Funny, passionate, and compelling prose on what it means to be queer and happy about it in a world that is still arguing about what it means to be queer.

    Race rebels, argues Kelley, have created strategies of resistance, movements, and entire subcultures. Here, for the first time, everyday race rebels are given the historiographical attention they deserve, from the Jim Crow era to the present.

    Today she is revered as a Buddhist saint, and a statue in her honor stands at the monastery where she lived. This is the story of her journey.

    This magnificent volume features a wealth of fiction and nonfiction works by 45 writers from that exuberant era.

    In economical prose, Glazar weaves a description of Treblinka and its operations into his evocation of himself and his fellow prisoners as denizens of an underworld. Glazar gives us compelling images of these horrors in a tone that remains thoughtful but sober, affecting but simple.

    This collection features dozens of newly translated poems interspersed with legends and stories of their lives, presenting an intimate portrait of their communion and allowing readers to eavesdrop on their unique spiritual dialogue.

    David Hilfiker's award-winning first book, Healing the Wounds, broke the silence surrounding the everyday practice of medicine and established him as a unique figure within the medical profession, "strikingly honest, courageous, and clear-sighted" (Oliver Sacks). In 1983, Dr. Hilfiker took on the greatest challenge of his career: he left his practice in rural Minnesota, moved with his wife and three young children to an inner-city neighborhood in Washington, D.C., and entered the world of poverty medicine. Not All of Us Are Saints vividly depicts what it means for a physician to confront the health problems of ravaged ghetto communities, for a middle-class white man to face the stark contrasts between poverty and privilege, and for a human being to admit his own spiritual limitations. Through dramatic accounts of his own cases, Dr. Hilfiker shows us a medical universe in which doctors are almost as powerless as their patients, where even the most commonplace medical solutions - bed rest, daily dosages, diet - are of little use to people without homes or family or food. This unflinching, deeply moving story is about the painful limits of care and caregivers, but it is also about the limitless rewards of faith and compassion - a moving testament to what is possible here and now.

    As a teacher, he placed special emphasis on koan practice, inventing many new koans himself, including the famous “What is the sound of one hand clapping?” As an artist, Hakuin used calligraphy and painting to create “visual Dharma”—teachings that powerfully express the nature of enlightenment. The text translated here offers an excellent introduction to the work of this extraordinary teacher. Hakuin sets forth his vision of authentic Zen teaching and practice, condemning his contemporaries, whom he held responsible for the decline of Zen, and exhorting his students to dedicate themselves to “breaking through the Zen barrier.” Included are reproductions of several of Hakuin’s finest calligraphies and paintings.

    It also includes a major study on suicide and case studies.

    Some critics have explained the failure of social programs by citing our tradition of individual freedom and libertarian values, while others point to weaknesses within the working class. In The Color of Welfare, Jill Quadagno takes exception to these claims, placing race at the center of the American Dilemma, as Swedish economist Gunnar Myrdal did half a century ago. The American creed of liberty, justice, and equality clashed with a history of active racial discrimination, says Quadagno. It is racism that has undermined the War on Poverty, and America must come to terms with this history if there is to be any hope of addressing welfare reform today. From Reconstruction to Lyndon Johnson and beyond, Quadagno reveals how American social policy has continually foundered on issues of race. Drawing on extensive primary research, Quadagno shows, for instance, how Roosevelt, in need of support from southern congressmen, excluded African Americans from the core programs of the Social Security Act. Turning to Lyndon Johnson's unconditional war on poverty, she contends that though anti-poverty programs for job training, community action, health care, housing, and education have accomplished much, they have not been fully realized because they became inextricably intertwined with the civil rights movement of the 1960s, which triggered a white backlash. Job training programs, for instance, became affirmative action programs, programs to improve housing became programs to integrate housing, programs that began as community action to upgrade the quality of life in the cities were taken over by local civil rights groups. This shift of emphasis eventually alienated white, working-class Americans, who had some of the same needs--for health care, subsidized housing, and job training opportunities--but who got very little from these programs. At the same time, affirmative action clashed openly with organized labor, and equal housing raised protests from the white suburban middle-class, who didn't want their neighborhoods integrated. Quadagno shows that Nixon, who initially supported many of Johnson's programs, eventually caught on that the white middle class was disenchanted. He realized that his grand plan for welfare reform, the Family Assistance Plan, threatened to undermine wages in the South and alienate the Republican party's new constituency--white, southern Democrats--and therefore dropped it. In the 1960s, the United States embarked on a journey to resolve the American dilemma. Yet instead of finally instituting full democratic rights for all its citizens, the policies enacted in that turbulent decade failed dismally. The Color of Welfare reveals the root cause of this failure--the inability to address racial inequality.

