of four months before requiring a repair that costs twice the purchase price, humor is about the desire for change. It's responding to the way things are compared to the way you'd like things to be. And it's a much more convivial response than pouting or cornering unsuspecting guests at dinner parties.</p>Michael J. Rosen, Michael J. Rosenmore-mirth-of-a-nationmichael-j-rosen97800609532250060953225$15.95PaperbackHarperCollins PublishersNovember 2002First EditionFiction, Humorous<p><P><b> <center>More seriously funny writing from American's most trusted humor anthology </center></b> <P>Witty, wise, and just plain wonderful, the inaugural volume of this biennial, Mirth of a Nation, ensured a place for the best contemporary humor writing in the country. And with this second treasury, Michael J. Rosen has once again assembled a triumphant salute to one of America's greatest assets&#58; its sense of humor. More than five dozen acclaimed authors showcase their hilariously inventive works, including Paul Rudnick, Henry Alford, Susan McCarthy, Media Person Lewis Grossberger, Ian Frazier, Richard Bausch, Amy Krouse Rosenthal, Nell Scovell, Andy Borowitz, and Ben Greenman &#151; just to mention a handful so that the other contributors can justify their feelings that the world slights them. <P>But there's more! <i>More Mirth of a Nation</i> includes scads of Unnatural Histories from Randy Cohen, Will Durst's "Top Top-100 Lists" (including the top 100 colors, foods, and body parts), and three unabridged (albeit rather short) chapbooks&#58;<P><blockquote>David Bader's "How to Meditate Faster" (Enlightenment for those who keep asking, "Are we done yet?")<P>Matt Neuman's "49 Simple Things You Can Do to Save the Earth" (for instance, "Make your own honey" and "Share your shower.") <P>Francis Heaney's "Holy Tango of Poetry" (which answers the question, "What if poets wrote poems whose titles were anagrams of their names, i.e., 'Toilets,' by T. S. Eliot?") <P></blockquote><P>And there's still more&#58; "The Periodic Table of Rejected Elements," meaningless fables, Van Gogh's Etch A Sketch drawings, a Zagat's survey of existence, an international baby-naming encyclopedia, Aristotle's long-lost treatise "On Baseball," and an unhealthy selection of letters from Dr. Science's mailbag. And that's just for starters! Just remember, as one reviewer wrote of the first volume, "Don't drink milk while reading."</p><h3>Publishers Weekly</h3><p>Regular readers of the New Yorker's Shouts & Murmurs page and the Modern Humorist will likely have already digested some of the fare in this biennial collection of humor pieces, nearly all of which have been published elsewhere. Though big names like Steve Martin and Bruce McCall are trumpeted on the cover, the real treats can be found in the work of less famous contributors. Francis Heaney's "Holy Tango of Poetry," which imagines the results of poets writing poems whose titles are anagrams of their names-e.g. "I'm Leery Jocks" by Joyce Kilmer, or "Toilets" by T.S. Eliot ("Let us go then, to the john,/ Where the toilet seats wait to be sat upon")-is irresistibly goofy. Tim Carvell's account of his solo attempt at being a Neilsen family (he manufactured a couple of kids and wife named Gladys and made them all Eskimos) should be required reading for anyone who has ever longed to lie on annoying questionnaires. And Jeremy Simon's parody of an existential Zagat's guide is a witty send-up of a city staple (the entry for the opposable thumb reads: "While this 'innovative' evolution-a 'pick-up joint' for the klutzy-is valued by locals for 'synergy' with its surroundings, dissenters dis it as 'overrated' 'finger food'"). Silly lists, "unnatural histories," fake correspondences and countless other oddball selections round out this amusing volume. (Nov.) Copyright 2003 Cahners Business Information.</p>
481New Playwrights: The Best Plays of 2003D. L. Lepidus0<p>D.L. LEPIDUS is a freelance critic and editor who has covered the New York theater scene for more than twenty-five years. Since 1993, his work has appeared in theater columns for Chelsea Clinton News and the Westsider. <p> We apologize for any inconvenience and thank you for your patience in clearing up this matter. Please contact me with any questions.</p>D. L. Lepidus (Editor), Frances Hillnew-playwrightsd-l-lepidus97815752538621575253860$19.95PaperbackSmith & Kraus, Inc.November 20051st EditionDrama Anthologies, American Drama, American Literature Anthologies3285.46 (w) x 8.54 (h) x 0.73 (d)The 5th annual collection of new plays contains an eclectic mix of styles and subjects, all produced during the 2002-2003 theatrical season. Includes an introduction by Francis Hill, Artistic Director of Urban Stages, an Off-Broadway theater in New York City.<br> <strong>Smashing</strong> by Brooke Berman A comedy about a young woman determined to confront a novelist who has thinly fictionalized their love affair when she was a teen and he was a student of her father (a successful novelist.<br> <strong>Corner Wars</strong> by Tim Dowlin A poignant drama about teenaged drug dealers in Philadelphia. This play won the prestigious Oppenheimer Award, which is annually awarded to the outstanding debut by a new playwright.<br> <strong>Midnight</strong> by David Epstein A backstage showbiz comedy set in the 1950s.<br> <strong>Spanish Girl</strong> by Hunt Holman A comedy about college students. Homebound by Javon Johnson A drama about juvenile delinquents in a detention facility.<br> <strong>Phat Girls</strong> by Debbie Lamedman A very inventive comedy about teen female self image.<br> <strong>The Sweepers</strong> by John C. Picardi A comic drama about Italian American women keeping the home fires burning during World War II.<p>The 5th annual collection of new plays contains an eclectic mix of styles and subjects, all produced during the 2002-2003 theatrical season. Includes an introduction by Francis Hill, Artistic Director of Urban Stages, an Off-Broadway theater in New York City.<br> <strong>Smashing</strong> by Brooke Berman A comedy about a young woman determined to confront a novelist who has thinly fictionalized their love affair when she was a teen and he was a student of her father (a successful novelist.<br> <strong>Corner Wars</strong> by Tim Dowlin A poignant drama about teenaged drug dealers in Philadelphia. This play won the prestigious Oppenheimer Award, which is annually awarded to the outstanding debut by a new playwright.<br> <strong>Midnight</strong> by David Epstein A backstage showbiz comedy set in the 1950s.<br> <strong>Spanish Girl</strong> by Hunt Holman A comedy about college students. Homebound by Javon Johnson A drama about juvenile delinquents in a detention facility.<br> <strong>Phat Girls</strong> by Debbie Lamedman A very inventive comedy about teen female self image.<br> <strong>The Sweepers </strong>by John C. Picardi A comic drama about Italian American women keeping the home fires burning during World War II.</p><h3>August 2005 - Booklist</h3><p>"Don't let the title of this collection fool you. These plays are not yesteryear's news. They are vivid, important pieces, as relevant, readable, and stageworthy today as they were two-plus years ago, when first produced. They include plays that dramatize problems tearing at our social fabric, such as Tim Dowlin's fine, powerful, if sometimes melodramatic Corner Wars, which chronicles the world of street-corner hustling in the inner city, as well as work written in a much more entertaining key, such as David Epstein's Midnight, a witty period comedy set in the 1950s. Though none of the playwrights in this collection are household names yet, or close to it, all of them write the kind of vivid, well-crafted work that deserves attention. Dowlin's pitch-perfect ear for street slang, alone, makes his play worth a look. "</p>Foreword by D. L. Lepidus&nbsp;<BR>Introduction by Frances Hill&nbsp;<BR>Smashing by Brooke Berman&nbsp;<BR>Corner Wars by Tim Dowlin&nbsp;<BR>Midnight by David Epstein&nbsp;<BR>Spanish Girl by Hunt Holman&nbsp;<BR>Homebound by Javon Johnson&nbsp;<BR>phat girls by Debbie Lamedman&nbsp;<BR>The Sweepers by John C. Picardi&nbsp;<BR>Rights and Permissions&nbsp;<article> <h4>Booklist</h4>"Don't let the title of this collection fool you. These plays are not yesteryear's news. They are vivid, important pieces, as relevant, readable, and stageworthy today as they were two-plus years ago, when first produced. They include plays that dramatize problems tearing at our social fabric, such as Tim Dowlin's fine, powerful, if sometimes melodramatic Corner Wars, which chronicles the world of street-corner hustling in the inner city, as well as work written in a much more entertaining key, such as David Epstein's Midnight, a witty period comedy set in the 1950s. Though none of the playwrights in this collection are household names yet, or close to it, all of them write the kind of vivid, well-crafted work that deserves attention. Dowlin's pitch-perfect ear for street slang, alone, makes his play worth a look. "<br> —<i>August 2005</i> </article>
482American ReaderKathy-jo Wargin0Kathy-jo Wargin, Kathryn Darnell (Illustrator), K. L. Darnellamerican-readerkathy-jo-wargin97815853609561585360953$11.65PaperbackSleeping Bear PressSeptember 2006American Literature Anthologies, United States - People & Places965.60 (w) x 7.60 (h) x 0.50 (d)<article> <h4>Children&#039;s Literature - <span class="author">Mary Hynes-Berry</span> </h4>Wargrin has clearly been paging through an old-fashioned McGuffey's-like textbook as she developed this anthology of Americana for primary and middle schoolers. The collection ranges from poems, riddles and reader's theater to brief biographical or historical articles. A few selections such as "Ten Little Bunnies" or "A Nonsense Poem" are more the old-fashioned reader fare, with no clear character as American. However, the patriotic, virtue-oriented flavor of the biography of Clara Barton is typical of most of the selections. Many selections are prefaced by a vocabulary of key words though rather oddly, no definitions are given here or in a glossary. The large type and the many illustrations are likely to make this most attractive to primary schoolers; by fifth or sixth grade it will have very much the feel of a "little kid's book." Children who are fascinated with history might enjoy this. This book is a pleasant addition to a classroom library. </article>
483Every Shut Eye Ain't Asleep; An Anthology of Poetry by African Americans since 1945Michael S. Harper0Michael S. Harper, Anthony Waltonevery-shut-eye-aint-asleep-an-anthology-of-poetry-by-african-americans-since-1945michael-s-harper97803163471050316347108$18.40PaperbackHachette Book GroupFebruary 19941Poetry Anthologies, American Poetry, American Literature Anthologies3445.50 (w) x 8.50 (h) x 0.77 (d)<p>Every Shut Eye Ain't Asleep is a rich collection of the work of post-World War II African-American poets. It brings together the voices of the most important African-American poets of our time, beginning with the highly influential Robert Hayden and Gwendolyn Brooks, and covers an astonishing range of styles and techniques.</p> <p>This extraordinary body of poetry is the flowering of an artistic tradition established earlier in this century by Paul Laurence Dunbar, Countee Cullen, and Langston Hughes. The newer work comprises many different visions, ranging from the chiseled and layered modernism of Jay Wright to the plainspoken ferocity of Sonia Sanchez, from the dazzling witticisms of Ishmael Reed to the plangent lyricism of Rita Dove. Edited by the distinguished poet Michael Harper and his star student and colleague Anthony Walton, this notable collection of work will be the standard anthology in the field for years to come.</p> <p>This collection of postwar African American poetry, the only anthology of its kind, brings together in one volume the voices of the most important African American poets of our time, including Robert Hayden, Sonia Sanchez, Derek Walcott, Ishmael Reed, Amiri Baraka, Gwendolyn Brooks, Ai, and Rita Dove. </p><p><P>Every Shut Eye Ain't Asleep is a rich collection of the work of post-World War II African-American poets. It brings together the voices of the most important African-American poets of our time, beginning with the highly influential Robert Hayden and Gwendolyn Brooks, and covers an astonishing range of styles and techniques. <P>This extraordinary body of poetry is the flowering of an artistic tradition established earlier in this century by Paul Laurence Dunbar, Countee Cullen, and Langston Hughes. The newer work comprises many different visions, ranging from the chiseled and layered modernism of Jay Wright to the plainspoken ferocity of Sonia Sanchez, from the dazzling witticisms of Ishmael Reed to the plangent lyricism of Rita Dove. Edited by the distinguished poet Michael Harper and his star student and colleague Anthony Walton, this notable collection of work will be the standard anthology in the field for years to come.</p><h3>Library Journal</h3><p>Using Robert Hayden and Gwendolyn Brooks's poetry as ``emblematic'' successes, this anthology selects 35 African American poets (spanning three generations) who were born between 1913 and 1962 and came of age after 1945. Besides the well-known Amiri Baraka, Lucille Clifton, Rita Dove, and Etheridge Knight, the editors feature little-known or younger poets like Elizabeth Alexander, Gerald Barrax, Jayne Cortex, and Dolores Kendrick. (Curiously, James Baldwin, Nikki Giovanni, June Jordan, and Quincy Troupe are omitted.) With an introduction, headnotes, and selective bibliographies, this valuable work from a mainstream press updates Robert Hayden's Afro-American Literature, Dudley Randall's New Black Voices , and Abraham Chapman's New Black Voices . Recommended for public libraries. --Frank Allen, West Virginia State Coll., Institute</p><article> <h4>Library Journal</h4>Using Robert Hayden and Gwendolyn Brooks's poetry as ``emblematic'' successes, this anthology selects 35 African American poets (spanning three generations) who were born between 1913 and 1962 and came of age after 1945. Besides the well-known Amiri Baraka, Lucille Clifton, Rita Dove, and Etheridge Knight, the editors feature little-known or younger poets like Elizabeth Alexander, Gerald Barrax, Jayne Cortex, and Dolores Kendrick. (Curiously, James Baldwin, Nikki Giovanni, June Jordan, and Quincy Troupe are omitted.) With an introduction, headnotes, and selective bibliographies, this valuable work from a mainstream press updates Robert Hayden's Afro-American Literature, Dudley Randall's New Black Voices , and Abraham Chapman's New Black Voices . Recommended for public libraries. --Frank Allen, West Virginia State Coll., Institute </article>
484Moment's Notice: Jazz in Poetry and ProseArt Lange0Art Lange (Editor), Nathaniel Mackeymoments-noticeart-lange97815668900141566890012$18.24HardcoverCoffee House PressJuly 1992Jazz - General & Miscellaneous, Literature Anthologies - General & Miscellaneous, Arts & Entertainment - Fiction, American Literature Anthologies3846.00 (w) x 8.90 (h) x 1.00 (d)The editors have collected the jazz-inspired works of close to sixty writers ranging from Julio Cortazar and Jessica Hagedorn to Langston Hughes and Ishmael Reed. <i>"Moment's Notice</i> is the best anthology of jazz literature I've ever seen."--Bart Schneider, <i>Hungry Mind Review</i> ¶"The jazz anthology to end all jazz anthologies."--<i>Booklist</i>
485Literary NashvillePatrick Allen0Patrick Allen, Madison Jones (Foreword by), Parke Godwinliterary-nashvillepatrick-allen97818925141101892514117$16.95PaperbackHill Street Press, LLCNovember 1999New EditionLiterary Criticism, American<p><P>An anthology of fiction and nonfiction about Nashville</p>
486Screaming Monkeys: Critiques of Asian American ImagesM. Evelina Galang0<p>M. EVELINA GALANG is the author of two books of fiction — Her Wild American Self (Coffee House Press, '96), a collection of short stories and the novel, One Tribe (New Issues Press, '06). In addition to writing fiction and nonfiction, she has edited the anthology, Screaming Monkeys: Critiques of Asian American Images (Coffee House Press, '03). Galang is the recipient of numerous awards, among them, the 2004 Gustavus Myers Outstanding Book Awards Advancing Human Rights and the 2004 AWP Prize in the Novel, for ONE TRIBE. Galang has been researching the lives of the women of Liga ng mga Lolang Pilipina (LILA Pilipina), surviving Filipina "Comfort Women" of WWII, since 1998. In 2002, she was a Fulbright Senior Scholar in the Philippines where she continued her work with survivors. This past year, she authored the blog, "Laban for the Lolas!" in support of House Resolution 121 and was the Filipino American Outreach coordinator for 121 Coalition. She is currently writing Lolas' House: Women Living with War, stories of Surviving Filipina Comfort Women of World War II and is at work on her second novel, Angel de la Luna and THE 5th GLORIOUS MYSTERY and is at work on a new novel, BEAUTIFUL SORROW, BEAUTIFUL SKY. Galang teaches in the MFA Creative Writing Program at the University of Miami and has recently been nominated one of the 100 most influential Filipinas in the US by Filipina Women's Network.</p>M. Evelina Galang (Editor), Eileen Tabiosscreaming-monkeysm-evelina-galang97815668914171566891418$22.00PaperbackCoffee House PressJuly 2003Asian American Studies - General & Miscellaneous, Peoples & Cultures - American Anthologies, Asian American Literature - Literary Criticism5006.40 (w) x 9.30 (h) x 1.40 (d)<p>When a restaurant review referred to a Filipino child as a "rambunctious -little monkey," Filipino Americans were outraged. Sparked by this racist incident, <i>Screaming Monkeys</i> sets fire to Asian American stereotypes as it -illuminates the diverse and often neglected history and culture within the Asian American diaspora. Poems, essays, paintings, and stories break down and challenge "found" articles, photographs, and headlines to create this powerful anthology with all the immediacy of social protest. By closely critiquing a wealth of material, including the judge’s statement of apology in the Wen Ho Lee case, the media treatment of serial killer Andrew Cunanan, and the image of Asian Americans in major U.S. marketing campaigns, <i>Screaming Monkeys</i> will inspire all its readers.</p><p><P>Art, fiction, poetry and essays critiquing Asian and Asian American images in media, government, and popular culture.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Philing Station," a found article from Milwaukee Magazine</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kicking and Screaming</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letters and found images from Milwaukee Magazine</TD><TD WIDTH="10%" ALIGN="RIGHT">13</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scream Monkeys, Scream - the e-mails</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">American Enterprise cover, found image</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Cleaving</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A History of "The Savage," found images</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Salvaging the Savage: On Representing Filipinos and Remembering American Empire</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Interracial Marriages, found text</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transaction</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">America Is in the Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pluto in a Plato, art by Dindo Llana</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chin</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Teaching Filipinos</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Country Versus Me</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Statement by Judge Parker to Wen Ho Lee, September 13, 2000</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Andrew Cunanan or The Manhunt for Philippine America</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Henessy ad</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled Art by Phung Huynh</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Surrogate Slaves to American Dreamers</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Statements by American Presidents, found text</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Day the Dancers Came Bienvenido Santos</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chinese Exclusion Act, a U.S. government document</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">White and Wong</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Presidential Caricatures, found images</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hello, Nuremberg</TD><TD WIDTH="10%" ALIGN="RIGHT">144</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homeland Memories and Media: Filipino Images and Imaginations in America</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Reverse Racism</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why Are We Here? Thoughts on Asian-American Identity and Honoring Asian-Americans in Congress</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A General Timeline of the Asian American Experience</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Skyy Vodka ad, found image</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">She Casts Off Expectations</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gidra response to Skyy Vodka</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fifty-Fifty</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rhapsody in Plain Yellow</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Take Me Out, art by Wennie Huang</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronicle</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">you bring out the filipina in me</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Four Million</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Go Geisha, found images</TD><TD WIDTH="10%" ALIGN="RIGHT">203</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Asian