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Most treatments of large Classic Maya sites such as Caracol and Tikal regard Maya political organization as highly centralized. Because investigations have focused on civic buildings and elite palaces, however, a critical part of the picture of Classic Maya political organization has been missing.
The contributors to this volume chart the rise and fall of the Classic Maya center of Xunantunich, paying special attention to its changing relationships with the communities that comprised its hinterlands. They examine how the changing relationships between Xunantunich and the larger kingdom of Naranjo affected the local population, the location of their farms and houses, and the range of economic and subsistence activities in which both elites and commoners engaged. They also examine the ways common people seized opportunities and met challenges offered by a changing political landscape.
The rich archaeological data in this book show that incorporating subject communities and people—and keeping them incorporated—was an on-going challenge to ancient Maya rulers. Until now, archaeologists have lacked integrated regional data and a fine-grained chronology in which to document short-term shifts in site occupations, subsistence strategies, and other important practices of the daily life of the Maya. This book provides a revised picture of Maya politics—one of different ways of governing and alliance formation among dominant centers, provincial polities, and hinterland communities.
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A self-proclaimed “vessel in which stories are told from time immemorial,” poet dg nanouk okpik seamlessly melds both traditional and contemporary narrative, setting her apart from her peers. The result is a collection of poems that are steeped in the perspective of an Inuit of the twenty-first century—a perspective that is fresh, vibrant, and rarely seen in contemporary poetics.
Fearless in her craft, okpik brings an experimental, yet poignant, hybrid aesthetic to her first book, making it truly one of a kind. “It takes all of us seeing, hearing, touching, tasting, and smelling to be one,” she says, embodying these words in her work. Every sense is amplified as the poems, carefully arranged, pull the reader into their worlds. While each poem stands on its own, they flow together throughout the collection into a single cohesive body.
The book quickly sets up its own rhythms, moving the reader through interior and exterior landscapes, dark and light, and other spaces both ecological and spiritual. These narrative, and often visionary, poems let the lives of animal species and the power of natural processes weave into the human psyche, and vice versa.
Okpik’s descriptive rhythms ground the reader in movement and music that transcend everyday logic and open up our hearts to the richness of meaning available in the interior and exterior worlds.