    Carr has emerged as the cultural historian of the New York underground and the foremost critic of performance art. On Edge brings together her writings to offer a detailed and insightful history of this vibrant brand of theatre from the late 70s to today. It represents both Carr's analysis as a critic and her testament as a witness to performances which, by their very nature, can never be repeated. Carr has organized this collection both chronologically and thematically, ranging from the emphasis on bodily manipulation/endurance in the 70s to the underground club scene in New York to an insider's analysis of the Tompkins Square Riot as a manifestation of the cultural and social conflicts that underlie much of performance art. She examines the transgressive and taboo-shattering work of Ethyl Eichelberger, Karen Finley, and Holly Hughes; documents specific performances by Annie Sprinkle and Lydia Lunch; and maps the development of such artists as Robbie McCauley, Blue Man Group, and John Jesurun. She also describes the "cross-over" phenomenon of the mid-80s and considers the far-right backlash against this mainstreaming as cultural reactionaries sought to curb the influence of these new artists. CONTRIBUTORS: Linda Montano, Chris Burden, G.G Allin, Jean Baudrillard, Patty Hearts, Dan Quayle, Anne Magnouson, John Jesurun, John Kelly, Shu Lea Changvv, Diamanda Galas, Salley May, Rafael Mantanez Ortiz, Sherman Fleming, Kristine Stiles, Laurie Carlos, Jessica Hafedorn, Robbie McCormick, Karen Finley, Poopo Shiraishi, Donna Henes, Holey Hughe, Ela Troyano, Michael Smith, Harry Koipper, John Sex, Nina Jagen, EthylEichelberge, Marina Abramovic, Ulay.

    Selections include favorite frights from Florence Parry Heide, Bobbi Katz, and Ogden Nash as well as some original shivers specially cooked up for this volume by Marc Brown. Guaranteed to make even the most wide-eyed, white-knuckled youngster let loose with a giggle, Scared Silly! is sure to cast a warm glow at Halloween and all year long.

    Using his experience as an artist and a teacher, McMullan lucidly presents his new strategy, High-Focus Drawing, demonstrating his method with examples from master works as well as from student art. High-Focus Drawing is a melding of memory, common sense, heightened awareness of our own bodies, and curiosity to find what is unique in the model. In contrast to a mechanistic approach, where the artist isolates portions of the body, High-Focus Drawing asks the student to take in the entire figure at once, resulting in a drawing that embodies a strong sense of immediacy and energy. This approach produces lively, seamless figure drawings without construction lines. For students and artists at any level who are interested in exploring the possibilities of figure drawing this book provides both guidance and inspiration.

    He has also been cooking for her. This lyrical, irreverent, and often mouth-watering "prose stew" takes in Shacochis' thoughts on monogamy and hot sauce, sex and seafood, and the enduring consolations of soup. It is the ideal valentine for lovers of prose and food.

    Accompanied by the prose and poetry of the children, this work explores different aspects of their lives.

    In the safety of his mother's care, Little Dolphin learns to swim and takes his first breath above water. The day turns dangerous as Little Dolphin's pod defends itself against a hungry shark. Will Little Dolphin find a happy end to his thrilling first day?

    His incendiary words are beautifully illustrated by the renowned collage artist Freddie Baer. The result is a delightful compilation by two talented artists. A must read for those who have followed their work for years. In this collection of essays, Bey expounds upon his ideas concerning radical social reorganization and the liberation of desire. Immediatism is another lyrical romp through intellectual corridors of spirituality and politics originally set forth in his groundbreaking book, TAZ. A stunning achievement from this prodigious author and scholar."A Blake Angel on Acid."—Robert Anton Wilson"Fascinating..."—William S. Burroughs"Exquisite..."—Allen Ginsberg