Women in Film: No Joy, No Luck</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Few Words on Rome, or The Neighbor Who Never Waves</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">SEXploitation within the Asian American Community, found images</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Meena's Curse</TD><TD WIDTH="10%" ALIGN="RIGHT">214</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Report No. 49</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">India-Burma Theater</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Red Lines Across the Map</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Culture in a Box, found images</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mirror Mirror Tea Tea</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Wanna Marry a Haole so I Can Have a Haole Last Name</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled Art by Betty Kung</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Assignment</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled Art by Hiroshi Kimura</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hello Kitty</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sumo-esque</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Blue Boy in a Picasso painting</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">gridlock</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rules of the Game</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Southeast Indian Images</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Summer of Bruce</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled Art by Saiman Chow</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ancient Chinese Secrets and Little White Lies</TD><TD WIDTH="10%" ALIGN="RIGHT">267</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lavendar Army</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">AGFA scanner ad, found image</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Race and Representation: Asian Americans</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled Art by Barry McGee</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Headlines and Quotes from Mainstream America</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Next Trophy Boyfriends, found article from Newsweek</TD><TD WIDTH="10%" ALIGN="RIGHT">294</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fargo and the Asian American Male</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gidra response to Newsweek plus letters to Newsweek editors</TD><TD WIDTH="10%" ALIGN="RIGHT">298</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Barbarians Are Coming</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled Art by</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Satta Massagana</TD><TD WIDTH="10%" ALIGN="RIGHT">314</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Findings of a Recent Inquiry into the Background and Causes of a Dissociative Identity Disorder in the Case of an American Subject of Filipino Descent</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Boy Fell, art by Edward del Rosario</TD><TD WIDTH="10%" ALIGN="RIGHT">320</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Two Filipinos</TD><TD WIDTH="10%" ALIGN="RIGHT">321</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Heroes Are Not Dead An Essay in Two Voices</TD><TD WIDTH="10%" ALIGN="RIGHT">324</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Solitary in a Strange Land</TD><TD WIDTH="10%" ALIGN="RIGHT">329</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Five Rice Queens</TD><TD WIDTH="10%" ALIGN="RIGHT">330</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Fidelito Is the New Boy at School</TD><TD WIDTH="10%" ALIGN="RIGHT">331</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Price of Eggs in China</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Graffiti Images</TD><TD WIDTH="10%" ALIGN="RIGHT">354</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">President Theodore Roosevelt's Proclamation Formally</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ending the Philippine "Insurrection" and Granting of Pardon and Amnesty, found text</TD><TD WIDTH="10%" ALIGN="RIGHT">355</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Voices of Imperialism and War, found text</TD><TD WIDTH="10%" ALIGN="RIGHT">357</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ancient Baguio Dead</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Talking About the Woman in Cholon</TD><TD WIDTH="10%" ALIGN="RIGHT">360</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled Art by Kay Chung</TD><TD WIDTH="10%" ALIGN="RIGHT">364</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Executive Order Number 9066, U.S. government document by Franklin D. Roosevelt</TD><TD WIDTH="10%" ALIGN="RIGHT">365</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drawing the Line</TD><TD WIDTH="10%" ALIGN="RIGHT">367</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Apology of Bill Clinton to Japanese America, found text</TD><TD WIDTH="10%" ALIGN="RIGHT">377</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Honor, 1946</TD><TD WIDTH="10%" ALIGN="RIGHT">378</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Justifying U.S. Assistance to Filipino War Veterans, an address to Congress by Senator Daniel Inouye</TD><TD WIDTH="10%" ALIGN="RIGHT">379</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">More Fun Than a Turkey Shoot</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">South Wind Changing</TD><TD WIDTH="10%" ALIGN="RIGHT">384</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dictee</TD><TD WIDTH="10%" ALIGN="RIGHT">392</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Korea</TD><TD WIDTH="10%" ALIGN="RIGHT">395</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blue Dreams</TD><TD WIDTH="10%" ALIGN="RIGHT">399</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Caught Prey</TD><TD WIDTH="10%" ALIGN="RIGHT">407</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Body Search</TD><TD WIDTH="10%" ALIGN="RIGHT">409</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On the Other Side of Granite</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Storefront, found images</TD><TD WIDTH="10%" ALIGN="RIGHT">412</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wilshire Bus</TD><TD WIDTH="10%" ALIGN="RIGHT">413</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Antiwar Statement of Filipino Educators, found text</TD><TD WIDTH="10%" ALIGN="RIGHT">417</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Anti-Asian Incidents, found text</TD><TD WIDTH="10%" ALIGN="RIGHT">420</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A History of Anti-Asian Violence, found text, compiled</TD><TD WIDTH="10%" ALIGN="RIGHT">421</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled Art by Jordin Isip, art editor</TD><TD WIDTH="10%" ALIGN="RIGHT">426</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nobility</TD><TD WIDTH="10%" ALIGN="RIGHT">427</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Genghis Chan: Private Eye XXIX</TD><TD WIDTH="10%" ALIGN="RIGHT">428</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Genghis Chan: Private Eye XXX</TD><TD WIDTH="10%" ALIGN="RIGHT">429</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After My Chronology by Peter Lorre</TD><TD WIDTH="10%" ALIGN="RIGHT">430</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">litany no. m</TD><TD WIDTH="10%" ALIGN="RIGHT">431</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">They Grew Up to Be Lovely</TD><TD WIDTH="10%" ALIGN="RIGHT">432</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Labandera</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Axolotl</TD><TD WIDTH="10%" ALIGN="RIGHT">447</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Your Honor</TD><TD WIDTH="10%" ALIGN="RIGHT">448</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Time for Pause</TD><TD WIDTH="10%" ALIGN="RIGHT">449</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm Still Warm</TD><TD WIDTH="10%" ALIGN="RIGHT">450</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Untitled Art by James Yang</TD><TD WIDTH="10%" ALIGN="RIGHT">451</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One-Man Show</TD><TD WIDTH="10%" ALIGN="RIGHT">452</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Making Sense of Screaming: A Monkey's Companion</TD><TD WIDTH="10%" ALIGN="RIGHT">487</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Contributors' Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">499</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">513</TD></TABLE>
487Imagination And SpiritJ. Brent Bill0J. Brent Bill (Editor), Shari Pickett Veach (Designed by), C. Michael Curtis (Foreword by), J. Brent Billimagination-and-spiritj-brent-bill97809443506140944350615$18.43PaperbackFriends United PressFebruary 2006Society of Friends (Quakers), American Literature Anthologies2925.50 (w) x 8.50 (h) x 0.66 (d)Chicken Soup for the Soul - Quaker style! Imagination and Spirit offers the "best of the best" by contemporary Quaker authors with a brief biography of each. Features work of Daisy Newman, Jessamyn West, Richard J. Foster, Douglas V. Steere, Thomas Mullen, D. Elton Trueblood, Elizabeth Gray Vining, Scott Russell Sanders, Irene Allen, Phil Gulley, James A. Michener, Thomas Kelly, Jan De Hartog, Elfrida Vipont Foulds, and David Yount.<p>From essays about the Quaker Christian experience and the "mystery at the core of all being" to a murder mystery by Irene Allen, this collection presents some of the best of contemporary Quaker nonfiction and fiction writing, with a brief biography of each author. Among these popular 20th- and 21st-century writers are names familiar to readers of mainstream Christianity, including Thomas Kelly, Jessamyn West, James Michener, Daisy Newman, Jan de Hartog, and Scott Russell Sanders. These adept essays and works of fiction reflect the true scope of spiritual experience, offering essays and fiction that range from t<%END%>er, thought-provoking, and challenging to humorous, dramatic, and mysterious.<P>Author Biography&#58; <i>J. Brent Bill</i> is the associate director of the Indianapolis Center for Congregations. He is the assistant book review editor for <I>Fri<%END%>s Journal</I> and director of the Ministry of Writing Annual Colloquium at Earlham School of Religion. He lives in Plainfield, Indiana.</p><h3>Publishers Weekly</h3><p>It's high time the traditional Publishers of Truth as Quakers originally called themselves published something for today's general readers outside the Quaker fold. Bill's anthology picks up where the Quaker Reader (edited by novelist Jessamyn West) left, focusing on writings from the latter half of the 20th century. The prose mix is lively: nonfiction devotional slices from modern mystic Thomas Kelly are served up along with such fiction as an excerpt from the murder mystery Quaker Testimony by Irene Allen, pen name for geologist Elsa Kirsten Peters. Such dizzying range makes the point that contemporary Quakers liberal, pastoral, evangelical can be mildly or wildly different despite common core beliefs in peace, simplicity, truth telling and ongoing divine revelation. At the same time it offers excerpts from such better known Quaker believers as James Michener and Richard Foster, the anthology introduces such unsung writers as children's book specialist Elfrida Vipont Foulds, one of a notably large cadre of women who have always been empowered in Quaker tradition to speak or write. Anthologies are necessarily arbitrary, acknowledges editor Bill, an Earlham College writing program graduate who provides helpful biographical introductions. Still, the influential writer-educator Parker Palmer should have been included. However, this collection is a welcome reminder that the small Society of Friends, as Quakers are also known, continues to offer creative and relevant witness to the truth as found within and practiced in community. (Apr.) Copyright 2003 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">xiii</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT">xv</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">xix</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Holy Obedience" from A Testament of Devotion</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Contemporary Christian Delusion" from The Incendiary Fellowship</TD><TD WIDTH="10%" ALIGN="RIGHT">21</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Dialogue of Prayer and Action" from Dimensions of Prayer</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Chapter IV" from Virginia Exiles</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"A Ridiculous Idea" from The Lark on the Wing</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Music on the Muscatatuck" from The Friendly Persuasion</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Chapter 9" from Indian Summer of the Heart</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Voyage Four: 1661" from Chesapeake</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"New Mexico 1973" from The Lamb's War</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Take Thee Nancy..." from A Very Good Marriage</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Gift of Simplicity" from Spiritual Simplicity: Simplify Your Life and Enrich Your Soul</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Spiritual Disciplines: Door to Liberation" from Celebration of Discipline</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Silence" from Falling Toward Grace</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Chapter One" from Quaker Testimony</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Tasting Tears" from Front Porch Tales; "A Time to Hate: When We Were Children" from For Everything a Season</TD><TD WIDTH="10%" ALIGN="RIGHT">247</TD></TABLE><article> <h4>Publishers Weekly</h4>It's high time the traditional Publishers of Truth as Quakers originally called themselves published something for today's general readers outside the Quaker fold. Bill's anthology picks up where the Quaker Reader (edited by novelist Jessamyn West) left, focusing on writings from the latter half of the 20th century. The prose mix is lively: nonfiction devotional slices from modern mystic Thomas Kelly are served up along with such fiction as an excerpt from the murder mystery Quaker Testimony by Irene Allen, pen name for geologist Elsa Kirsten Peters. Such dizzying range makes the point that contemporary Quakers liberal, pastoral, evangelical can be mildly or wildly different despite common core beliefs in peace, simplicity, truth telling and ongoing divine revelation. At the same time it offers excerpts from such better known Quaker believers as James Michener and Richard Foster, the anthology introduces such unsung writers as children's book specialist Elfrida Vipont Foulds, one of a notably large cadre of women who have always been empowered in Quaker tradition to speak or write. Anthologies are necessarily arbitrary, acknowledges editor Bill, an Earlham College writing program graduate who provides helpful biographical introductions. Still, the influential writer-educator Parker Palmer should have been included. However, this collection is a welcome reminder that the small Society of Friends, as Quakers are also known, continues to offer creative and relevant witness to the truth as found within and practiced in community. (Apr.) Copyright 2003 Reed Business Information. </article> <article> <h4>Library Journal</h4>The associate director of the Indianapolis Center for Congregations and director of Earlham's annual writing colloquium, Brill offers an interesting smorgasbord of modern Quaker writings that includes as much fiction as nonfiction. Selections come from James Michener, Jessamyn West, Jan de Hartog, and Elizabeth Gray Vining. Each selection is furnished with biographical and critical introductions. Standouts include the piece by Thomas R. Kelly and a murder mystery excerpt by Irene Allen. For most collections. Copyright 2003 Reed Business Information. </article>
488Writings: The Autobiography of an Ex-Colored Man, Along This Way, Essays and Editorials, Selected PoemsJames Weldon Johnson0<p><P>William L. Andrews, editor, is E. Maynard Adams Professor of English at the University of North Carolina at Chapel Hill, general editor of <i>The Literature of the American South&#58; A Norton Anthology</i>, and co-editor, with Henry Louis Gates Jr., of The Library of America's <i>Slave Narratives</i>.</p>James Weldon Johnson, William L. Andrewswritingsjames-weldon-johnson97819310825251931082529$36.10HardcoverLibrary of AmericaJanuary 2004American Fiction, American Essays, American Poetry, African Americans - Fiction & Literature, African Americans - General & Miscellaneous, Peoples & Cultures - American Anthologies, U.S. Authors - African American - Literary Biography, U.S. Authors - 20th8285.24 (w) x 8.08 (h) x 1.17 (d)<i>The Autobiography of an Ex-Colored Man</i> (1912), James Weldon Johnson's first book and the first modernist novel written by an African American, is a groundbreaking and subtle account of racial passing, initially published as an anonymous memoir. Its veracity—many believed it to be a genuine autobiography—has made it one of the undisputed masterpieces of African American literature and established Johnson in the African American literary vanguard of the first half of the twentieth century. He was also one of the central figures of the civil-rights struggle of his era, a tireless activist and longtime leader of the NAACP. Until now, however, his innovative and fascinating writings have never been gathered in a one-volume edition. <p> Johnson's complex career spanned the worlds of diplomacy (as a U.S. consul in Venezuela and Nicaragua), politics (as secretary of the NAACP), journalism (as the founder of one newspaper and longtime editor of another), and musical theater (as lyricist for the Broadway song-writing team of Cole and Johnson Brothers). <i>Writings</i> presents a generous array of Johnson's essays which, with the early work of W.E.B. Du Bois, established the foundation of twentieth- century African American literary criticism; a selection of his topical editorials from the <i>New York Age</i>; and an offering of his poems and lyrics, including <i>God's Trombones</i>—a brilliant verse homage to African American preaching—vaudeville songs, protest poems, and perhaps Johnson's most famous work, “Lift Every Voice and Sing,” a stirring hymn often called the “Negro National Anthem.”</p><p><P><i>The Autobiography of an Ex-Colored Man</i> (1912), James Weldon Johnson's first book and the first modernist novel written by an African American, is a groundbreaking and subtle account of racial passing, initially published as an anonymous memoir. Its veracity&#151;many believed it to be a genuine autobiography&#151;has made it one of the undisputed masterpieces of African American literature and established Johnson in the African American literary vanguard of the first half of the twentieth century. He was also one of the central figures of the civil-rights struggle of his era, a tireless activist and longtime leader of the NAACP. Until now, however, his innovative and fascinating writings have never been gathered in a one-volume edition. <P> Johnson's complex career spanned the worlds of diplomacy (as a U.S. consul in Venezuela and Nicaragua), politics (as secretary of the NAACP), journalism (as the founder of one newspaper and longtime editor of another), and musical theater (as lyricist for the Broadway song-writing team of Cole and Johnson Brothers). <i>Writings</i> presents a generous array of Johnson's essays which, with the early work of W.E.B. Du Bois, established the foundation of twentieth- century African American literary criticism; a selection of his topical editorials from the <i>New York Age</i>; and an offering of his poems and lyrics, including <i>God's Trombones</i>&#151;a brilliant verse homage to African American preaching&#151;vaudeville songs, protest poems, and perhaps Johnson's most famous work, &ldquo;Lift Every Voice and Sing,&rdquo; a stirring hymn often called the &ldquo;Negro National Anthem.&rdquo;</p><h3>Library Journal</h3><p>The Library of America's latest offering combines the author's noted 1912 novel The Autobiography of an Ex-Colored Man and his 1933 autobiography Along This Way plus numerous essays and his New York Age editorials covering a plethora of subjects. Top shelf. Copyright 2004 Reed Business Information.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Autobiography of an Ex-Colored Man (1912)</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Along This Way (1933)</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Editorials from The New York Age (1914-23)</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Do You Read Negro Papers?</TD><TD WIDTH="10%" ALIGN="RIGHT">607</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">President Wilson's "New Freedom" and the Negro</TD><TD WIDTH="10%" ALIGN="RIGHT">608</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">22 Calibre Statesmen</TD><TD WIDTH="10%" ALIGN="RIGHT">611</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uncle Tom's Cabin and The Clansman</TD><TD WIDTH="10%" ALIGN="RIGHT">612</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Passing of Jack Johnson</TD><TD WIDTH="10%" ALIGN="RIGHT">614</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Trap</TD><TD WIDTH="10%" ALIGN="RIGHT">616</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"The Poor White Musician"</TD><TD WIDTH="10%" ALIGN="RIGHT">617</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stranger Than Fiction</TD><TD WIDTH="10%" ALIGN="RIGHT">620</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Saluting the Flag</TD><TD WIDTH="10%" ALIGN="RIGHT">622</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Responsibilities and Opportunities of the Colored Ministry</TD><TD WIDTH="10%" ALIGN="RIGHT">625</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Under the Dome of the Capitol</TD><TD WIDTH="10%" ALIGN="RIGHT">626</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Silent Parade</TD><TD WIDTH="10%" ALIGN="RIGHT">628</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Army with Banners</TD><TD WIDTH="10%" ALIGN="RIGHT">629</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Experienced Men Wanted</TD><TD WIDTH="10%" ALIGN="RIGHT">630</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Why Should a Negro Fight?"