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In I Want to Be Once, M. L. Liebler approaches current events with a journalistic eye and a poet's response. Part autobiographical, part commentary, the lines of Liebler's poems come hard-hitting, but not without moments of great tenderness and humanity. Ordered into three sections, I Want To Be Once provides readers with a look into the author's personal life, as well as our collective history as a nation vis-à-vis the American media. The first section, called "American Life," captures the experience of coming of age in working-class 1960s America and helps to paint the picture of Liebler's early political involvement. The poems in the second section, "American War," focus on the author's cultural work in Afghanistan for the U.S. State Department; Liebler successfully captures the sad realities and fleeting stability of everyday life in Kabul, Jalalabad, and Kandahar. In the final section, "American Psalms," the short, satirical poems muse on present-day American society, culture, and the arts. In these poems, Liebler remarks on everything from public education to public radio to Russia's feminist punk rock protest group Pussy Riot and more.The poems in I Want to Be Once are emotionally grounding but punctuated with a humor that keeps things in perspective. Readers with an interest in poetry and social commentary will be drawn to this engaging collection.
Improvised Dance as a Practice of Freedom
Danielle Goldman's contribution to the theory and history of improvisation in dance is rich, beautiful and extraordinary. In her careful, rigorously imaginative analysis of the discipline of choreography in real time, Goldman both compels and allows us to become initiates in the mysteries of flight and preparation. She studies the massive volitional resources that one unleashes in giving oneself over to being unleashed. It is customary to say of such a text that it is 'long-awaited' or 'much anticipated'; because of Goldman's work we now know something about the potenza, the kinetic explosion, those terms carry. Reader, get ready to move and be moved. ---Fred Moten, Duke University "In this careful, intelligent, and theoretically rigorous book, Danielle Goldman attends to the 'tight spaces' within which improvised dance explores both its limitations and its capacity to press back against them. While doing this, Goldman also allows herself---and us---to be moved by dance itself. The poignant conclusion, evoking specific moments of embodied elegance, vulnerability, and courage, asks the reader: 'Does it make you feel like dancing?' Whether taken literally or figuratively, I can't imagine any other response to this beautiful book." ---Barbara Browning, New York University "This book will become the single most important reflection on the question of improvisation, a question which has become foundational to dance itself. The achievement of I Want to Be Ready lies not simply in its mastery of the relevant literature within dance, but in its capacity to engage dance in a deep and abiding dialogue with other expressive forms, to think improvisation through myriad sites and a rich vein of cultural diversity, and to join improvisation in dance with its manifestations in life so as to consider what constitutes dance's own politics." ---Randy Martin, Tisch School of Arts at New York University I Want To Be Ready draws on original archival research, careful readings of individual performances, and a thorough knowledge of dance scholarship to offer an understanding of the "freedom" of improvisational dance. While scholars often celebrate the freedom of improvised performances, they are generally focusing on freedom from formal constraints. Drawing on the work of Michel Foucault and Houston Baker, among others, Danielle Goldman argues that this negative idea of freedom elides improvisation's greatest power. Far from representing an escape from the necessities of genre, gender, class, and race, the most skillful improvisations negotiate an ever shifting landscape of constraints. This work will appeal to those interested in dance history and criticism and also interdisciplinary audiences in the fields of American and cultural studies. Danielle Goldman is Assistant Professor of Dance at The New School and a professional dancer in New York City, where she recently has danced for DD Dorvillier and Beth Gill. Cover art: Still from Ghostcatching, 1999, by Bill T. Jones, Paul Kaiser, and Shelley Eshkar. Image courtesy of Kaiser/Eshkar.
Letters from Rural Children, 1900-1920
“I am a girl, 13 years old, and a proper broncho buster. I can cook and do housework, but I just love to ride.”
In letters written to the children’s pages of newspapers, we hear the clear and authentic voices of real children who lived in rural Canada and Newfoundland between 1900 and 1920. Children tell us about their families, their schools, jobs and communities and the suffering caused by the terrible costs of World War I.
We read of shared common experiences of isolation, hard work, few amenities, limited educational opportunities, restricted social life and heavy responsibilities, but also of satisfaction over skills mastered and work performed. Though often hard, children’s lives reflected a hopeful and expanding future, and their letters recount their skills and determination as well as family lore and community histories.
Children both make and participate in history, but until recently their role has been largely ignored. In “I Want to Join Your Club,” Lewis provides direct evidence that children’s lives, like adults’, have both continuity and change and form part of the warp and woof of the social fabric.
On the God of Love
In his two previous books translated into English, Patience with God and Night of the Confessor, best-selling Czech author and theologian Tomáš Halík focused on the relationship between faith and hope. Now, in I Want You to Be, Halík examines the connection between faith and love, meditating on a statement attributed to St. Augustine—amo, volo ut sis, “I love you: I want you to be”—and its importance for contemporary Christian practice. Halík suggests that because God is not an object, love for him must be expressed through love of human beings. He calls for Christians to avoid isolating themselves from secular modernity and recommends instead that they embrace an active and loving engagement with nonbelievers through acts of servitude. At the same time, Halík critiques the drive for mere material success and suggests that love must become more than a private virtue in contemporary society. I Want You to Be considers the future of Western society, with its strong division between Christian and secular traditions, and recommends that Christians think of themselves as partners with nonbelievers. Halik’s distinctive style is to present profound insights on religious themes in an accessible way to a lay audience. As in previous books, this volume links spiritual and theological/philosophical topics with a tentative diagnosis of our times. This is theology written on one’s knees; Halik is as much a spiritual writer as a theologian. I Want You to Be will interest both general and scholarly readers interested in questions of secularism and Christianity in modern life.
