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My Life in the Appalachian Woods
Crowe made his home in a small cabin he had helped to build years before--at a restless age when he could not have imagined that the place would one day call him back. The cabin sat on what was once the farm of an old mountain man named Zoro Guice. As we absorb Crowe's sharp observations on southern Appalachian natural history, we also come to know Zoro and the other singular folk who showed Crowe the mountain ways that would see him through those four years.
Crowe writes of many things: digging a root cellar, being a good listener, gathering wood, living in the moment, tending a mountain garden. He explores profound questions on wilderness, self-sufficiency, urban growth, and ecological overload. Yet we are never burdened by their weight but rather enriched by his thoughtfulness and delighted by his storytelling.
Zubir Said is best known as the composer of Majulah Singapura, the national anthem of Singapore, Semoga Bahagia, the Singapore school anthem, and Melayu Raya. Born into a humble and religious family in Sumatra where music was considered haram, at 21 he set out to seek his fortune in Singapore, attracted initially by the glittering lights and the availability of butter and kopi susu, but soon by the opportunities it offered him to pursue his dreams. Armed with his first musical instrument, a bamboo flute he had carved himself, and a basic knowledge of music number notations, Zubir taught himself to read, write and compose music. Despite the many challenges he faced, he became a musical icon of the 1950s and 1960s on both sides of the Straits of Johor, at a time when Independence was the clarion call and nationalist fervour was running high. This book, which includes numerous photographs, documents, musical scores and articles, as well as a CD of a selection of Zubir Said's compositions, vividly reveals one of Singapore's leading composers as family man, friend, composer and mentor. It also accords Zubir Said his rightful place in the history of Singapore.
Modernity, Margins, and the Avant-Garde
Inaugurated in 1932 by Louis Zukofsky, Objectivist poetry gave expression to the complex contours of culture and politics in America during the Great Depression. This study of Zukofsky and two others in the Objectivist constellation, George Oppen and Lorine Niedecker, elaborates the dialectic between the formal experimental features of their poetry and their progressive commitments to the radical potentials of modernity. Mixing textual analysis, archival research, and historiography, Ruth Jennison shows how Zukofsky, Oppen, and Niedecker braided their experiences as working-class Jews, political activists, and feminists into radical, canon-challenging poetic forms. Using the tools of critical geography, Jennison offers an account of the relationship between the uneven spatial landscapes of capitalism in crisis and the Objectivists’ paratactical textscapes. In a rethinking of the overall terms in which poetic modernism is described, she identifies and assesses the key characteristics of the Objectivist avant-garde, including its formal recognition of proliferating commodity cultures, its solidarity with global anticapitalist movements, and its imperative to develop poetics that nurtured revolutionary literacy. The resulting narrative is a historically sensitive, thorough, and innovative account of Objectivism’s Depression-era modernism. A rich analysis of American avant-garde poetic forms and politics, The Zukofsky Era convincingly situates Objectivist poetry as a politically radical movement comprising a crucial chapter in American literary history. Scholars and students of modernism especially will find much to discuss in Jennison’s theoretical study.