</TD><TD WIDTH="10%" ALIGN="RIGHT">632</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"Negro" with a Big "N"</TD><TD WIDTH="10%" ALIGN="RIGHT">636</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Protesting Women and the War</TD><TD WIDTH="10%" ALIGN="RIGHT">639</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Japanese Question in California</TD><TD WIDTH="10%" ALIGN="RIGHT">642</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The "Jim Crow" Car in Congress</TD><TD WIDTH="10%" ALIGN="RIGHT">644</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Real Poet</TD><TD WIDTH="10%" ALIGN="RIGHT">645</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marcus Garvey's Inferiority Complex</TD><TD WIDTH="10%" ALIGN="RIGHT">648</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The New Exodus</TD><TD WIDTH="10%" ALIGN="RIGHT">650</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Selected Essays (1919-28)</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Riots</TD><TD WIDTH="10%" ALIGN="RIGHT">655</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Self-Determining Haiti</TD><TD WIDTH="10%" ALIGN="RIGHT">660</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface to The Book of American Negro Poetry</TD><TD WIDTH="10%" ALIGN="RIGHT">688</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lynching - America's National Disgrace</TD><TD WIDTH="10%" ALIGN="RIGHT">720</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface to The Second Book of Negro Spirituals</TD><TD WIDTH="10%" ALIGN="RIGHT">730</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dilemma of the Negro Author</TD><TD WIDTH="10%" ALIGN="RIGHT">744</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Race Prejudice and the Negro Artist</TD><TD WIDTH="10%" ALIGN="RIGHT">753</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Black Manhattan</TD><TD WIDTH="10%" ALIGN="RIGHT">767</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Selected Poems</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Under the Bamboo Tree</TD><TD WIDTH="10%" ALIGN="RIGHT">811</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fifty Years</TD><TD WIDTH="10%" ALIGN="RIGHT">813</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To America</TD><TD WIDTH="10%" ALIGN="RIGHT">816</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">O Black and Unknown Bards</TD><TD WIDTH="10%" ALIGN="RIGHT">817</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brothers</TD><TD WIDTH="10%" ALIGN="RIGHT">818</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fragment</TD><TD WIDTH="10%" ALIGN="RIGHT">820</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The White Witch</TD><TD WIDTH="10%" ALIGN="RIGHT">822</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mother Night</TD><TD WIDTH="10%" ALIGN="RIGHT">824</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Girl of Fifteen</TD><TD WIDTH="10%" ALIGN="RIGHT">824</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Down by the Carib Sea</TD><TD WIDTH="10%" ALIGN="RIGHT">825</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sence You Went Away</TD><TD WIDTH="10%" ALIGN="RIGHT">829</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nobody's Lookin' but de Owl an de Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">830</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">'Possum Song</TD><TD WIDTH="10%" ALIGN="RIGHT">831</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Brer Rabbit, You's de Cutes' of 'Em All</TD><TD WIDTH="10%" ALIGN="RIGHT">833</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">God's Trombones (1927)</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT">834</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Listen, Lord - A Prayer</TD><TD WIDTH="10%" ALIGN="RIGHT">841</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Creation</TD><TD WIDTH="10%" ALIGN="RIGHT">842</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Prodigal Son</TD><TD WIDTH="10%" ALIGN="RIGHT">845</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Go Down Death - A Funeral Sermon</TD><TD WIDTH="10%" ALIGN="RIGHT">849</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Noah Built the Ark</TD><TD WIDTH="10%" ALIGN="RIGHT">851</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Crucifixion</TD><TD WIDTH="10%" ALIGN="RIGHT">856</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Let My People Go</TD><TD WIDTH="10%" ALIGN="RIGHT">859</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Judgment Day</TD><TD WIDTH="10%" ALIGN="RIGHT">865</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Saint Peter Relates an Incident of the Resurrection Day</TD><TD WIDTH="10%" ALIGN="RIGHT">868</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My City</TD><TD WIDTH="10%" ALIGN="RIGHT">873</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">If I Were Paris</TD><TD WIDTH="10%" ALIGN="RIGHT">874</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lift Every Voice and Sing</TD><TD WIDTH="10%" ALIGN="RIGHT">874</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chronology</TD><TD WIDTH="10%" ALIGN="RIGHT">879</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Note on the Texts</TD><TD WIDTH="10%" ALIGN="RIGHT">892</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes</TD><TD WIDTH="10%" ALIGN="RIGHT">897</TD></TABLE><article> <h4>Library Journal</h4>The Library of America's latest offering combines the author's noted 1912 novel The Autobiography of an Ex-Colored Man and his 1933 autobiography Along This Way plus numerous essays and his New York Age editorials covering a plethora of subjects. Top shelf. Copyright 2004 Reed Business Information. </article>
489Quixotic Fictions of the USA 1792-1815Sarah Florence Wood0<p><P><b>Sarah Wood</b> is a Leverhulme Fellow and Lecturer in American Studies at the University of Sussex.</p>Sarah Florence Woodquixotic-fictions-of-the-usa-1792-1815sarah-florence-wood97801992731570199273154$150.00HardcoverOxford University Press, USAJanuary 2006General & Miscellaneous European Literature - Literary Criticism, 16th-17th Century Spanish Literature (Golden Age) - Literary Criticism, Literary Criticism - U.S. Fiction & Prose Literature - General & Miscellaneous, Literary Criticism - U.S. Fiction & P3208.60 (w) x 5.70 (h) x 1.10 (d)<p><b>Quixotic Fictions of the USA 1792-1815</b> explores the conflicted and conflicting interpretations of <b>Don Quixote</b> available to and deployed by disenchanted writers of America's new republic. It argues that the legacy of <b>Don Quixote</b> provided an ambiguous cultural icon and ironic narrative stance that enabled authors to critique with impunity the ideological fictions shoring up their fractured republic. Close readings of works such as <b>Modern Chivalry</b>, <b>Female Quixotism</b>, and <b>The Algerine Captive</b> reveal that the fiction from this period repeatedly engaged with Cervantes's narrative in order to test competing interpretations of republicanism, to interrogate the new republic's multivalent crises of authority, and to question both the possibility and the desirability of an isolationist USA and an autonomous "American" literature.</p> <p>Sarah Wood's study is the first book-length publication to examine the role of <b>Don Quixote</b> in early American literature. Exploring the extent to which the literary culture of North America was shaped by a diverse range of influences, it addresses an issue of growing concern to scholars of American history and literature. <b>Quixotic Fictions</b> reaffirms the global reach of Cervantes's influence and explores the complex, contradictory ways in which <b>Don Quixote</b> helped shape American fiction at a formative moment in its development.</p><p><P><b>Quixotic Fictions of the USA 1792-1815</b> explores the conflicted and conflicting interpretations of <b>Don Quixote</b> available to and deployed by disenchanted writers of America's new republic. It argues that the legacy of <b>Don Quixote</b> provided an ambiguous cultural icon and ironic narrative stance that enabled authors to critique with impunity the ideological fictions shoring up their fractured republic. Close readings of works such as <b>Modern Chivalry</b>, <b>Female Quixotism</b>, and <b>The Algerine Captive</b> reveal that the fiction from this period repeatedly engaged with Cervantes's narrative in order to test competing interpretations of republicanism, to interrogate the new republic's multivalent crises of authority, and to question both the possibility and the desirability of an isolationist USA and an autonomous "American" literature. <P>Sarah Wood's study is the first book-length publication to examine the role of <b>Don Quixote</b> in early American literature. Exploring the extent to which the literary culture of North America was shaped by a diverse range of influences, it addresses an issue of growing concern to scholars of American history and literature. <b>Quixotic Fictions</b> reaffirms the global reach of Cervantes's influence and explores the complex, contradictory ways in which <b>Don Quixote</b> helped shape American fiction at a formative moment in its development.</p><P>1. An 'Inconsistent Discourse'&#58; Don Quixote in British Letters<br>2. Transatlantic Cervantics&#58; Don Quixote in the New Republic<br>3. City on the Hill, Quixote in the Cave&#58; The Politics of Retreat in the Fiction of Hugh Henry Brackenridge<br>4. An Alien's Act of Sedition&#58; 'Trans-atlantic peculiarities' and North African Attachments in The Algerine Captive<br>5. Private Properties, Public Nuisance&#58; Arthur Mervyn and the Rise and Fall of a Republican Quixote<br>6. Nobody's Dulcinea&#58; Romantic Fictions and Republican Mothers in Tabitha Gilman Tenney's Female Quixotism<br>7. The Underwhelming History of America's Overbearing Fathers&#58; A History of New York, From the Beginning of the World to the End of the Dutch Dynasty
490Roots of African American Drama: An Anthology of Early Plays, 1858-1938Leo Hamalian0Leo Hamalian (Editor), James Vernon Hatch (Editor), George C. Wolferoots-of-african-american-dramaleo-hamalian97808143214230814321429$21.95PaperbackWayne State University PressDecember 19921st EditionDrama, American
491The Floating Borderlands: Twenty-Five Years of U.S. Hispanic LiteratureLauro Flores0Lauro Floresthe-floating-borderlandslauro-flores97802959774610295977469$18.95PaperbackUniversity of Washington PressDecember 1998Peoples & Cultures - American Anthologies, American Literature Anthologies4466.00 (w) x 8.90 (h) x 1.10 (d)The Flooting Borderlands celebrates the emergence of a potent force on the American literary scene: the coming of age of contemporary Hispanic writers. The Americas Review - the pioneering journal of Hispanic literary arts, which has nurtured the early careers of many now-famous authors - celebrates its twenty-fifth anniversary with this anthology of some of the best fiction and poetry from its pages.<p>The Flooting Borderlands celebrates the emergence of a potent force on the American literary scene: the coming of age of contemporary Hispanic writers. The Americas Review - the pioneering journal of Hispanic literary arts, which has nurtured the early careers of many now-famous authors - celebrates its twenty-fifth anniversary with this anthology of some of the best fiction and poetry from its pages.</p><h3>Americas Review</h3><p>The pioneering journal of Hispanic literary arts, which has nurtured the early careers of many now-famous authors -- celebrates its 25th anniversary with this anthology of some of the best fiction, poetry, and visual art from its pages.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">List of Illustrations</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Captain</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A House on the Island</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Un poco de todo</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cara de caballo</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Imaginary Parents: A Memoir (Selections)</TD><TD WIDTH="10%" ALIGN="RIGHT">38</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La Jonfontayn</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Pete Fonseca</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Kid Victory</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El jibarito moderno</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Paterson</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">do u remember</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">cornfields thaw out</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sun Calendar</TD><TD WIDTH="10%" ALIGN="RIGHT">81</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">We Knew It</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Maria la O</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Heritage</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Refugee Ship</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You Are Like a Weed</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blue Full Moon in Witch</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">From the Cables of Genocide</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Love and Hunger</TD><TD WIDTH="10%" ALIGN="RIGHT">94</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lamento</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Invernario</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fuga</TD><TD WIDTH="10%" ALIGN="RIGHT">98</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Wow</TD><TD WIDTH="10%" ALIGN="RIGHT">100</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Luminous Serpent Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coyote Woman Finds Fox ...</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Photopoem of the Chicano Moratorium</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Outside Tibet</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Selena in Corpus Christi Lacquer Red</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Final Laugh</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ten Dry Summers Ago</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Conventional Methods Fail</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">angelito's eulogy in anger</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">tito madera smith</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Melao</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gently Lead Me Home</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elena</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chuparrosa: Hummingbird</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cool Love</TD><TD WIDTH="10%" ALIGN="RIGHT">126</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sola</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Requiem for the Men's Shelter</TD><TD WIDTH="10%" ALIGN="RIGHT">128</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Lower East Side Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">130</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Lower East Side...</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Excerpt from the South Bronx II</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The First Place</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Am America</TD><TD WIDTH="10%" ALIGN="RIGHT">135</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">As I Look to the Literate</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Father Is a Simple Man</TD><TD WIDTH="10%" ALIGN="RIGHT">139</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What Is My Name?</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Middle Age</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to My Ex-Texas Sanity</TD><TD WIDTH="10%" ALIGN="RIGHT">142</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">En-ojitos: Canto a Pinero</TD><TD WIDTH="10%" ALIGN="RIGHT">145</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Doctor</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Closet</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Day They Took My Uncle</TD><TD WIDTH="10%" ALIGN="RIGHT">168</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Birthday</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Adventures of the Chicano Kid</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Learn! Learn!</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Black Virgin</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Birthday of Mrs. Pineda</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miss Clairol</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chicome-Coatl/Seven Snake</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Planting Camotes</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Undo the Sleep Spell</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">1975</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Napa, California</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Antihero</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">David Leaves the Saints for Paterson</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Colibri</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amor negro</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">So you want me to be your mistress</TD><TD WIDTH="10%" ALIGN="RIGHT">231</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Transference</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After 21 Years, a Postcard ...</TD><TD WIDTH="10%" ALIGN="RIGHT">235</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bamba Basilica</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Walk</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Wolf Poems</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El olvido (segun las madres)</TD><TD WIDTH="10%" ALIGN="RIGHT">241</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">So Much for Manana</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Latin Deli</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poem for Josephine Baker</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On January 5, 1984, El Santo...</TD><TD WIDTH="10%" ALIGN="RIGHT">245</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Running to America</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dark Side of the Moon</TD><TD WIDTH="10%" ALIGN="RIGHT">251</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Moon Is Lost</TD><TD WIDTH="10%" ALIGN="RIGHT">253</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Ocean Is Not Red</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">When Pito Tried to Kill</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Woman-Hole</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Poema para Elliot Gilbert</TD><TD WIDTH="10%" ALIGN="RIGHT">259</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">English con Salsa</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dumb Broad!</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Walking Home</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Losses</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">El Pajarero</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dogs of Clowerston</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aztlan, Oregon</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hershey Bar Queen</TD><TD WIDTH="10%" ALIGN="RIGHT">326</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La muerte de Marielito</TD><TD WIDTH="10%" ALIGN="RIGHT">336</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Imbalance of Humors</TD><TD WIDTH="10%" ALIGN="RIGHT">344</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Erotica</TD><TD WIDTH="10%" ALIGN="RIGHT">353</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shango's Rest</TD><TD WIDTH="10%" ALIGN="RIGHT">359</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">After the Rains</TD><TD WIDTH="10%" ALIGN="RIGHT">368</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hunger</TD><TD WIDTH="10%" ALIGN="RIGHT">370</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">372</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Return</TD><TD WIDTH="10%" ALIGN="RIGHT">374</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blonde as a Bat</TD><TD WIDTH="10%" ALIGN="RIGHT">375</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Columbus's Children</TD><TD WIDTH="10%" ALIGN="RIGHT">378</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Caribe Poems</TD><TD WIDTH="10%" ALIGN="RIGHT">380</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Teatro Marti</TD><TD WIDTH="10%" ALIGN="RIGHT">382</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In an Angry Season</TD><TD WIDTH="10%" ALIGN="RIGHT">383</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Young Widow Walking Home</TD><TD WIDTH="10%" ALIGN="RIGHT">385</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Two Prices: No Yields</TD><TD WIDTH="10%" ALIGN="RIGHT">387</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Metonymies</TD><TD WIDTH="10%" ALIGN="RIGHT">390</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yo, La Malinche</TD><TD WIDTH="10%" ALIGN="RIGHT">392</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miss Primavera Contest</TD><TD WIDTH="10%" ALIGN="RIGHT">397</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Flight South of the Monarch Butterfly</TD><TD WIDTH="10%" ALIGN="RIGHT">399</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ghost Story</TD><TD WIDTH="10%" ALIGN="RIGHT">401</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">De lo que yo me entere...