Adventures between Dakar, Paris, and Milan
A landmark bestseller in Italy, I Was an Elephant Salesman gives a name and a face to the thousands of anonymous African street vendors in cities across Europe. Through the voice of a thinly veiled first-person narrator, Pap Khouma offers us a chilling, intimate, and often ironic glimpse into the life of an illegal immigrant. Khouma invents a life for himself as an itinerant trader of carved elephants, small ivories, and other "African" trinkets, struggling to maintain courage and dignity in the face of despair and humiliation. Constantly on the run from the authorities, he finds insight into the vicissitudes of law and politics, the constraints of citizenship, national borders, skin color, and the often paralyzing difficulties of obtaining basic human needs. His story reveals a contemporary Europe struggling to come to terms with its multiracial, multireligious, and multicultural identity.
Passionately written and perfectly crafted, Anya Krugovoy Silver's poems help us to view life through a different lens. In I Watched You Disappear, she offers meditations on sickness but also celebrations of art, motherhood, and family, as well as a sequence of poems based on the fairy tales of the Brothers Grimm.
Throughout her collection, Silver examines feelings of pain, anger, and urgency caused by a serious illness and presents the struggle to cope in a lyrical and moving way. Never overwhelmed by her own mortality, Silver manages to speak with beauty and grace about a terrifying subject.
In her poems based on Grimm's fairy tales, Silver subtly and surprisingly interweaves retellings of these tales with reflections on life and death. Infinitely touching, engaging, and finely tuned, Silver's poems invite us to look at the lives we love in new and profound ways.
A Collection of Poems
I Will Fly is a collection of 52 poems which bring to life a story of struggle and hope, the struggle of ordinary Cameroonians who daily entertain hardship, and of English-speaking Cameroonians born into a minority population. Disgruntlement leads to protests; but what happens when the protests fail to yield? Immigration and resignation, the latter, at times, becoming an invitation to death. Adventure and romance stand as the lifeline of others. Hope is a constant companion in these situations, inviting all and sundry to desist from giving adversary easy victories.
In "Return of the Heroes," Walt Whitman refers to the casualties of the American Civil War: "the dead to me mar not. . . . / they fit very well in the landscape under the trees and grass. . . ." In her new poetry collection, Jude Nutter challenges Whitman's statement by exploring her own responses to war and conflict and, in a voice by turns rueful, dolorous, and imagistic, reveals why she cannot agree. Nutter, who was born in England and grew up in Germany, has a visceral sense of history as a constant, violent companion. Drawing on a range of locales and historical moments—among them Rwanda, Sarajevo, Nagasaki, and both world wars—she replays the confrontation of personal history colliding with history as a social, political, and cultural force. In many of the poems, this confrontation is understood through the shift from childhood innocence and magical thinking to adult awareness and guilt. Nutter responds to Whitman from another perspective as well. It was Whitman who wrote that he could live with animals because, among other things, they are placid, self-contained, and guiltless. As counterpoint, Nutter weaves a series of animal poems—a kind of personal bestiary—throughout the collection that reveals the tragedy and violence also inherent in the lives of animals. Here, as in much of Nutter's previous work, the boundaries between the animal and human worlds are permeable; the urgent voice of the poet insists we recognize that "Even from a distance, suffering / is suffering." Here is both acknowledgment and challenge: distance may be measured in terms of time, culture, or place, or it may be caused by the gap between animals and humans, but it is our responsibility to speak against atrocity and bloodshed, however voiceless we may feel.
Race, Place, and Discrimination in a Costa Rican High School
While teaching and researching on an indigenous reservation in Costa Rica, Karen Stocker discovered that for Native students who attended the high school outside the reservation, two extreme reactions existed to the predominantly racist high school environment. While some maintained their indigenous identity and did poorly in school, others succeeded academically, but rejected their Indianness and the reservation. Between these two poles lay a whole host of responses. In "I Won't Stay Indian, I'll Keep Studying," Stocker addresses the institutionalized barriers these students faced and explores the interaction between education and identity. Stocker reveals how overt and hidden curricula taught ethnic, racial, and gendered identities and how the dominant ideology of the town, present in school, conveyed racist messages to students. "I Won't Stay Indian, I'll Keep Studying" documents how students from the reservation reacted to, coped with, and resisted discrimination. Considering the students' experiences in the context of the Costa Rican educational system as a whole, Stocker discusses policy shifts that might reduce institutionalized discrimination. Her interpretation of the experiences of these students makes a significant contribution to anthropology, Latin American studies, critical race theory, and educational theory.