    From Langston Hughes's lynch poems to Sylvia Plath's father elegies, modern poetry has tried to find a language of mourning in an age of mass death, religious doubt, and forgotten ritual. For this reason, Jahan Ramazani argues, the elegy, one of the most ancient of poetic genres, has remained one of the most vital to modern poets. Through subtle readings of elegies, self-elegies, war poems, and the blues, Ramazani greatly enriches our critical understanding of a wide range of poets, including Thomas Hardy, Wilfred Owen, Wallace Stevens, Langston Hughes, W. H. Auden, Sylvia Plath, and Seamus Heaney. He also interprets the signal contributions to the American family elegy of Robert Lowell, Allen Ginsberg, Anne Sexton, John Berryman, Adrienne Rich, Michael Harper, and Amy Clampitt. Finally, he suggests analogies between the elegy and other kinds of contemporary mourning art—in particular, the AIDS Memorial Quilt and the Vietnam Veterans Memorial.Grounded in genre theory and in the psychoanalysis of mourning, Ramazani's readings also draw on various historical, formal, and feminist critical approaches. This book will be of interest to anyone concerned with the psychology of mourning or the history of modern poetry."Consists of full, intelligent and lucid exposition and close reading. . . . Poetry of Mourning is itself a welcome contribution to modern poetry's search for a 'resonant yet credible vocabulary of grief in our time."—Times Literary Supplement

    Probably they found the local cuisine strange at first, but soon they were sending American plants and animals around the world, eventually enriching the cuisine of many cultures. Drawing on original accounts by Europeans and native Americans, this pioneering work offers the first detailed description of the cuisines of the Aztecs, the Maya, and the Inca. Sophie Coe begins with the basic foodstuffs, including maize, potatoes, beans, peanuts, squash, avocados, tomatoes, chocolate, and chiles, and explores their early history and domestication. She then describes how these foods were prepared, served, and preserved, giving many insights into the cultural and ritual practices that surrounded eating in these cultures. Coe also points out the similarities and differences among the three cuisines and compares them to Spanish cooking of the period, which, as she usefully reminds us, would seem as foreign to our tastes as the American foods seemed to theirs. Written in easily digested prose, America's First Cuisines will appeal to food enthusiasts as well as scholars.

    Drawing on previously inaccessible archival materials, David L. Hoffmann shows how this massive migration to the cities--an influx unprecedented in world history--had major consequences for the nature of the Soviet system and the character of Russian society even today.Hoffmann focuses on events in Moscow between the launching of the industrialization drive in 1929 and the outbreak of war in 1941. He reconstructs the attempts of Party leaders to reshape the social identity and behavior of the millions of newly urbanized workers, who appeared to offer a broad base of support for the socialist regime. The former peasants, however, had brought with them their own forms of cultural expression, social organization, work habits, and attitudes toward authority. Hoffmann demonstrates that Moscow's new inhabitants established social identities and understandings of the world very different from those prescribed by Soviet authorities. Their refusal to conform to the authorities' model of a loyal proletariat thwarted Party efforts to construct a social and political order consistent with Bolshevik ideology. The conservative and coercive policies that Party leaders adopted in response, he argues, contributed to the Soviet Union's emergence as an authoritarian welfare state.

    However, we are dealing here with what may eventually be referred to as jazz dance, and we could not think of a more suitable title."The characteristic that distinguishes American vernacular dance--as does jazz music--is swing, which can be heard, felt, and seen, but defined only with great difficulty. . . ."--from the Introduction

    Tess Of the d'Urbervilles is hopelessly torn between her desire for two men. And Jude the Obscure offers an indictment of the institutions of marriage, education, and religion.

    Thompson’s writings and lectures delivered over a number of years, Making History covers the key debates in history and cultural theory that occupied Thompson throughout his career. Making History includes such landmark writings as Thompson’s influential and sympathetic assessments of the historians Raymond Williams and Herbert Gutman, as well as his judgments of the lasting value of classic English writers such as William Morris and Mary Wollstonecraft. Also included are Thompson’s perceptive and always witty contributions to current issues of debate, such as the role of poetry as a political act and the historical method and imagination. The book concludes with “Agenda for Radical History,” Thompson’s inspiring and oft-cited lecture on the future of history and the task of historians in years to come, a fitting conclusion to the book and to Thompson’s own exemplary career.