</TD><TD WIDTH="10%" ALIGN="RIGHT">403</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dear Tia</TD><TD WIDTH="10%" ALIGN="RIGHT">404</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Moses of Echo Park</TD><TD WIDTH="10%" ALIGN="RIGHT">405</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I listen to</TD><TD WIDTH="10%" ALIGN="RIGHT">406</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ballad of Friendship through the Ages</TD><TD WIDTH="10%" ALIGN="RIGHT">407</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sanctuary of Chimayo</TD><TD WIDTH="10%" ALIGN="RIGHT">409</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Arroyo</TD><TD WIDTH="10%" ALIGN="RIGHT">410</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grand Central Station</TD><TD WIDTH="10%" ALIGN="RIGHT">411</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Volkswagen on Calle Cerra</TD><TD WIDTH="10%" ALIGN="RIGHT">412</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Apostate</TD><TD WIDTH="10%" ALIGN="RIGHT">413</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sugarcane</TD><TD WIDTH="10%" ALIGN="RIGHT">414</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Del medio del sueno</TD><TD WIDTH="10%" ALIGN="RIGHT">416</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">La desconocida</TD><TD WIDTH="10%" ALIGN="RIGHT">417</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Washington D.C.</TD><TD WIDTH="10%" ALIGN="RIGHT">418</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leaving Cibola</TD><TD WIDTH="10%" ALIGN="RIGHT">420</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Electric Cowboys</TD><TD WIDTH="10%" ALIGN="RIGHT">422</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">me-nudo</TD><TD WIDTH="10%" ALIGN="RIGHT">424</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Constelacion</TD><TD WIDTH="10%" ALIGN="RIGHT">425</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Under the Moon of Texas</TD><TD WIDTH="10%" ALIGN="RIGHT">426</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Andres sin tierra</TD><TD WIDTH="10%" ALIGN="RIGHT">427</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Credits and Permissions</TD><TD WIDTH="10%" ALIGN="RIGHT">429</TD></TABLE><article> <h4>Americas Review</h4>The pioneering journal of Hispanic literary arts, which has nurtured the early careers of many now-famous authors -- celebrates its 25th anniversary with this anthology of some of the best fiction, poetry, and visual art from its pages. </article> <article> <h4>Publishers Weekly - <span class="author">Publisher's Weekly</span> </h4>Since 1972, the Americas Review (formerly Revista Chicano-Riquena) has presented prose, verse, essays and visual art by Latinos living in the U.S.; this anthology celebrates the magazine's 25th birthday by reprinting work from its pages. TAR editor Flores divides her 27 prose writers and 52 poets into three stages meant to illustrate the development of Latino writing, from early concerns with group representation and political impact to more recent formal experiments. First-generation writers like Rolando Hinojosa-Smith, Tomas Rivera and Lucha Corpi strove to unify and engage Hispanic cultures through literature; some of them wrote in Spanish, in forms called "estampas" (brief sketches). Rudolfo Anaya, Sheila Ortiz-Taylor, Jimmy Santiago Baca, Pat Mora and Alurista produced autobiographical works that code-switched effortlessly between English and Spanish. Second-generation writers like Julia Alvarez, Denise Chavez, Alberto Rios and Ana Castillo later achieved broader recognition; their early work, reprinted here, demonstrates both their craft and sophistication, and their awareness of audiences both Latino and Anglo. Flores calls the third generation of U.S. Latino writers "New Navigators of the Floating Borderlands"; Kathleen Alcala, Sandra Benitez, Rane Arroyo and their coevals use their expanded technical resources to describe familiar elements of the U.S. Hispanic experience: family, language, inheritance, displacement, immigration issues, gender, myth, citylife. Readers will appreciate the breadth of Flores's selections. Others will regret the absence of Sandra Cisneros and Gary Soto (a footnote implies that Flores tried to include them); others may ask why neither biographical nor explanatory notes accompany the stories and poems. Still, this is a volume that's long overdue: readers (and teachers) seeking a good, wide-ranging anthology of short works by U.S. Latinos will be glad this book exists. (Feb.) </article><article> <h4>School Library Journal</h4>YA-An excellent anthology that celebrates the 25th anniversary of the journal of the Hispanic literary arts, The Americas Review. With the publication of this collection of short fiction and poetry, mature readers of Spanish and English can trace the emergence of contemporary Hispanic voices in the U.S. Organized into three sections, the volume represents three distinct stages of the cultural identity of American Hispanics: "Nationhood Messengers" (pioneer writers, 1970-1984); "Memory Makers" (the 1980s); and "New Navigators of the Floating Borderlands" (the 1990s). While the pieces are written predominantly in English, secondary Spanish students will also find sufficient fare to challenge them. Among the most interesting of the pioneering writers' contributions is Miguel Algar n's "Paterson," evocative of William Carlos Williams's long epic of the same name. From the contemporary prose segment, Elenza Diaz Bjorkquist's short story, "The Hershey Bar Queen," will fascinate YAs because of its unrelenting honesty. Modern themes arise: women's issues, the immigrant experience, urban travel, farm-laborers' experiences, etc. In addition, the 16 images in the art plates add much to the presentation. An important contribution to cultural studies of Hispanics in America.-Margaret Nolan, W. T. Woodson High School, Fairfax, VA Copyright 1999 Cahners Business Information. </article> <article> <h4>Booknews</h4>This anthology celebrates the 25th anniversary of The Americas Review, a journal of Hispanic literary arts. Selections are arranged in three parts: Nationhood Messengers, from the Latino communities of the 1970s; Memory Makers, polished works successful in the American mainstream from the 1980s; and New Navigators of the Floating Borderlands, featuring emerging writers just beginning to be heard. Includes both prose and poetry, in Spanish and English. Annotation c. by Book News, Inc., Portland, Or. </article>
492Classic Plays from the Negro Ensemble CompanyPaul Carter Harrison0Paul Carter Harrison (Editor), Gus (Eds.) Edwards, Gus Edwardsclassic-plays-from-the-negro-ensemble-companypaul-carter-harrison97808229556030822955601$3.98PaperbackUniversity of Pittsburgh PressOctober 19951st EditionDrama, General & Miscellaneous Drama, American Literature Anthologies, Anthologies5946.13 (w) x 9.25 (h) x 1.90 (d)<p>This anthology celebrates more than twenty-five years of the Negro&nbsp; Ensemble Company’s significant contribution to American theater.&nbsp; Collected here are ten plays most representative of the eclectic nature of the Negro Ensemble Company repertoire.</p> <p>The Negro Ensemble Company (NEC) was formed in New York City in 1967 with support from the Ford Foundation to aid in the establishment of an independent African-American theater institution.&nbsp; Under the artistic directorship of Douglas Turner Ward, the NEC offered a nurturing environment to black playwrights and actors who could work autonomously, guaranteeing authenticity of voice, full freedom of expression, and exploration of thematic views specific to the African-American experience.</p> <p>Since its inception, the NEC has introduced audiences to more than 150 theatrical works.&nbsp; <i>Classic Plays from the Negro Ensemble Company</i> allows scholars to review a diversity of styles which share common philosophical, mythic, and social ideals that can be traced to an African worldview.&nbsp; A foreword by Douglas Turner Ward and an afterword by Paul Carter Harrison and Gus Edwards assess the literary and/or stylistic significance of the plays and place each work in its historical or chronological context.</p><p><P>This anthology celebrates more than twenty-five years of the Negro&nbsp; Ensemble Company&rsquo;s significant contribution to American theater.&nbsp; Collected here are ten plays most representative of the eclectic nature of the Negro Ensemble Company repertoire.</p> <P>The Negro Ensemble Company (NEC) was formed in New York City in 1967 with support from the Ford Foundation to aid in the establishment of an independent African-American theater institution.&nbsp; Under the artistic directorship of Douglas Turner Ward, the NEC offered a nurturing environment to black playwrights and actors who could work autonomously, guaranteeing authenticity of voice, full freedom of expression, and exploration of thematic views specific to the African-American experience.</p> <P>Since its inception, the NEC has introduced audiences to more than 150 theatrical works.&nbsp; &lt;I&gt;Classic Plays from the Negro Ensemble Company&lt;/I&gt; allows scholars to review a diversity of styles which share common philosophical, mythic, and social ideals that can be traced to an African worldview.&nbsp; A foreword by Douglas Turner Ward and an afterword by Paul Carter Harrison and Gus Edwards assess the literary and/or stylistic significance of the plays and place each work in its historical or chronological context.</p></p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foreword</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Soldier's Play</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ceremonies in Dark Old Men</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Home</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sty of the Blind Pig</TD><TD WIDTH="10%" ALIGN="RIGHT">175</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Daughters of the Mock</TD><TD WIDTH="10%" ALIGN="RIGHT">229</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Offering</TD><TD WIDTH="10%" ALIGN="RIGHT">263</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The First Breeze of Summer</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dream on Monkey Mountain</TD><TD WIDTH="10%" ALIGN="RIGHT">375</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The River Niger</TD><TD WIDTH="10%" ALIGN="RIGHT">433</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Great MacDaddy</TD><TD WIDTH="10%" ALIGN="RIGHT">509</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Conversation</TD><TD WIDTH="10%" ALIGN="RIGHT">589</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Afterword</TD><TD WIDTH="10%" ALIGN="RIGHT">[s.n.]</TD></table><article> <h4>From the Publisher</h4>"You will not find the story of black America on Broadway or in Hollywood, where all too often we remain unobserved and unrecorded, but you will find it here, that's why this book is a must."<br> --Ruby Dee and Ossie Davis </article>
493Mississippi Writers: An AnthologyDorothy Abbott0Dorothy Abbottmississippi-writersdorothy-abbott97808780547940878054790HardcoverUniversity Press of MississippiJune 1991Literary Criticism<p><P>An omnibus of fiction, nonfiction, poetry, and drama written by Mississippi authors</p>
494Bombshells: War Stories and Poems by Women on the HomefrontMissy Martin0Missy Martin (Editor), Jesse Lorenbombshellsmissy-martin97809788489340978848934$11.85PaperbackOmniArts, LLCJanuary 2007United States - World War II - Homefront, Historical Biography - United States - 20th Century, Women Authors - Literature Anthologies, World War II - War Narratives, World War II - Social Aspects, War - Literary Anthologies, World War II - Personal Narrat163<br> Cultural Writing. Poetry. Essays. Women Studies. No one voice can entirely convey the emotional toll a soldier's military service has on loved ones. Here are 38 voices. Step into the experiences of homefront women spanning from World War II to the Iraq War-mothers, wives, daughters, sisters, fiances and friends-who, in their own words, tap into the reservoirs of unconditional love required of everyone who has ever loved a soldier. Share their wide range of feelings from the stress of giving up a loved one to military service, to the anguish when warriors are killed in action; from the anxiety of long separations, to the upheaval that can accompany living with wounded veterans. Glimpse other nuances of the military lifestyle like searching for personal identity and viable concepts of home in the face of deployments and frequent relocations. Each piece tells a unique story, and collectively they illuminate the pathos of this unsung microcosm of American society, and manage to uplift us in a way only raw honesty can.<p>No one voice can entirely convey the emotional toll a soldier s military service has on loved ones. Here are 38 voices. Step into the experiences of homefront women spanning from World War II to the Iraq War&mdash;mothers, wives, daughters, sisters, fiancés and friends&mdash;who, in their own words, tap into the reservoirs of unconditional love required of everyone who has ever loved a soldier. Share their wide range of feelings from the stress of giving up a loved one to military service, to the anguish when warriors are killed in action; from the anxiety of long separations, to the upheaval that can accompany living with wounded veterans. Glimpse other nuances of the military lifestyle like searching for personal identity and viable concepts of home in the face of deployments and frequent relocations. Each piece tells a unique story, and collectively they illuminate the pathos of this unsung microcosm of American society, and manage to uplift us in a way only raw honesty can.</p>
495At Home on the Earth: Becoming Native to Our PlaceDavid Landis Barnhill0<p><P><b>David Landis Barnhill</b> is Director of Environmental Studies and Professor of English at the University of Wisconsin Oshkosh.</p>David Landis Barnhill (Editor), Alice Walker, Gary Snyderat-home-on-the-earthdavid-landis-barnhill97805202168460520216849$24.95PaperbackUniversity of California PressAugust 19991st EditionNature, General & Miscellaneous Philosophy, American Literature Anthologies, General & Miscellaneous Literature Anthologies, Major Branches of Philosophical Study, Native North American People, Natural History, Landscape & Environment - Social Aspects3416.00 (w) x 9.00 (h) x 0.88 (d)At Home on the Earth is a multicultural anthology of some of the finest contemporary American essays on discovering a sense of place. While emphasizing the importance of traditional Native American views of nature, these writings also explore the complex issue of all Americans becoming natives on this continent.<h1><font size="+3">At Home on the Earth</font></h1> <hr noshade size="1"> <font size="+1"><i>By David L. Barnhill</i></font> <h4><i>University of California Press</i></h4> <font size="-1"><i>Copyright © 1999</i></font> <font size="-1"><i>David L. Barnhill<br> All right reserved.</i></font> <br> <font size="-1"><i>ISBN: 0520214838</i></font> <br> <hr noshade size='1'> <br> <h3>Chapter One</h3> Water Under American Ground: West 78th Street <i>Peter Sauer</i> <p>* * *</p> <p>Peter Sauer lives in New York City, where he cultivates a sense of place in the great American megalopolis. He edited <i>Finding Home: Writing on Nature and Culture from Orion Magazine</i>, and he is a contributing editor of the splendid journal of nature writing <i>Orion: People and Nature</i>. The following essay from <i>Orion</i> explores the nature of place and the place of nature in New York City. Sauer discovers an urban Galapagos of animals rarely noticed by city dwellers, explores the "peaceable kingdom" of the American Museum of Natural History, and reflects on the design of Central Park. In his natural history of this part of the city, he investigates the possibility that a brook has been buried. Throughout the essay, Sauer articulates a complex and integrated view of nature that includes urban life and museum displays, culture and wildness, past and present.</p> <p>For three evenings in June the sun sets directly between the buildings that form the canyon walls of West 78th Street and projects long shadows of people crossing the street all the way up the gently sloped blacktop pavement, from Broadway, across Amsterdam and Columbus Avenue, east to the American Museum of Natural History. During the last two minutes before the sun drops beneath the Palisades above the far shore of the Hudson River, its light beams in horizontally, close to the ground, flickering as it passes between the moving taxis, cars, and trucks north- and south-bound on Broadway, steady in the intervals when traffic signals stop them. I timed my dog walks to coincide with this event, hurried out when the air was clear, zigzagged back and forth across the street and up the block, stopping when the traffic stopped, to see how far the shadow of the family's little dog would stretch and if mine would be cast as far as the museum's west wall, which in this light glows like the headwall of a ceremonial Anasazi canyon.</p> <p>Like summer's first light blinking through the aperture of moving traffic, there was a now-you-see-it-now-you-don't quality to every aspect of the natural history I learned while living on West 78th Street. Wildness itself seemed modulated, as if rewired through an urban black box to add layers of human artifice to every manifestation of its force, and the neighborhood flora and fauna could be classified by these distortions: The museum biota-mounted specimens, skeletons, glass models, and plaster casts-represented natural history heavily laced with nineteenth-century, pre-anthropological empire building. The splendidly abundant Central Park biota-especially of migratory birds-in its trampled but nevertheless fantastical pastoral landscape, represented nature annually amplified by art and enthusiasm. The gutsy, entrepreneurial, street biota, less noticed and less fashionable, ignored by science-except for that of commercial exterminators and municipal rat and pigeon controllers-seemed mine alone to study and celebrate as the wildest, most contemporary music of all.</p> <p>House sparrows nested in looted parking meters; kestrels in a hole in a high decorative minaret of brick. The spiders were organizing exterior building walls into mutually exclusive, stratified life zones: from the first to the third, the fourth to the seventh, and the eighth floor and above. One summer, in a London plane tree that a winter storm had shoved precariously over the middle of the street, robins constructed a nest festooned with ribbons of glistening video- and black and yellow police-line tape that dangled over the hot pavement like the tentacles of a tree-dwelling Caribbean jellyfish and fluttered in the slipstream of every passing delivery truck, as if grasping for escaping prey. While I watched, this resilient gypsy biota was constructing its own urban Galapagos.</p> <p>The first street birds to sing in the spring were house finches, descendants of caged birds imported from western mountain slopes and released in Long Island City by a pet wholesaler after Congress passed a law prohibiting trade in native species. Separated from their natural habitat, and the biological pool from which their ancestors had sprung, the West 78th Street finches belonged to a yet unrecognized species, an inchoate evolutionary work-in-progress, developing, on this block anyway, a predisposition for nesting in and under exterior window air conditioning units. As several species of Old World insects also colonized these appliances, I imagined a twenty-first century Darwin would discover that the window finches had become cockroach carnivores.</p> <p>Compared to life on the street, the museum's version of nature and humanity was peaceable kingdom. Natural biota and primitive people co-existed as faunal partners in ecosystems disconnected from the present and unhinged from their pasts. Bits and pieces of captured moments were displayed like snapshots in a sprawling album. The dusty mahogany-skinned, larger-than-life Northwest boatpeople have been pushing their heroic ocean-going war canoe eastward through the museum's 77th Street lobby for at least as long as since I was a child. A diorama, in the Teddy Roosevelt Wing as I recall, displays a group of now-endangered East Asian pygmy rhinos, labeled (since the 1930s) with a credit to the cooperative colonial bureaucrats who granted the museum's permission to collect them. Every corner of the world is presented as it might have appeared in the summer of its discovery. The full-sized whale suspended over the Hall of Fishes poises at the silent edge of a gentle dive into the last instant of a pristine, unpolluted sea.</p> <p>In contrast, east of the museum-the same direction the canoeists are heading-through the entrance called Naturalists Gate, Central Park teems with living biota in a landscape constructed to make nature a cultural event. Here, the spring bird migrations arrive as bright waves of prehistoric bits of gossamer protoplasm dropping nightly from vernal skies to feed, and rest, and fill up this wood with song, and to be greeted by a spontaneous, running, voice-over, interpretive commentary, involuntarily delivered by hundreds of euphoric birders. One late-May morning in the Ramble section of Central Park, an authoritative voice spoke from the underbrush: "Did you get a good look at it?" it asked-of whom I was not sure-and without waiting for a reply, explained: "The yellow warbler is the only <i>yellow</i> warbler with yellow feather shafts." The migration is thoroughly covered by experienced observers; no detail, no rare individual goes unremarked. For several years, the cop on the Central Park beat was a birder, who scootered through the chilly morning wood with a walkie-talkie and binoculars around his neck, stopping in strategic places to peer into the brush, as though assigned to radio his sightings into a registry at headquarters. Once, a squad of hardy, country-booted, camera- and scope-toting birders directed me to a rare Brewster's warbler. It was just beyond the far northeast edge of the Ramble, they informed me, "along the West Drive, in the cherry branch that hangs over the sixth guardrial post north of a Sabrett's hot dog vendor."