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The Hawaiʻinuiākea Monograph Series presents volume II,”I Ulu i ka Āina,” ten essays that describe the fundamental relationships between Kanaka Maoli and the land. From the memories of long-time activists, cultural practitioners and seasoned administrators to the inspirational insights of young scholar/advocates for our cultural, economic and political progress, each piece evidences the inseparability of the Kanaka from the ʻĀina. It is that inseparability and not our numbers, our relative poverty, nor even our political status that will determine the destiny of the Hawaiian nation. We grow the land, we grow ourselves.
The Hawaiinuiakea Monograph
I Ulu I Ke Kumu is the first volume of a series to be published annually by the Hawaiʻinuiākea School of Hawaiian Knowledge and is intended to be a venue for scholars as well as practitioners and leaders in the Hawaiian community to come together over issues, queries, and strategies. Each volume will feature articles on a thematic topic—from diverse fields such as economics, education, family resources, government, health, history, land and natural resource management, psychology, religion, sociology, and so forth—selected by an editorial team. It will also include a “current viewpoint” by a postgraduate student and a reflection piece contributed by a kupuna.
The series will include articles written in Hawaiian and/or English, images, poetry and songs, and new voices and perspectives from emerging Native Hawaiian scholars. Readers who wish to comment on articles, artwork, and other pieces will be able to do so through the monograph discussion link found at the Hawai'inuiākea School of Hawaiian Knowledge website (http://manoa.hawaii.edu/hshk/).
“In the old story of love and loss, Lisa Ampleman’s I’ve Been Collecting This to Tell You cuts to the core of the matter with concision and subtlety. Hearts are laid bare, dissected, even grown anew. Masterfully structured and alert to the most vital details, this collection has lots to tell us—and a voice at once authentic and lyrical with which to do it.” —Don Bogen
“In these poems, the beloved is a space the speaker moves through—at first with trepidation, then with gathering force—emerging finally into a hard-won world ravishing in its clarity under a brutally beautiful ‘sky pinking up/like a newly healed limb.’ The poems of Lisa Ampleman’s collection don’t flinch, and the reward of their acute seeing is a song that’s sustenance itself.” —Kerri Webster
“Lisa Ampleman’s subtle and beautifully wrought poems make way for the possibility that all is not ‘frenzy’ in this ‘agitated world.’ Although we might be ‘the walking wounded,’ and ‘like Thomas/need scars to believe,’ the poems assure us that we heal, that wholeness and grace await us.” —Eric Pankey
“A prairie is plain, they say—those who have not stood in one. And so, too, is an ordinary heartbreak, until Lisa Ampleman begins to unfold it in these closely observed and quietly surprising poems. Salvation doesn’t live here, but there’s plenty to salvage in the wry, self-effacing metaphors by which she harvests what wisdom experience yields.” —Susan Tichy,
On the Road with Legends of Rock 'n' Roll
In the years that followed, the Upsetters became the backing band for Sam Cooke and crisscrossed the country as the go-to-band for revue-style tours featuring James Brown, Gladys Knight and the Pips, the Supremes, Jackie Wilson, Little Willie John, and Etta James.
In I’ve Been Out There, the Houston blues and R&B legend Grady Gaines speaks candidly about his sixty-year music career and life on the road supporting some of the biggest names in blues, soul, and R&B. This annotated autobiographical account details Gaines's professional triumphs and personal sacrifices.
The book contains anecdotes about life on the road and in the studio during a period when the entertainment industry was vastly different, affording readers a glimpse into the creative makeup of a man whose distinctive sax playing powered some of the most popular songs of the era, helped define the genre, and mesmerized countless audiences.
In this extraordinary autobiography, the legendary Heath creates a “dialogue” with musicians and family members. As in jazz, where improvisation by one performer prompts another to riff on the same theme, I Walked with Giants juxtaposes Heath’s account of his life and career with recollections from jazz giants about life on the road and making music on the world’s stages. His memories of playing with his equally legendary brothers Percy and Albert (aka “Tootie”) dovetail with their recollections.
Heath reminisces about a South Philadelphia home filled with music and a close-knit family that hosted musicians performing in the city’s then thriving jazz scene. Milt Jackson recalls, “I went to their house for dinner…Jimmy’s father put Charlie Parker records on and told everybody that we had to be quiet till dinner because he had Bird on…. When I [went] to Philly, I’d always go to their house.” Today Heath performs, composes, and works as a music educator and arranger. By turns funny, poignant, and extremely candid, Heath’s story captures the rhythms of a life in jazz.
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.