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This selection and its somewhat haphazard direction of how so many of us interact romantically—on the surface—is a gentle reminder that be it fate, chance, or will, we appear destined to carry out our mission to couple and partner, no matter what the cause or effect. If we truly desire companionship, at all cost, there is probably someone out there seeking the same measure—for better or worse. Whether it is simply ourselves, or the likes of Nathanael West (“Day of the Locus”), Amadeus Mozart (“The Dogs of Amadeus”), Mark Twain (“Mark Twain’s Cigar”), Natalie Wood (“The Late Natalie Wood”), or the poor children who haunt the camps at Terezin and Auschwitz (“ Little Ghosts”), we are all in need of the dose of kindness that love’s dispensary provides if we are fortunate enough to find it, hidden or not, among us. Whether or not a higher power is at work to guide us and grant us “The Word,” or we are determined to discover a path towards salvation through the generous acts of others—or ourselves—we follow an unconscious path, at times, and seek refuge, where possible, in places and locations we might have never imagined to investigate and bear witness. It may be upon “The Road to Jerusalem,” aboard “The New Train,” or in “The Terminal of Grief,” yet we still search for solace and speak the only common language we understand, this pursuit of love we may even try to escape—but never deny.
Always Danger offers a lyrical and highly imaginative exploration into the hazards that surround people’s lives—whether it’s violence, war, mental illness, car accidents, or the fury of Mother Nature. In his second collection of poems, David Hernandez embraces the element of surprise: a soldier takes refuge inside a hollowed-out horse, a man bullies a mountain, and a giant pink donut sponsors age-old questions about beliefs. Hernandez typically eschews the politics that often surround the inner circle of contemporary literature, but in this volume he quietly sings a few bars with a political tone: one poem shadows the conflict in Iraq, another reflects our own nation’s economic and cultural divide. Always Danger parallels Hernandez’s joy of writing: unmapped, spontaneous, and imbued with nuanced revelation.
New Queer Latino Writing
As the U.S. Latino population grows rapidly, and as the LGBTQ Latino community becomes more visible and a more crucial part of our literary and artistic heritage, there is an increasing demand for literature that successfully highlights these diverse lives. Edited by Lázaro Lima and Felice Picano, Ambientes is a revolutionary collection of fiction featuring stories by established authors as well as emerging voices that present a collective portrait of gay, lesbian, bisexual, and transgender experience in America today. With a preface by Picano and an introduction by Lima that sets the stage for understanding Latino literary and cultural history, this is the first anthology to cross cultural and regional borders by offering a wide variety of urban, rural, East Coast, West Coast, and midwestern perspectives on Latina and Latino queers from different walks of life. Stories range from sensual pieces to comical romances and from inner-city dramas fueled by street language to portraits of gay domesticity, making this a much-needed collection for many different kinds of readers. The stories in this collection reflect a vibrant and creative community and redefine received notions of “gay” and “lesbian.”
In American Busboy, a wry anti-mythology, the anti-hero busboy in an anonymous Clam Shack! tangles with the monotonous delirium of work, the indignities and poor pay of unskilled labor, the capricious deus ex machina of mean-spirited middle management, the zombified consumption of summer tourists, while jostling for the goddess-like attentions of waitresses and hostesses—all battered up in sizzlingly crisp wit and language, and deep-fried in a shiny glaze of surrealism. —Lee Ann Roripaugh
An Annotated Edition
A book of contemporary poetry exploring the fine, shifting line between faith—secular and spiritual faith—and fanaticism in an insecure age, American Fanatics is a lyrical, pop-culture inflected meditation on democracy, morality, beauty, commerce, and the cost of falling dreams.
Taking its title from an Audubon painting, American Flamingo shares with the artist an exquisite attention to detail and the suggestion of a larger sense of time and place through depictions of the intimate interactions between creatures and their habitats. In his fifth collection of poetry, Greg Pape melds memorable images from the natural world with the drama of ordinary experience to capture small transformations of human character in American settings from Arizona’s Sonora Desert to the icy streets of Washington, D.C. Through elegies, character sketches, and lyric and narrative evocations of family and place, Pape offers lucid and startling poems that bridge the spaces between the past and the present, men and women, and urban and rural landscapes.
Each portion forming a reduced-size copy of the whole, a fractal is forever fragmented, both chaotic and ordered, endlessly complex. Timothy Green's American Fractal sees this pattern emerge from the fabric of modern culture, as it navigates the personal, the political, and the metaphysical, in a lyric dreamscape in which an eerie chaos lurks just behind the facade of order--where "what looks like / a river...could be a log," "as if accident were / the fundamental attribute of life." In separate poems, one man sells ad space on his forehead, while another examines the multitudes of his own voice on an audio cassette recorder. Each life is but another section of the fractal, the past and the future two mirrors that face each other to perpetuate the illusion of infinites. At turns evocative and sweetly ironic, Green straddles the line between accessibility and complexity, exploring "how the wind whispers our secrets," how "that little tremor" of understanding "touches your sleeve, lets go."
Letters of Carrie Prudence Winter, 1890-1893
The book consists of selected and edited letters from Hawai’i during the revolution period (1890-1893) by Carrie Prudence Winter (1866-1942), a young missionary teacher at Kawaiaha’o Seminary in Honolulu describing in great detail the operation of the Seminary, the lives of the Hawaiian girls there, and her experiences in Hawai’i. Miss Winter listed all of her Hawaiian students, and the Who’s Who appendix identifies them and other individuals mentioned in the book. The book also reproduces some examples of student homework, including 4 autobiographical essays by children she taught. This book includes a foreword by Dr. C. Kalani Beyer, Kamehameha School graduate, a noted scholar in the history of Hawai’i and education. It includes a hand drawn map by the renowned artist, Barron Storey. The book is profusely illustrated by original photographs, most of which have never before been published.