</p> <p>It was.</p> <p>Central Park, Olmsted's masterpiece of earth-moving legerdemain, allows one to be immersed in nature, yet never at a far remove from a deli. Passing through the park's distinctive gray stone perimeter wall at Naturalists Gate, for example, one is immediately at treetop level, crossing the high, arched Buttress Bridge, from which the entry road descends into an oak and wisteria Victorian lakeshore forest. The city is out of sight; its sounds, muffled by foliage, give way to water lapping. A second footbridge crosses a lagoon to a rise on the north shore; the Ramble, where, on a good day, the warblers are as rainforest-dense as are the birds in any zoo on earth.</p> <p>For almost a decade, the three biota, of street, museum, and park, appeared utterly disparate and unrelated. I had no clue how to imagine a coherent ecosystem for them, until I began looking for the West 78th Street Brook and its headwaters.</p> <p>In the city, natural forces are elusive. Except when Con Ed certifies that lightning striking a substation in far-away northern Westchester has triggered a blackout, disasters are blamed on political, economic, social, or cultural forces. For example, less regularly than the annual migration, but every few years, the boiler room of our building filled with water and we were without hot water and heat for two or three chilly April days. Though these floods coincided with unusually wet springs following snowy winters, I read them as service interruptions; standard West Side conspiracies-the greedy landlord, super, and fuel oil company gouging each other to gouge me. The surprising possibility that the floods were a natural phenomenon was introduced to me by Bob Napoli, the building's most independent superintendent, and the only super I ever trusted to be in cahoots with no one.</p> <p>During the twenty years I resided in the thick-walled, prewar apartment building, on the south side of the block between Broadway and Amsterdam Avenue, its operations, including the machinations of the boiler bellowing in all seasons from beneath the lobby floor, were in the charge of a succession of superintendents who, with union blessings, came and left like itinerant workers birddogging their ways across the five boroughs toward retirement seasons in Florida. With a sense of place as peripatetic as their lives, all but one defined the building's location solely by its interchangeable couplings to the city's sewers, conduits and mains, which were also the absolute boundaries of their union certification and job responsibilities. Bob Napoli was the exception. Wherever he went, his leery constitution demanded a geographic context. He loved talking about places where the lay of the land was visible; Bear Mountain Park; his wife's family's place in Puerto Rico, or the ex-urban homestead his grown son had settled, no doubt following paternal instincts. A year after Bob Napoli arrived on 78th Street, he showed me the three-and-a-half-foot-deep bunker-like trench in the floor of the portion of the boiler room that lay beneath the sidewalk. "This was constructed," he declared, as we stood inside it, "to catch the flood of a brook that used to flow here and allow it to drain away without disabling the furnace. It worked," he added, voicing admiration for the builder, "until the city's storm drains clogged."</p> <p>Tantalized by a possible geological dimension that might add continuity to the neighborhood's disorderly natural history, I set about to find additional evidence to support the Brook Hypothesis, to build a theory so circumstantially elegant that April water erupting from the basement floor would be as compelling evidence for the existence of the brook as observations of starlight being bent by the sun's gravity were of relativity.</p> <p>The lower course of the brook was easy to imagine. Seventh-eighth Street lies in a shallow valley between the low hills of 77th and 79th Streets. The same tilt toward the river that elongates solstice shadows in June carries January's modern glacial ooze of meltwater, slush, and street detritus down from Columbus Avenue to Broadway. There it pools over backed-up storm drains, turns sluggishly northward to 79th Street and Broadway, and turns again, to cascade down a steep slope toward the 79th Street Boat Basin at the edge of the Hudson in Riverside Park. Without the two sharp corners, this was, I decided, the brook's approximate course.</p> <p>Tracing the brook upstream, east of Columbus Avenue, to its headwaters, presented more difficulty. From the American Museum of Natural History, across Central Park West and into Central Park, the original land surface has been transformed by at least three major city-building constructions. The museum sits in the middle of an enigmatic plain that, at first glance, resembles the low bed of a former pond. The depression is an illusion, however, created by an excavated truck ramp on the building's west side and by a slight ridge that rises to its east, which, though it appears to be a natural divide, is almost certainly made of fill left over after the tunnel that carries the "A" train was cut beneath Central Park West. East of Central Park West, opposite the museum, the land surface drops abruptly on the inside of Central Park's perimeter wall to about twenty feet below street level. If the top of the watershed had been a pond where the museum now stands, the surface of land offered no evidence of it nor of the original direction of the drainage.</p> <p>Before the Upper West Side of Manhattan became a city neighborhood it was old farmland, which fallowed, awaiting development, had become a squatters' shantytown. The eviction of the squatters and the construction of the streets happened at about the same time that Frederick Law Olmsted built Central Park and the first museum building was erected on its adjacent parcel of park land.</p> <p>In a photograph displayed at the museum, taken at a time when squatters' huts still stand in the neighborhood and work on the park is well underway, the first museum building sits alone in a dry and dusty landscape. To its west a grid of city streets has been raised as causeways, high enough above the old farmland's surface that digging basements for the buildings that will fill the empty blocks requires no more than a few feet of excavation. No water is visible along 78th Street, though the photograph does show a shadow of a valley there, in which, it appears, the elevation of a stream in flood stage would be above that of the present boiler room floor.</p> <p>East of the tiny museum in the photograph, Central Park stretches as a barren horizonless moonscape, across which hundreds of men and wagons are redistributing cubic acres of earth into a new terrain-hills, valleys, and a lake, being imagined and reified by human tectonics. The crater that will be Central Park Lake is under construction, and the land surrounding it is being regraded to drain into it. I had my clue.</p> <p>By the time he began designing Central Park, the city had already tapped upstate mountains for drinking water, and Olmsted was free to use Manhattan water as pigment for his landscape. The key to understanding the natural history of the neighborhood I was experiencing was not where the local water had flowed, but how it had been valued and used. Replaced by mountain water, local water, with which squatters presumably washed their feet, had become commercially superfluous, collectable nature, to be used as decoration, or homeless nature, to be ignored and piped away.</p> <p><i>Continues...</i><br> <br> <i>Continues...</i> <br> </p> <blockquote> <hr noshade size='1'> <font size='-2'>Excerpted from <i>At Home on the Earth</i> by <i>David L. Barnhill</i> Copyright © 1999 by David L. Barnhill. Excerpted by permission.<br> All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.<br> Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.</font> <hr noshade size='1'> </blockquote><p><P>"The physical earth is clearly under unprecedented siege&#151;heated, toxified, scraped. But almost as if they were antibodies, the finest nature writers of any era have come forward to help in the fight. This anthology collects many of the most important, at their most eloquent. May it ring and echo and do some good!"&#151;Bill McKibben, author of <i>The End of Nature</i><P>"This is a stunning collection of vivid writing about landscapes and the people who inhabit them. The diverse narratives gathered here do more than describe hawks diving and twigs snapping, although the book has its share of moving accounts of the natural world. A concern to live responsibily in nature runs through this evocative anthology like a subterranean stream, and that moral impulse, together with the lively prose, makes this the best collection of nature writing I've seen."&#151;Thomas A. Tweed, editor of <i>Retelling U.S. Religious History</i></p><h3>Napra Review - Lin McNulty</h3><p>This is a journey with masterful storytellers who use recollection and observation to gug our soul strings, redefining in language both rich and starkely beautiful that sense of "sacred space" which speaks to the heart. </p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Preface</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%">Pt. 1</TD><TD WIDTH="70%">Living in Place</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Americans Native to this Land</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A First American Views His Land</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Landscape, History, and the Pueblo Imagination</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Loss of Place</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Native Hill</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Touching the Earth</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Shadows and Vistas</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Possibility of Place</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Native Hill</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Settling Down</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Place, the Region, and the Commons</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hudson River Valley: A Bioregional Story</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Native Cultures and the Search for Place</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Becoming Metis</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Sprig of Sage</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Gifts of Deer</TD><TD WIDTH="10%" ALIGN="RIGHT">125</TD><TR><TD WIDTH="20%">Pt. 2</TD><TD WIDTH="70%">Places to Live</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Homesteading</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Writer as Alaskan: Beginnings and Reflections</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ranching</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Subtlety of the Land</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Storm, the Cornfield, and Elk</TD><TD WIDTH="10%" ALIGN="RIGHT">180</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Smooth Skull of Winter</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Farming</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Learning to Fail</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from A Country Year: Living the Questions</TD><TD WIDTH="10%" ALIGN="RIGHT">201</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Living Between City and Country</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Willow Creek</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ceremonial Time</TD><TD WIDTH="10%" ALIGN="RIGHT">227</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Into the Maze</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Urban Living</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Water under American Ground: West 78th Street</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from This Place on Earth: Home and the Practice of Permanence</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nothing Lasts a Hundred Years</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fantasy of a Living Future</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coda</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rediscovery of Turtle Island</TD><TD WIDTH="10%" ALIGN="RIGHT">297</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Universe Responds: Or, How I Learned We Can Have Peace on Earth</TD><TD WIDTH="10%" ALIGN="RIGHT">307</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dwellings</TD><TD WIDTH="10%" ALIGN="RIGHT">313</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bibliography</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">325</TD></TABLE><article> <h4>Lin McNulty</h4>This is a journey with masterful storytellers who use recollection and observation to gug our soul strings, redefining in language both rich and starkely beautiful that sense of "sacred space" which speaks to the heart. <br> — <i>Napra Review</i> </article>
496Wines in the Wilderness: Plays by African American Women from the Harlem Renaissance to the PresentElizabeth Brown-Guillory0<p><P>ELIZABETH BROWN-GUILLORY is Associate Professor of English at the University of Houston.</p>Elizabeth Brown-Guillory (Compiler), Elizabeth Brown-Guillorywines-in-the-wildernesselizabeth-brown-guillory97802759356720275935671$27.95PaperbackGreenwood Publishing Group, IncorporatedAugust 1990Drama Anthologies, American Drama, Peoples & Cultures - Drama, American Literature Anthologies840L2728.90 (w) x 5.90 (h) x 0.80 (d)<p>For those whose familiarity with black women playwrights is limited to the works of Lorraine Hansberry and Ntozake Shange, this collection of 15 plays written between 1925 and 1985 by eight authors will be a revelation. They express a passionate longing for social justice and for a stable, nurturing relationship between black men and women. Introductions for each author provide biographical information and critical analyses. A useful bibliography of plays and secondary sources is also included. This anthology helps to fill a serious gap in the standard histories of American drama. <i>Library Journal</i></p> <p><i>Wines in the Wilderness</i> brings together thirteen plays by black women from the 1920s to the present, including works by Marita Bonner, Georgia Douglas Johnson, Eulalie Spence, May Miller, Shirley Graham, Alice Childress, Sonia Sanchez, Sybil Kein, and Elizabeth Brown-Guillory. The plays and dramatists selected are representative of and have made considerable contributions to African American theater.</p> <p>Although the works of these playwrights span over sixty years, they are closely linked by the theme of women struggling to define their roles in society. The heroines speak out against interracial and intraracial biases, stereotyping, lynch mobs, illiteracy, poverty, promiscuity, self-righteousness, abusive men, rape, and miscegenation. Each play is preceded by a critical introduction that includes biographical information, an assessment of the playwright's contributions to black theater, and a synopsis and critical analysis of the play. The bibliography that follows the plays provides selected lists of published plays, produced plays, and anthologies. An index completes the work. This collection represents an effort to make available plays written by black women that have not been published or are now out of print. In recovering these plays, scholars will now be able to take a close look at the contributions that black women dramatists have made not only to African American theater, but to American theater in general.</p><p><P>Wines in the Wilderness brings together thirteen plays by black women from the 1920s to the present, including works by Marita Bonner, Georgia Douglas Johnson, Eulalie Spence, May Miller, Shirley Graham, Alice Childress, Sonia Sanchez, Sybil Kein, and Elizabeth Brown-Guillory. The plays and dramatists selected are representative of and have made considerable contributions to African American theater. Although the works of these playwrights span over sixty years, they are closely linked by the theme of women struggling to define their roles in society. The heroines speak out against interracial and intraracial biases, stereotyping, lynch mobs, illiteracy, poverty, promiscuity, self-righteousness, abusive men, rape, and miscegenation. Each play is preceded by a critical introduction that includes biographical information, an assessment of the playwright's contributions to black theater, and a synopsis and critical analysis of the play. The bibliography that follows the plays provides selected lists of published plays, produced plays, and anthologies. An index completes the work. This collection represents an effort to make available plays written by black women that have not been published or are now out of print. In recovering these plays, scholars will now be able to take a close look at the contributions that black women dramatists have made not only to African American theater, but to American theater in general.</p><P>Preface<P>Marita Bonner (1899-1971)<P>The Pot Maker (1927)<P>Georgia Douglas Johnson (1880-1966)<P>Blue Blood (1926)<P>Safe (c. 1929)<P>Blue-Eyed Black Boy (c. 1930)<P>Eulalie Spence (1894-1981)<P>Hot Stuff (1927)<P>Episode (1928)<P>May Miller (1899- )<P>Riding the Goat (1929)<P>Shirley Graham (1896-1977)<P>It's Mornin' (1940)<P>Alice Childress (1920- )<P>Florence (1950)<P>Wine in the Wilderness (1969)<P>Sonia Sanchez (1934- )<P>Sister Son/ji (1969)<P>Sybil Kein (1939- )<P>Get Together (1970)<P>Elizabeth Brown-Guillory (1954- )<P>Mam Phyllis (1985)<P>Bibliography<P>Index
497Stand Up Poetry: An Expanded AnthologyCharles Harper Webb0Charles Harper Webbstand-up-poetrycharles-harper-webb97808774579540877457956$23.71PaperbackUniversity of Iowa PressJanuary 20022Literary Criticism, American3485.75 (w) x 9.25 (h) x 0.90 (d)<TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Stand Up Poetry: An Update</TD><TD WIDTH="10%" ALIGN="RIGHT"></TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For Desire</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What the Dead Fear</TD><TD WIDTH="10%" ALIGN="RIGHT">2</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Going to Norway</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Housewife</TD><TD WIDTH="10%" ALIGN="RIGHT">5</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">O That Summer</TD><TD WIDTH="10%" ALIGN="RIGHT">6</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Evidently, She Says</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Prayer</TD><TD WIDTH="10%" ALIGN="RIGHT">8</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At 4:00 A.M. Asleep</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Words for My Daughter</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bad Joke</TD><TD WIDTH="10%" ALIGN="RIGHT">12</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Glass Dress</TD><TD WIDTH="10%" ALIGN="RIGHT">14</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blazon</TD><TD WIDTH="10%" ALIGN="RIGHT">16</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Eat Lunch with a Schizophrenic</TD><TD WIDTH="10%" ALIGN="RIGHT">17</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pygmy Headhunters and Killer Apes, My Lover and Me</TD><TD WIDTH="10%" ALIGN="RIGHT">18</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Havana</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">English Flavors</TD><TD WIDTH="10%" ALIGN="RIGHT">22</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">No Sorry</TD><TD WIDTH="10%" ALIGN="RIGHT">23</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Demographics</TD><TD WIDTH="10%" ALIGN="RIGHT">25</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Money As Water</TD><TD WIDTH="10%" ALIGN="RIGHT">27</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Return of the Prodigals</TD><TD WIDTH="10%" ALIGN="RIGHT">28</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chapter One</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Allegory of the Supermarket</TD><TD WIDTH="10%" ALIGN="RIGHT">32</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Agape</TD><TD WIDTH="10%" ALIGN="RIGHT">34</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">His Toys</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Knock Knock</TD><TD WIDTH="10%" ALIGN="RIGHT">36</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sleep Walk</TD><TD WIDTH="10%" ALIGN="RIGHT">37</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">the tragedy of the leaves</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">trouble with spain</TD><TD WIDTH="10%" ALIGN="RIGHT">40</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Some Terms in Real Estate Defined</TD><TD WIDTH="10%" ALIGN="RIGHT">42</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Miss Congeniality</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dead Letter Office</TD><TD WIDTH="10%" ALIGN="RIGHT">44</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Toothache</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vanity, Wisconsin</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How Lies Grow</TD><TD WIDTH="10%" ALIGN="RIGHT">46</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">white lady</TD><TD WIDTH="10%" ALIGN="RIGHT">47</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">wishes for sons</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Live for My Car</TD><TD WIDTH="10%" ALIGN="RIGHT">49</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chuck Man</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Embrace</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Another Reason Why I Don't Keep a Gun in the House</TD><TD WIDTH="10%" ALIGN="RIGHT">52</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The History Teacher</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Litany</TD><TD WIDTH="10%" ALIGN="RIGHT">54</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nightclub</TD><TD WIDTH="10%" ALIGN="RIGHT">55</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Things My Grandfather Must Have Said</TD><TD WIDTH="10%" ALIGN="RIGHT">57</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Garglers</TD><TD WIDTH="10%" ALIGN="RIGHT">59</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Style</TD><TD WIDTH="10%" ALIGN="RIGHT">60</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Form Rejection Letter</TD><TD WIDTH="10%" ALIGN="RIGHT">61</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coke</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Squeak</TD><TD WIDTH="10%" ALIGN="RIGHT">65</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Rules</TD><TD WIDTH="10%" ALIGN="RIGHT">67</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Hoagie Scam</TD><TD WIDTH="10%" ALIGN="RIGHT">68</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Blessing the House</TD><TD WIDTH="10%" ALIGN="RIGHT">70</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pony Express</TD><TD WIDTH="10%" ALIGN="RIGHT">72</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Confession</TD><TD WIDTH="10%" ALIGN="RIGHT">73</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How to Like It</TD><TD WIDTH="10%" ALIGN="RIGHT">74</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ego</TD><TD WIDTH="10%" ALIGN="RIGHT">76</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I'm Dealing with My Pain</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why, on a Bad Day, I Can Relate to the Manatee</TD><TD WIDTH="10%" ALIGN="RIGHT">78</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Buddhist Barbie</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">On Hearing the Airlines Will Use a Psychological Profile to Catch Potential Skyjackers</TD><TD WIDTH="10%" ALIGN="RIGHT">80</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the Smithville Methodist Church</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Shame Place</TD><TD WIDTH="10%" ALIGN="RIGHT">84</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Retirement of the Elephant</TD><TD WIDTH="10%" ALIGN="RIGHT">85</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Automobile</TD><TD WIDTH="10%" ALIGN="RIGHT">86</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Counting Sheep</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Categories</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good Son Jim</TD><TD WIDTH="10%" ALIGN="RIGHT">88</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ape</TD><TD WIDTH="10%" ALIGN="RIGHT">89</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Elephant Tears</TD><TD WIDTH="10%" ALIGN="RIGHT">90</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Crumble-Knees</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The White Dress</TD><TD WIDTH="10%" ALIGN="RIGHT">92</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Politics of Narrative: Why I Am a Poet</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Body and Soul</TD><TD WIDTH="10%" ALIGN="RIGHT">96</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bride of Frankenstein</TD><TD WIDTH="10%" ALIGN="RIGHT">99</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dirty Floor</TD><TD WIDTH="10%" ALIGN="RIGHT">101</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Open Sesame</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Graffiti</TD><TD WIDTH="10%" ALIGN="RIGHT">102</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marvel Mystery Oil</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Want to Be the Next Poet Laureate</TD><TD WIDTH="10%" ALIGN="RIGHT">104</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Wordsworth's Socks</TD><TD WIDTH="10%" ALIGN="RIGHT">105</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chain Mail</TD><TD WIDTH="10%" ALIGN="RIGHT">106</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Deb at the Ham Slicer</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why I Left the Church</TD><TD WIDTH="10%" ALIGN="RIGHT">109</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chickens Everywhere</TD><TD WIDTH="10%" ALIGN="RIGHT">110</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Vernon</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mi Mama, the Playgirl</TD><TD WIDTH="10%" ALIGN="RIGHT">112</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dear Boy George</TD><TD WIDTH="10%" ALIGN="RIGHT">113</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Slowly I Open My Eyes (gangster soliloquy)</TD><TD WIDTH="10%" ALIGN="RIGHT">114</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">An Unexpected Adventure</TD><TD WIDTH="10%" ALIGN="RIGHT">115</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Ars Poetica</TD><TD WIDTH="10%" ALIGN="RIGHT">116</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Talking about Boys</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The World in My Mother's Hair</TD><TD WIDTH="10%" ALIGN="RIGHT">119</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Leash</TD><TD WIDTH="10%" ALIGN="RIGHT">120</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Life Is Happy</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sciences Sing a Lullabye</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Rodeo</TD><TD WIDTH="10%" ALIGN="RIGHT">123</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Listen</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Like My Own Poems</TD><TD WIDTH="10%" ALIGN="RIGHT">127</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Case against Mist</TD><TD WIDTH="10%" ALIGN="RIGHT">129</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Credentials</TD><TD WIDTH="10%" ALIGN="RIGHT">131</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Moral Life</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Invention</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mr. Pillow</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beriberi</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Intelligence Quotient</TD><TD WIDTH="10%" ALIGN="RIGHT">140</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Don't Cheapen Yourself</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beneath the Pole of Proud Raven</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Pope at 7:00 P.M.</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Toltecs</TD><TD WIDTH="10%" ALIGN="RIGHT">148</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Advice Like That</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">just squeeze</TD><TD WIDTH="10%" ALIGN="RIGHT">150</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memory</TD><TD WIDTH="10%" ALIGN="RIGHT">151</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Man of the House</TD><TD WIDTH="10%" ALIGN="RIGHT">152</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Song against Natural Selection</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For the Sleepwalkers</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Oh Mercy</TD><TD WIDTH="10%" ALIGN="RIGHT">155</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Country</TD><TD WIDTH="10%" ALIGN="RIGHT">156</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lawrence</TD><TD WIDTH="10%" ALIGN="RIGHT">157</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Collaboration</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Kiss</TD><TD WIDTH="10%" ALIGN="RIGHT">161</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sweep</TD><TD WIDTH="10%" ALIGN="RIGHT">162</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Traitor</TD><TD WIDTH="10%" ALIGN="RIGHT">164</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Good Humor</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Soul Train</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Children's Book of Knowledge</TD><TD WIDTH="10%" ALIGN="RIGHT">171</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Your Wife, a Widow, Waits for You</TD><TD WIDTH="10%" ALIGN="RIGHT">172</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Things That Have Escaped Me</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acceptance Speech</TD><TD WIDTH="10%" ALIGN="RIGHT">176</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Think I Am Going to Call My Wife Paraguay</TD><TD WIDTH="10%" ALIGN="RIGHT">179</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amazed by Chekhov</TD><TD WIDTH="10%" ALIGN="RIGHT">181</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dance of Husbands in Bathrobes</TD><TD WIDTH="10%" ALIGN="RIGHT">182</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Nosebleed, Gold Digger, KGB, Henry James, Handshake</TD><TD WIDTH="10%" ALIGN="RIGHT">183</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coloring</TD><TD WIDTH="10%" ALIGN="RIGHT">185</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All Suffering Comes from Attachment</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What She Wanted</TD><TD WIDTH="10%" ALIGN="RIGHT">187</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Foolish Earthlings</TD><TD WIDTH="10%" ALIGN="RIGHT">188</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Seven Dwarfs, Each on His Deathbed, Remember Snow White</TD><TD WIDTH="10%" ALIGN="RIGHT">189</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dear Superman</TD><TD WIDTH="10%" ALIGN="RIGHT">191</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lurid Confessions</TD><TD WIDTH="10%" ALIGN="RIGHT">192</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Attend a Poetry Reading</TD><TD WIDTH="10%" ALIGN="RIGHT">193</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hell</TD><TD WIDTH="10%" ALIGN="RIGHT">194</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Trick</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Laundromat</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dust</TD><TD WIDTH="10%" ALIGN="RIGHT">198</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fast Gas</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">2 A.M.</TD><TD WIDTH="10%" ALIGN="RIGHT">200</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tracy and Joe</TD><TD WIDTH="10%" ALIGN="RIGHT">202</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Beer</TD><TD WIDTH="10%" ALIGN="RIGHT">204</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Tap Dancing Lessons</TD><TD WIDTH="10%" ALIGN="RIGHT">206</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Leader of the Pack</TD><TD WIDTH="10%" ALIGN="RIGHT">207</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Learning to See Crooked</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Do you remember the scene in The Godfather where James Caan says, "Now make sure that the gun gets stashed in the rest room - I don't want my kid brother walking out of there with nothing but his dick in his hand"?</TD><TD WIDTH="10%" ALIGN="RIGHT">209</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to My Assailant</TD><TD WIDTH="10%" ALIGN="RIGHT">210</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fish I Remember</TD><TD WIDTH="10%" ALIGN="RIGHT">212</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why Life Is Worth Living</TD><TD WIDTH="10%" ALIGN="RIGHT">213</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The People of the Other Village</TD><TD WIDTH="10%" ALIGN="RIGHT">215</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Upon Seeing an Ultrasound Photo of an Unborn Child</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">So You Put the Dog to Sleep</TD><TD WIDTH="10%" ALIGN="RIGHT">217</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Men with Small Heads</TD><TD WIDTH="10%" ALIGN="RIGHT">218</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">"I Love You Sweatheart"</TD><TD WIDTH="10%" ALIGN="RIGHT">219</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uncle Eggplant</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bad Pilgrim Room</TD><TD WIDTH="10%" ALIGN="RIGHT">220</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Quiet World</TD><TD WIDTH="10%" ALIGN="RIGHT">221</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Play It Again, Salmonella</TD><TD WIDTH="10%" ALIGN="RIGHT">222</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hazel Tells LaVerne</TD><TD WIDTH="10%" ALIGN="RIGHT">223</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Line at Pancho's Tacos</TD><TD WIDTH="10%" ALIGN="RIGHT">224</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Why the Heart Never Develops Cancer</TD><TD WIDTH="10%" ALIGN="RIGHT">225</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fortune Cookies</TD><TD WIDTH="10%" ALIGN="RIGHT">226</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Novel</TD><TD WIDTH="10%" ALIGN="RIGHT">228</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Perfect Recall</TD><TD WIDTH="10%" ALIGN="RIGHT">230</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lightweight</TD><TD WIDTH="10%" ALIGN="RIGHT">232</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Jake Addresses the World from the Garden</TD><TD WIDTH="10%" ALIGN="RIGHT">233</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Anti-Foucault Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">My Philosophy</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Saturday Morning Ultimatum</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Paranoid Egotist</TD><TD WIDTH="10%" ALIGN="RIGHT">236</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Working at the Wholesale Curtain Showroom</TD><TD WIDTH="10%" ALIGN="RIGHT">237</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Thanksgiving</TD><TD WIDTH="10%" ALIGN="RIGHT">238</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pocahontas</TD><TD WIDTH="10%" ALIGN="RIGHT">239</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In Line at the Supermarket</TD><TD WIDTH="10%" ALIGN="RIGHT">240</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Bad Muse</TD><TD WIDTH="10%" ALIGN="RIGHT">242</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sudden Appearance of a Monster at a Window</TD><TD WIDTH="10%" ALIGN="RIGHT">243</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Justification of the Horned Lizard</TD><TD WIDTH="10%" ALIGN="RIGHT">244</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Dead Never Fight against Anything</TD><TD WIDTH="10%" ALIGN="RIGHT">246</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Geocentric</TD><TD WIDTH="10%" ALIGN="RIGHT">248</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">To Raise the Blind on Purpose</TD><TD WIDTH="10%" ALIGN="RIGHT">249</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Fiddleheads</TD><TD WIDTH="10%" ALIGN="RIGHT">250</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Furious Cooking</TD><TD WIDTH="10%" ALIGN="RIGHT">252</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Monkey House</TD><TD WIDTH="10%" ALIGN="RIGHT">254</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Four Crows at Dusk</TD><TD WIDTH="10%" ALIGN="RIGHT">256</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Honeybee upon the Tundra</TD><TD WIDTH="10%" ALIGN="RIGHT">258</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Philodendron Named Joan</TD><TD WIDTH="10%" ALIGN="RIGHT">260</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What I Learned from the Movies</TD><TD WIDTH="10%" ALIGN="RIGHT">262</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drugstore Trolls</TD><TD WIDTH="10%" ALIGN="RIGHT">264</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Revolt</TD><TD WIDTH="10%" ALIGN="RIGHT">265</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">All-Purpose Apology Poem</TD><TD WIDTH="10%" ALIGN="RIGHT">266</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Am a Finn</TD><TD WIDTH="10%" ALIGN="RIGHT">268</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Aunt Sophie's Morning</TD><TD WIDTH="10%" ALIGN="RIGHT">269</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">How the Pope Is Chosen</TD><TD WIDTH="10%" ALIGN="RIGHT">270</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Remedy for Backache</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Natural Woman</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mistakes</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Instructions to Her Next Husband</TD><TD WIDTH="10%" ALIGN="RIGHT">273</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Naola Beauty Academy, New Orleans, 1945</TD><TD WIDTH="10%" ALIGN="RIGHT">274</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">History Lesson</TD><TD WIDTH="10%" ALIGN="RIGHT">275</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Yvette Mimieux in Hit Lady</TD><TD WIDTH="10%" ALIGN="RIGHT">276</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Double Trouble</TD><TD WIDTH="10%" ALIGN="RIGHT">277</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">What We Could Do</TD><TD WIDTH="10%" ALIGN="RIGHT">279</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">O Paradise</TD><TD WIDTH="10%" ALIGN="RIGHT">280</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Curtain Call</TD><TD WIDTH="10%" ALIGN="RIGHT">281</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Termination</TD><TD WIDTH="10%" ALIGN="RIGHT">282</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Stud</TD><TD WIDTH="10%" ALIGN="RIGHT">283</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Sun Worshiper</TD><TD WIDTH="10%" ALIGN="RIGHT">284</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">At the St. Louis Institute of Music</TD><TD WIDTH="10%" ALIGN="RIGHT">285</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Hot Property</TD><TD WIDTH="10%" ALIGN="RIGHT">286</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">In a Pig's Eye</TD><TD WIDTH="10%" ALIGN="RIGHT">287</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Constipation</TD><TD WIDTH="10%" ALIGN="RIGHT">288</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Singer</TD><TD WIDTH="10%" ALIGN="RIGHT">289</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Marrying</TD><TD WIDTH="10%" ALIGN="RIGHT">290</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Biblical Also-Rans</TD><TD WIDTH="10%" ALIGN="RIGHT">291</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Amplified Dog</TD><TD WIDTH="10%" ALIGN="RIGHT">293</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">You Don't Want to Hear a Poem, Do You?</TD><TD WIDTH="10%" ALIGN="RIGHT">295</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Black Slip</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Business of Love Is Cruelty</TD><TD WIDTH="10%" ALIGN="RIGHT">298</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Chapped Lips</TD><TD WIDTH="10%" ALIGN="RIGHT">300</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Wreckers</TD><TD WIDTH="10%" ALIGN="RIGHT">301</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Philosophical Emancipation</TD><TD WIDTH="10%" ALIGN="RIGHT">303</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Living with Others</TD><TD WIDTH="10%" ALIGN="RIGHT">304</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Way He'd Like It</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Same Air</TD><TD WIDTH="10%" ALIGN="RIGHT">306</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pastorale for Spring</TD><TD WIDTH="10%" ALIGN="RIGHT">308</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Acknowledgments</TD><TD WIDTH="10%" ALIGN="RIGHT">309</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Title Index</TD><TD WIDTH="10%" ALIGN="RIGHT">319</TD></TABLE><article> <h4>The New Yorker</h4>The work assembled by the Southern Californian poet Charles Harper Webb in <i>Stand Up Poetry: An Expanded Anthology</i> isn't afraid to have a sense of humor. "Why I Want to Be the Next Poet Laureate," by Elliot Fried, mocks the establishment: "I want a frail consumptive woman, just a bit deranged, / waiting patiently in a dark room as I come home / after a hard day, flinging Guggenheim and Ford Foundation / grants onto the vacuumed shag. I want to write quatrains / for the sensitive." Webb's original anthology, subtitled "The Poetry of Los Angeles and Beyond," was published in 1990 and focused on locals. Here he opens the ranks to irreverent, crowd-pleasing Easterners like Billy Collins and James Tate -- writers he admires for creating "bizarre and outrageous alternative worlds."<i>(Dana Goodyear)</i> </article> <article> <h4>KLIATT</h4>Webb writes in his introduction: "Whatever the reasons, mainstream poetry has in the past fifteen years moved much closer to the Stand Up aesthetic." He defines Stand Up poems as ones that work well orally, are frequently characterized by a sense of humor, are sometimes irreverent and are "honest, unpretentious and strong." They're not anti-literary and are written for the printed page, so are not to be confused with performance/ slam poetry. Many of these poems, though, would be good performance pieces. The Beat poets were the precursors of this style. The poetry is also characterized by the use of "natural language," fanciful tone and the creation of bizarre worlds. The poems are infused with strong emotion, often have a narrative bent and reflect aspects of urban and popular culture. They are accessible rather than obscure. There are many poets represented in the collection. Some are well known, such as Billy Collins, Charles Bukowski and Pattiann Rogers; others, less so. But they mostly have strong voices and the poems hit with emotional force. Christopher Buckley's "Sleep Walk" is a nostalgic lament on teenage love in the '50s, with references to the music of the period: "...—and though we barely moved across/ the carpet to the Statues and "Blue Velvet," sparks/ stung our hands and pulled us into a world where/ you could get lost in no time...." Denise Duhamel in "Ego" recreates the feeling of incredible smallness a third grader might experience during an astronomy lesson with an orange, lemon and flashlight, her being "...merely a pinprick in one goosebump on the/ orange." Playful irreverence describes John Gilgun's "Ars Poetica," in which he pokes fun at what makes a good poem.Form varies from tightly constructed four-line stanzas to prose poems. Amy Gerstler's chilling prose poem, "An Unexpected Adventure," uses the cultural icon of Nancy Drew, always competent, who in a surprise twist is raped. This collection is an unexpected adventure. Not all the poems are funny but all present us with somewhat skewed perceptions of the world that are all too real. KLIATT Codes: SA—Recommended for senior high school students, advanced students, and adults. 2002, Univ. of Iowa Press, 322p. index., Budin </article>
498First Thought Best ThoughtAllen Ginsberg0Allen Ginsberg, William S. Burroughs, Diane Di Primafirst-thought-best-thoughtallen-ginsberg9781591791881159179188X$29.95Compact DiscSounds True, IncorporatedAugust 2004Literary Collections<p><P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>Allen Ginsberg, Anne Waldman, William Burroughs, and Diane Di Prima-is there </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>an aspiring poet or prose writer today who would miss a chance to meet and </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>learn with these literary mentors face-to-face, sharing the secrets of their </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>craft? That irresistible opportunity is now available with First Thought, </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>Best Thought, the first landmark release from Naropa University s treasured </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>audio archives.</FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2><?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></FONT></SPAN>&nbsp;</P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>Selected from thousands of hours of performances and teaching sessions, </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>First Thought, Best Thought offers listeners four rare gems of inspiration </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>and practical wisdom, including:</FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2><o:p></o:p></FONT></SPAN>&nbsp;</P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2> Allen Ginsberg on how we discharge the spontaneous energy of genuine<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>&nbsp;&nbsp;experience onto the page<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2> Anne Waldman on living your poetic practice by melting the boundaries<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>&nbsp;&nbsp;between poetry on the page, performance, and every act of expression you<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>&nbsp; choose to commit<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2> William Burroughs on breakthrough methods for generating fresh<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>&nbsp; writing-including the cut-up method, chance operations, and dream work<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2> Diane Di Prima on how to survive as an artist: preserving your<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>&nbsp; sensibility; creating a supportive artistic community; approaches to getting<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>published, self-publishing, and more<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2></FONT></SPAN>&nbsp;</P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2> First thought, best thought was the phrase that Allen Ginsberg used to </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>describe the kind of spontaneous, fearless writing taught here-a way of </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>telling the truth that arises from naked and authentic experience. In these </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>thought-provoking sessions, anyone with a passion for words is sure to </FONT></SPAN><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>discover a wealth of insights for expressing themselves with greater<o:p></o:p></FONT></SPAN></P> <P class=MsoNormal style="MARGIN: 0in 0in 0pt; mso-layout-grid-align: none"><SPAN style="FONT-FAMILY: 'Courier New'"><FONT size=2>immediacy and creativity<o:p></o:p></FONT></SPAN></P></p>
499For She Is the Tree of Life: Grandmothers Through the Eyes of Women WritersValerie Kack-Brice0Valerie Kack-Bricefor-she-is-the-tree-of-lifevalerie-kack-brice97815732403761573240370$14.95PaperbackRed Wheel/WeiserMay 1996Literary Criticism, General<p>For many women, memories of their grandmothers open up a Pandora's box if thoughts, feeling, and images. Filled with poems, stories, photographs, this anthology reveals the rich variety of these connections, as writers such as M.F.K. Fisher, MargaretAtwood, Isabel Allende, and Maya Angelou explore their relati onships with their grandmothers. Photos.</p><h3>Publishers Weekly</h3><p>This engaging collection of short pieces of autobiography, fiction and poetry, some published previously, deals with the grandmother-granddaughter relationship. According to Kack-Brice, a California clinical social worker, memories of grandmothers, whether positive or negative, are a powerful connection to childhood, and the exploration of these reminiscences can lead to deeper self-knowledge. Many of the selections, including the poetry of Marge Piercy and Linda Hogan and memoirs by Ethel Barrymore and Maya Angelou, evoke grandmothers as figures of strength and inspiration. Other contributors, such as M.F.K. Fisher and Stephanie Patterson, describe more troubled relationships with their grandmothers. A touching selection by Jewelle Gomez recalls how her grandmother accepted her lesbianism. Exercises for the reader who wants to write about her own grandmother are provided by the contributors. Photos not seen by PW. (Apr.)</p><table><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Introduction</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For She Is a Tree of Life</TD><TD WIDTH="10%" ALIGN="RIGHT">7</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Childhood in Mexico</TD><TD WIDTH="10%" ALIGN="RIGHT">9</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Last Diamond of Summer</TD><TD WIDTH="10%" ALIGN="RIGHT">15</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rifka, Grandma Rae</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Know Why the Caged Bird Sings</TD><TD WIDTH="10%" ALIGN="RIGHT">24</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandmother</TD><TD WIDTH="10%" ALIGN="RIGHT">30</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dancing the Rain Dance with Nana</TD><TD WIDTH="10%" ALIGN="RIGHT">33</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Scrim-Shaw</TD><TD WIDTH="10%" ALIGN="RIGHT">35</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pearl Bell Pittman</TD><TD WIDTH="10%" ALIGN="RIGHT">39</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Lemon Meringue Pie</TD><TD WIDTH="10%" ALIGN="RIGHT">45</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cordelia Moellendick</TD><TD WIDTH="10%" ALIGN="RIGHT">48</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Pears</TD><TD WIDTH="10%" ALIGN="RIGHT">51</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandmother's Nervous Stomach</TD><TD WIDTH="10%" ALIGN="RIGHT">53</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">heirloom hocked</TD><TD WIDTH="10%" ALIGN="RIGHT">62</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carrie Adella</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Cottonbound</TD><TD WIDTH="10%" ALIGN="RIGHT">69</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mammy</TD><TD WIDTH="10%" ALIGN="RIGHT">71</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Trunk in the Attic</TD><TD WIDTH="10%" ALIGN="RIGHT">75</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Obasan in Suburbia</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memories</TD><TD WIDTH="10%" ALIGN="RIGHT">82</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Grandma's Stern Expression</TD><TD WIDTH="10%" ALIGN="RIGHT">87</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Weakness</TD><TD WIDTH="10%" ALIGN="RIGHT">91</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Breaking Up Grandma</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mary Nina</TD><TD WIDTH="10%" ALIGN="RIGHT">95</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hannah and Alice</TD><TD WIDTH="10%" ALIGN="RIGHT">97</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">I Lost It at the Movies</TD><TD WIDTH="10%" ALIGN="RIGHT">103</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Button Box</TD><TD WIDTH="10%" ALIGN="RIGHT">108</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Native Origin</TD><TD WIDTH="10%" ALIGN="RIGHT">111</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Sound of My Name</TD><TD WIDTH="10%" ALIGN="RIGHT">117</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Carrie Jamison Whittaker</TD><TD WIDTH="10%" ALIGN="RIGHT">118</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Gramma Minnie</TD><TD WIDTH="10%" ALIGN="RIGHT">121</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Remembering Honeycake</TD><TD WIDTH="10%" ALIGN="RIGHT">124</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">For My Grandmothers</TD><TD WIDTH="10%" ALIGN="RIGHT">132</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Rosaura, My Grandmother</TD><TD WIDTH="10%" ALIGN="RIGHT">134</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Memorial Day</TD><TD WIDTH="10%" ALIGN="RIGHT">136</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Perfect Misery</TD><TD WIDTH="10%" ALIGN="RIGHT">138</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Personal Effects</TD><TD WIDTH="10%" ALIGN="RIGHT">141</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bobe Tillie Knows a Girl</TD><TD WIDTH="10%" ALIGN="RIGHT">143</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Good Stuff</TD><TD WIDTH="10%" ALIGN="RIGHT">146</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Grandmother Songs</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Birthday Poem for My Grandmother</TD><TD WIDTH="10%" ALIGN="RIGHT">153</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The End of the Reign of Queen Helen</TD><TD WIDTH="10%" ALIGN="RIGHT">154</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Recipe for Grief</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bodily Harm</TD><TD WIDTH="10%" ALIGN="RIGHT">159</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Buck</TD><TD WIDTH="10%" ALIGN="RIGHT">165</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Froggy Gremlin, My Grandmother, and Me</TD><TD WIDTH="10%" ALIGN="RIGHT">167</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Letter to Grandma</TD><TD WIDTH="10%" ALIGN="RIGHT">170</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Mimi, Passing</TD><TD WIDTH="10%" ALIGN="RIGHT">173</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">One Death</TD><TD WIDTH="10%" ALIGN="RIGHT">178</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The Empress of Scents and Non-Scents</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Second Language</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">The House of the Spirits</TD><TD WIDTH="10%" ALIGN="RIGHT">186</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Hanging the Wash at Midnight</TD><TD WIDTH="10%" ALIGN="RIGHT">195</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Bone of My Bones: A Grandmother Workbook</TD><TD WIDTH="10%" ALIGN="RIGHT">199</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Notes on Contributors</TD><TD WIDTH="10%" ALIGN="RIGHT">205</TD></table>
500White Lines: Writers on CocaineGeno Zanetti0Geno Zanetti (Editor), Stephen Hyde (Editor), Terry Southern (Contribution by), Richard Rudgleywhite-linesgeno-zanetti97815602537851560253789$15.98PaperbackRunning Press Book PublishersDecember 2002First EditionSubstance Use & Abuse - Medical Aspects, Substance Use & Abuse, English & Irish Literature Anthologies, American Literature Anthologies, Drugs & Controlled Substances - Social Aspects3525.80 (w) x 8.90 (h) x 1.00 (d)<p>Blow, candy, Charlie, coke, go, ice, rock, snow, crack. Whatever you call it, thrill seekers have surrendered to cocaine's siren call, paid their toll, and sold their souls. Its embrace can be deadly, a place of no return, the ultimate rush, public enemy number one. From the gutter to the penthouse, inner city to outer burb, from the Third World coca farmer to the executive addict, coke is the lifeblood of a global black economy and an outlaw underground. Coke has also been dark muse, torment, and theme to many of our greatest writers. White Lines gathers these literary thrill seekers in a classic and contemporary snort through the fog- and fear-filled streets of Victorian London to the dance macabre of the post-Vietnam culture of the 1970s, from the couch of Dr. Freud and the bacchanal of Mr. Magus, Aleister Crowley, to the narcotic thrill of fin de siecle casino capitalism, White Lines takes you into illicit and artificial worlds, near wild heavens and then deep, down underground. Selections from writers like Irvine Welsh, Bret Easton Ellis, William S. Burroughs, J.G. Ballard, Kim Wozencraft, Terry Southern, Sigmund Freud, Arthur Conan Doyle, Peter Biskind, and Julia Phillips are featured.</p><p><p>Blow, candy, Charlie, coke, go, ice, rock, snow, crack. Whatever you call it, thrill seekers have surrendered to cocaine&#8217;s siren call, paid their toll, and sold their souls. Its embrace can be deadly, a place of no return, the ultimate rush, public enemy number one. From the gutter to the penthouse, inner city to outer burb, from the Third World coca farmer to the executive addict, coke is the lifeblood of a global black economy and an outlaw underground. Coke has also been dark muse, torment, and theme to many of our greatest writers. White Lines gathers these literary thrill seekers in a classic and contemporary snort through the fog- and fear-filled streets of Victorian London to the dance macabre of the post-Vietnam culture of the 1970s, from the couch of Dr. Freud and the bacchanal of Mr. Magus, Aleister Crowley, to the narcotic thrill of fin de siecle casino capitalism, White Lines takes you into illicit and artificial worlds, near wild heavens and then deep, down underground. Selections from writers like Irvine Welsh, Bret Easton Ellis, William S. Burroughs, J.G. Ballard, Kim Wozencraft, Terry Southern, Sigmund Freud, Arthur Conan Doyle, Peter Biskind, and Julia Phillips are featured.<p></p><h3>Kirkus Reviews</h3><p>English editor Zanetti, who collected celebrations of the ultimate outlaw vehicle in She's a Bad Motorcycle (2002), teams up with his filmmaking partner Hyde to present essays about another accessory of the rebel lifestyle. Two entries from Richard Rudgely's Encyclopedia of Psychoactive Substances set up the reader with some basic facts: "the cultural story of coca," a plant that has played a respected role in Andean culture for thousands of years, "was radically different from that of the crass glitzy beginnings and subsequently sordid short life of its extract cocaine." First isolated in 1860, cocaine enjoyed a few decades of positive press. It was imbibed by Queen Victoria, carried by the first man to fly across the English Channel, and used in Coca-Cola. Sigmund Freud's article " ber Coca" displays the generally favorable attitude typical of those years, relating the doctor's personal experiences and outlining cocaine's uses in treating disorders ranging from digestive problems to alcohol and morphine addiction. From there we move through some less enthusiastic texts, including Arthur Conan Doyle's account of Sherlock Holmes craving the drug's stimulation from "The Sign of the Four" and Aleister Crowley's story of drug-fueled debauchery in Paris ("Au Pays de Cocaine"). Then the editors let the veil drop completely. William Burroughs gets creepy with "Coke Bugs," Charles Nicholls recounts a drug deal gone decidedly wrong in "A Night with Captain Cocaine," and in an excerpt from his autobiography, Miles Davis recalls being so paranoid when coked up that he regularly looked for people hiding under the radiator. Hollywood is also well represented, with desperate accounts by Julia Phillipsand Carrie Fisher, among others; bad boys Brett Easton Ellis and Jay McInerney turn up as a matter of course; and Stephen King provides the single breath of air in the oppressive atmosphere with a three-page account of how he kicked his addiction. Evidence that cocaine has provided a lot of good writers with some very ugly experiences.</p><TABLE><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Drugs and the Writer</TD><TD WIDTH="10%" ALIGN="RIGHT">1</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Encyclopedia of Psychoactive Substances</TD><TD WIDTH="10%" ALIGN="RIGHT">3</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Dr. Lanyon's Narrative</TD><TD WIDTH="10%" ALIGN="RIGHT">19</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Uber Coca</TD><TD WIDTH="10%" ALIGN="RIGHT">26</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Sign of Four</TD><TD WIDTH="10%" ALIGN="RIGHT">50</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Novel with Cocaine</TD><TD WIDTH="10%" ALIGN="RIGHT">58</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Au Pays de Cocaine</TD><TD WIDTH="10%" ALIGN="RIGHT">63</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">Coke Bugs</TD><TD WIDTH="10%" ALIGN="RIGHT">77</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">A Night With Captain Cocaine</TD><TD WIDTH="10%" ALIGN="RIGHT">79</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Snowblind</TD><TD WIDTH="10%" ALIGN="RIGHT">93</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Panama</TD><TD WIDTH="10%" ALIGN="RIGHT">107</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from After Hours</TD><TD WIDTH="10%" ALIGN="RIGHT">122</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Miles: The Autobiography</TD><TD WIDTH="10%" ALIGN="RIGHT">133</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from You'll Never Eat Lunch in This Town Again</TD><TD WIDTH="10%" ALIGN="RIGHT">149</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Easy Riders, Raging Bulls</TD><TD WIDTH="10%" ALIGN="RIGHT">158</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from High Concept: Don Simpson and the Hollywood Culture of Excess</TD><TD WIDTH="10%" ALIGN="RIGHT">169</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Less Than Zero</TD><TD WIDTH="10%" ALIGN="RIGHT">184</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Bright Lights, Big City</TD><TD WIDTH="10%" ALIGN="RIGHT">190</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Postcards from the Edge</TD><TD WIDTH="10%" ALIGN="RIGHT">197</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from On Writing</TD><TD WIDTH="10%" ALIGN="RIGHT">208</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Rush</TD><TD WIDTH="10%" ALIGN="RIGHT">211</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from The Story of the Night</TD><TD WIDTH="10%" ALIGN="RIGHT">216</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Clockers</TD><TD WIDTH="10%" ALIGN="RIGHT">234</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Beam Me Up, Scotty</TD><TD WIDTH="10%" ALIGN="RIGHT">255</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">New Crack City</TD><TD WIDTH="10%" ALIGN="RIGHT">272</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Cocaine</TD><TD WIDTH="10%" ALIGN="RIGHT">278</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Infinite Jest</TD><TD WIDTH="10%" ALIGN="RIGHT">296</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Weird Like Us</TD><TD WIDTH="10%" ALIGN="RIGHT">305</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Doghouse Roses</TD><TD WIDTH="10%" ALIGN="RIGHT">312</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Cocaine Nights</TD><TD WIDTH="10%" ALIGN="RIGHT">318</TD><TR><TD WIDTH="20%"></TD><TD WIDTH="70%">from Filth</TD><TD WIDTH="10%" ALIGN="RIGHT">332</TD></TABLE><article> <h4>Kirkus Reviews</h4>English editor Zanetti, who collected celebrations of the ultimate outlaw vehicle in She's a Bad Motorcycle (2002), teams up with his filmmaking partner Hyde to present essays about another accessory of the rebel lifestyle. Two entries from Richard Rudgely's Encyclopedia of Psychoactive Substances set up the reader with some basic facts: "the cultural story of coca," a plant that has played a respected role in Andean culture for thousands of years, "was radically different from that of the crass glitzy beginnings and subsequently sordid short life of its extract cocaine." First isolated in 1860, cocaine enjoyed a few decades of positive press. It was imbibed by Queen Victoria, carried by the first man to fly across the English Channel, and used in Coca-Cola. Sigmund Freud's article "Über Coca" displays the generally favorable attitude typical of those years, relating the doctor's personal experiences and outlining cocaine's uses in treating disorders ranging from digestive problems to alcohol and morphine addiction. From there we move through some less enthusiastic texts, including Arthur Conan Doyle's account of Sherlock Holmes craving the drug's stimulation from "The Sign of the Four" and Aleister Crowley's story of drug-fueled debauchery in Paris ("Au Pays de Cocaine"). Then the editors let the veil drop completely. William Burroughs gets creepy with "Coke Bugs," Charles Nicholls recounts a drug deal gone decidedly wrong in "A Night with Captain Cocaine," and in an excerpt from his autobiography, Miles Davis recalls being so paranoid when coked up that he regularly looked for people hiding under the radiator. Hollywood is also well represented, with desperate accounts by Julia Phillipsand Carrie Fisher, among others; bad boys Brett Easton Ellis and Jay McInerney turn up as a matter of course; and Stephen King provides the single breath of air in the oppressive atmosphere with a three-page account of how he kicked his addiction. Evidence that cocaine has provided a lot of good writers with some very ugly experiences. </article>
Download CSV

book2subjects top

id book sub_subject sub_sub_subject
1101
2201
3301
4401
5501
6601
7701
8801
9901
101001
111101
121201
131301
141401
151501
161601
171701
181801
191901
202001
212101
222201
232301
242401
252501
262601
272701
282801
292901
303001
313101
323201
333301
343402
353502
363602
373702
383802
393902
404002
414102
424202
434302
444402
454502
464602
474702
484802
494902
505002
515102
525202
535302
545402
555502
565602
575702
585802
595902
606002
616102
626202
636302
646402
656502
666602
676702
686802
696902
707002
717102
727202
737302
747402
757502
767602
777702
787802
797902
808002
818102
828202
838302
848402
858502
868602
878702
888802
898902
909002
919102
929202
939302
949402
959502
969602
979702
989802
999902
10010002
Download CSV

subject top

id title slug
1Fiction Books &amp; Literaturefiction-books-amp-literature
2Graphic Novelsgraphic-novels
3Horrorhorror
4Mystery &amp; Crimemystery-amp-crime
5Poetrypoetry
6Romance Booksromance-books
7Science Fiction &amp; Fantasyscience-fiction-amp-fantasy
8Thrillersthrillers
9Westernswesterns
10Ages 0-2ages-0-2
11Ages 3-5ages-3-5
12Ages 6-8ages-6-8
13Ages 9-12ages-9-12
14Teensteens
15Children's Bookschildren-s-books
21African Americansafrican-americans
22Antiques &amp; Collectiblesantiques-amp-collectibles
23Art, Architecture &amp; Photographyart-architecture-amp-photography
24Bibles &amp; Bible Studiesbibles-amp-bible-studies
25Biographybiography
26Business Booksbusiness-books
27Christianitychristianity
28Computer Books &amp; Technology Bookscomputer-books-amp-technology-books
29Cookbooks, Food &amp; Winecookbooks-food-amp-wine
30Crafts &amp; Hobbies Bookscrafts-amp-hobbies-books
31Education &amp; Teachingeducation-amp-teaching
32Engineeringengineering
33Entertainmententertainment
34Foreign Languagesforeign-languages
35Game Booksgame-books
36Gay &amp; Lesbiangay-amp-lesbian
37Health Books, Diet &amp; Fitness Bookshealth-books-diet-amp-fitness-books
38Historyhistory
39Home &amp; Gardenhome-amp-garden
40Humor Bookshumor-books
41Judaism &amp; Judaicajudaism-amp-judaica
42Lawlaw
43Medical Booksmedical-books
44New Age &amp; Spiritualitynew-age-amp-spirituality
45Nonfictionnonfiction
46Parenting &amp; Familyparenting-amp-family
47Petspets
48Philosophyphilosophy
49Political Books &amp; Current Events Bookspolitical-books-amp-current-events-books
50Psychology &amp; Psychotherapypsychology-amp-psychotherapy
51Referencereference
52Religion Booksreligion-books
53Science &amp; Naturescience-amp-nature
54Self Improvementself-improvement
55Sex &amp; Relationshipssex-amp-relationships
56Social Sciencessocial-sciences
57Sports &amp; Adventuresports-amp-adventure
58Study Guides &amp; Test Prepstudy-guides-amp-test-prep
59Traveltravel
60True Crimetrue-crime
61Weddingsweddings
62Women's Studieswomen-s-studies
Download CSV

sub_subject top

id title subject slug count
1Anthologies1anthologies0
2Christian Fiction1christian-fiction0
3Drama1drama0
4Erotica1erotica0
5Essays1essays0
6Fiction &amp; Literature Classics1fiction-amp-literature-classics0
7Fiction Subjects1fiction-subjects0
8Gay &amp; Lesbian1gay-amp-lesbian0
9Graphic Novels &amp; Comic Books1graphic-novels-amp-comic-books0
10Historical Fiction1historical-fiction0
11Horror1horror0
12Letters1letters0
13Literary Criticism1literary-criticism0
14Mystery &amp; Crime1mystery-amp-crime0
15Poetry1poetry0
16Romance1romance0
17Science Fiction &amp; Fantasy1science-fiction-amp-fantasy0
18Short Stories1short-stories0
19Teen Fiction1teen-fiction0
20Thrillers1thrillers0
21War &amp; Military Fiction1war-amp-military-fiction0
22Westerns1westerns0
23Women's Fiction1women-s-fiction0
24Alternative Comics2alternative-comics0
25Batman2batman144
26Biographical &amp; Non-Fiction Comic Books2biographical-amp-non-fiction-comic-books290
27DC Comics2dc-comics0
28Gay &amp; Lesbian2gay-amp-lesbian40
29Horror2horror455
30International Graphic Novels2international-graphic-novels243
31Manga2manga0
32Marvel Comics2marvel-comics0
33Newspaper &amp; Magazine Comic Strips2newspaper-amp-magazine-comic-strips67
34Sandman2sandman26
35Spider-Man2spider-man108
36Superman2superman74
37Vertigo2vertigo170
38Women's Comics2women-s-comics135
39Wonder Woman2wonder-woman34
40X-Men2x-men144
41Ghost Stories3ghost-stories535
42Gothic Horror3gothic-horror712
43Horror - Inner Demons3horror-inner-demons195
44Horror - Lost, Abandoned, and Alone3horror-lost-abandoned-and-alone79
45Horror - Sacred and Profane3horror-sacred-and-profane130
46Horror Anthologies3horror-anthologies241
47Horror Classics3horror-classics71
48Horror Comics3horror-comics469
49Horror Short Stories3horror-short-stories396
50Paranormal Erotica &amp; Erotic Horror3paranormal-erotica-amp-erotic-horror182
51Psychological Horror3psychological-horror425
52Supernatural Horror3supernatural-horror656
53Vampires3vampires550
54Werewolves &amp; Other Beasts3werewolves-amp-other-beasts129
55Zombies3zombies209
56Crime Fiction4crime-fiction0
57Detective Fiction4detective-fiction0
58Multicultural Detectives4multicultural-detectives0
59Mystery &amp; Crime Anthologies4mystery-amp-crime-anthologies334
60Mystery &amp; Crime Classics4mystery-amp-crime-classics114
61Police Stories4police-stories0
62Women Detectives4women-detectives0
63Other Mystery Categories4other-mystery-categories0
64American Poetry5american-poetry0
65Ancient &amp; Classical Poetry5ancient-amp-classical-poetry0
66Arabic &amp; Middle Eastern Poetry5arabic-amp-middle-eastern-poetry0
67Asian Poetry5asian-poetry0
68Chinese Poetry5chinese-poetry0
69Eastern European Poetry5eastern-european-poetry0
70English, Irish, &amp; Scottish Poetry5english-irish-amp-scottish-poetry0
71French Poetry5french-poetry0
72German Poetry5german-poetry0
73Greek Poetry, Modern5greek-poetry-modern22
74Indic &amp; South Asian Poetry5indic-amp-south-asian-poetry0
75Italian Poetry5italian-poetry0
76Japanese Poetry5japanese-poetry0
77Latin American &amp; Caribbean Poetry5latin-american-amp-caribbean-poetry0
78Latin Poetry, Medieval &amp; Modern5latin-poetry-medieval-amp-modern0
79Scandinavian Poetry5scandinavian-poetry0
80Spanish Poetry5spanish-poetry0
81Contemporary Romance6contemporary-romance0
82Futuristic &amp; Fantasy Romance6futuristic-amp-fantasy-romance596
83Historical Romance6historical-romance0
84Romance Classics6romance-classics56
85Contemporary Romantic Suspense6contemporary-romantic-suspense2877
86Romantic Themes6romantic-themes0
87Paranormal Romance6paranormal-romance0
88Other Romance Categories6other-romance-categories0
89Alternate Realities7alternate-realities0
90Dark Fantasy7dark-fantasy837
91Epic Fantasy7epic-fantasy1846
92Fantasy Classics7fantasy-classics169
93High-Tech &amp; Hard Science Fiction7high-tech-amp-hard-science-fiction0
94Media Tie-Ins7media-tie-ins0
95Role-Playing Game Fiction7role-playing-game-fiction0
96Sci Fi Classics7sci-fi-classics149
97Social Science Fiction7social-science-fiction0
98Space Exploration &amp; Discovery7space-exploration-amp-discovery0
99Star Trek7star-trek0
100Star Wars7star-wars76
Download CSV

sub_sub_subject top

id title sub_subject slug count
1African Literature Anthologies1african-literature-anthologies33
2American Literature Anthologies1american-literature-anthologies1335
3Ancient & Medieval Literature Anthologies1ancient-medieval-literature-anthologies51
4Asian Literature Anthologies1asian-literature-anthologies125
5Australian & Oceanian Literature Anthologies1australian-oceanian-literature-anthologies11
6Canadian Literature Anthologies1canadian-literature-anthologies31
7Caribbean & West Indian Literature Anthologies1caribbean-west-indian-literature-anthologies9
8Drama Anthologies1drama-anthologies193
9English & Irish Literature Anthologies1english-irish-literature-anthologies541
10European Literature Anthologies1european-literature-anthologies192
11Gay & Lesbian Literature Anthologies1gay-lesbian-literature-anthologies74
12General & Miscellaneous Literature Anthologies1general-miscellaneous-literature-anthologies1279
13German Literature Anthologies1german-literature-anthologies29
14Hispanic & Latin American Literature Anthologies1hispanic-latin-american-literature-anthologies55
15Jewish Literature Anthologies1jewish-literature-anthologies76
16Native American Literature Anthologies1native-american-literature-anthologies29
17Poetry Anthologies1poetry-anthologies630
18Russian Literature Anthologies1russian-literature-anthologies24
19Women Authors - Literature Anthologies1women-authors-literature-anthologies176
20Apocalyptic Christian Fiction2apocalyptic-christian-fiction136
21Biblical Fiction2biblical-fiction252
22Christian Allegories2christian-allegories253
23Christian Anthologies2christian-anthologies13
24Christian fiction * African American2christian-fiction-african-american6
25Christian Fiction - Amish2christian-fiction-amish353
26Christian Fiction - Community2christian-fiction-community437
27Christian Fiction - Contemporary2christian-fiction-contemporary501
28Christian Fiction - Family2christian-fiction-family333
29Christian Fiction - Historical2christian-fiction-historical531
30Christian Fiction - Inspirational Lives2christian-fiction-inspirational-lives83
31Christian Fiction - Multigenerational Sagas2christian-fiction-multigenerational-sagas24
32Christian Fiction - Seasonal & Holiday2christian-fiction-seasonal-holiday88
33Christian Fiction - Trials & Tests of Faith2christian-fiction-trials-tests-of-faith190
34Christian Fiction Classics2christian-fiction-classics158
35Christian Mystery2christian-mystery299
36Christian Romance - Contemporary2christian-romance-contemporary637
37Christian Romance - Historical2christian-romance-historical298
38Christian Science Fiction & Fantasy2christian-science-fiction-fantasy542
39Christian Thrillers2christian-thrillers614
40Christian Westerns2christian-westerns152
41American Drama3american-drama1540
42Ancient Greek & Roman Drama3ancient-greek-roman-drama458
43British & Irish Drama3british-irish-drama3091
44Canadian Drama3canadian-drama169
45European Drama3european-drama1146
46French Drama3french-drama259
47General & Miscellaneous Drama3general-miscellaneous-drama5055
48German Drama3german-drama261
49Italian Drama3italian-drama46
50Russian Drama3russian-drama170
51Spanish Drama3spanish-drama209
52Confessional Erotica4confessional-erotica54
53Domination & Submission - Fiction4domination-submission-fiction173
54Erotic Poetry4erotic-poetry12
55Erotica * African American4erotica-african-american2
56Erotica * Fiction4erotica-fiction129
57Erotica Anthologies4erotica-anthologies317
58Erotica Classics4erotica-classics15
59Erotica for Couples4erotica-for-couples11
60Erotica Short Stories4erotica-short-stories79
61Fantastic & Science Fiction Erotica4fantastic-science-fiction-erotica98
62Gay Erotica4gay-erotica150
63Historical Erotica4historical-erotica36
64Lesbian Erotica4lesbian-erotica66
65Literary Erotica4literary-erotica119
66Open Minded Erotica4open-minded-erotica50
67Paranormal Erotica & Erotic Horror4paranormal-erotica-erotic-horror201
68S & M Fiction4s-m-fiction85
69Sensual Fiction4sensual-fiction112
70Traditional Victorian Erotica4traditional-victorian-erotica21
71Women's Erotica4women-s-erotica151
72American Essays5american-essays1319
73European Essays5european-essays614
74General & Miscellaneous Essays5general-miscellaneous-essays419
75African Fiction & Literature Classics6african-fiction-literature-classics21
76American Fiction & Literature Classics6american-fiction-literature-classics2214
77Ancient Fiction & Literature Classics6ancient-fiction-literature-classics339
78Asian Fiction & Literature Classics6asian-fiction-literature-classics79
79Classics By Subject6classics-by-subject2240
80English, Irish, Scottish Fiction & Literature Classics6english-irish-scottish-fiction-literature-classics4066
81European Fiction & Literature Classics6european-fiction-literature-classics1065
82Latin American / Caribbean Fiction & Literature Classics6latin-american-caribbean-fiction-literature-classics30
83Animals - Fiction7animals-fiction1192
84Arts & Entertainment - Fiction7arts-entertainment-fiction4154
85Body, Mind & Health - Fiction7body-mind-health-fiction1745
86Business, Work, & Money - Fiction7business-work-money-fiction1741
87Character Types - Fiction7character-types-fiction7874
88Conflicts - Fiction7conflicts-fiction3634
89Crimes - Fiction7crimes-fiction6646
90Disasters & Accidents - Fiction7disasters-accidents-fiction839
91Family & Friendship - Fiction7family-friendship-fiction10254
92Fiction - 2009 Holiday Recommendations7fiction-2009-holiday-recommendations1076
93Games & Hobbies - Fiction7games-hobbies-fiction596
94Historical Figures - Fiction7historical-figures-fiction2617
95Holidays - Fiction7holidays-fiction1196
96Humorous Fiction7humorous-fiction4132
97Literary Styles & Movements - Fiction7literary-styles-movements-fiction11108
98Love & Relationships - Fiction7love-relationships-fiction6359
99Motivations - Fiction7motivations-fiction2297
100Occupations - Fiction7occupations-fiction9973

Share This Page:

Follow us at @UsableDatabases to be notified of database (data sets, lists) releases and updates.

We blog as well. Stay tuned by your preferred means so we can keep you posted on what we are working on!

Contact Us

Need assistance? We can't wait to help you find the perfect database or provide for your custom data needs! Use Custom Data Project form for serious project inquiries. Email: info@UsableDatabases.com

  1. We will get back to you at this email.

  2. What is your inquiry?

  5. Which is hot, ice or fire?

    Please answer the question by common sense.

Back to Top

All Databases

Arts & Literature (15)

Academic & Education (9)

Books & ISBN (5)

Business & Industry (67)

Geographical & Locality (18)

Language (10)

Pictures & Images (34)

Reference (23)

Reviews (5)

Science & Technology (4)

Statistics & Data (5)

Travel & Destinations (4)

Computer & Internet (7)

Games & Entertainment (12)

Pets & Animals (4)

Religions & Beliefs (2)

Health & Fitness (17)

Food & Drink (6)

Flowers & Plants (1)

Professionals & Technicians (20)

Automotive & Vehicle (16)

Institutions & Organizations (14)

Fashion & Beauty (5)

History (1)

Products & Services (48)

Finance, Banking & Money (3)

Subscribe to our Data Press feed to be notified when we release new databases!


Be notified when new data sets are released!
You would also receive running promo discounts and updates to current databases.

Worry Free: We use FeedBurner. You may receive periodic emails / posts from us but you can very easily unsubscribe anytime.

© Copyright 2009 - 2024 Usable Databases. DataStellar Co., Ltd. All rights reserved. Call us for questions or support: +86-158-0293-6510 (Time Zone: GMT+8).

Website Content Databases | DMCA Disclaimer | Privacy Policy | All Categories | Data Project | We Blog | We Twitter | Contact Us | Email: info@UsableDatabases.com

Back to Top