The volume responds primarily to the twenty-first century's inescapable evidence of the terms of black life--not so much new as newly visible. The poems trace a whole web of connections between the kinds of violence that affect people across the racial, ethnic, gender, class, sexual, national, and linguistic boundaries that do and do not divide us. How do we protect our humanity, our ability to feel deeply and think freely, in the face of a seemingly endless onslaught of physical, social, and environmental abuses? Where do we find language to describe, process, and check the attacks and injuries we see and suffer? What actions can break us out of the soul-numbing cycle of emotions, moving through outrage, mourning, and despair, again and again? In poems that span fragment to narrative and quiz to constraint, from procedure to prose and sequence to song, semiautomatic culls past and present for guides to a hoped-for future.Hardcover is un-jacketed.

    These pieces evidence Mamet's love of language, particularly the introductory essay, "Eight Kings", which celebrates the private languages of carpenters, carnival workers, and all crafts and trades, and "The Northern Novel", which propounds Mamet's affection for the line of American fiction exemplified by Willa Cather and Theodore Dreiser. Some of the essays are prose portraits from Mamet's life: "Deer Hunting" and "The Diner" delineate worlds far from the public eye. Make-Believe Town also contains beautifully written recollections of Mamet's early days as a writer ("Girl Copy"), his start in the theater ("Memories of Off Broadway"), his education as a gambler ("Gems From a Gambler's Bookshelf"), and bygone days on Broadway ("Delsomma's"). Mamet's incisive thoughts about public issues - support for the arts, nudity in films, the roles given Jewish characters, even the posthumous rehabilitation of Richard Nixon - round out a far-reaching collection.

    The themes of betrayal, romance, love and mystery underpin this epic drama - the bewitching plantation owner, Annie Palmer, the beautiful and determined slave girl, Millie, the handsome and sophisticated John Rutherford caught in the middle - a torrid love story set in the steamy climate of the tropics.

     Sure, black men and women have been through four hundred years of slavery, oppression, murder, and watching white college students try to dance. But now that it's hip to have black friends, white people aren't sure how to go about it. And that is a real American tragedy. Thank God Nick Adams is here to help you avoid potential racial pitfalls and successfully make the transition from white to "aiight." Now, you'll know not to start a conversation with, "So, that new Jay-Z album is pretty great, right?" Or tell a co-worker he looks just like (fill in blank with name of dark-skinned person who works in the other building.) You'll know that a lot of black people you meet at parties or work functions don't care who played Thelma's husband on "Good Times," don't want to discuss the Malcolm X biography you just read and definitely don't want to listen to country music. Ever. Yes, it's a good thing Nick is here to explain. Because if we're going to live together in peace and harmony, you people are going to need help. Black People, Briefly Explained. A Q&A with Nick Adams Q: Nick, what is the correct term to use when addressing my new friends: Black or African-American?A: Personally, I always liked Afro-American. I liked being named after a 1970's hairdo. But then I wondered why we didn't become the Jheri-curled Americans or High Top Fade Americans. Q: Nick, if black people can use the "N" word as a term of endearment, can I, a white person, do so? A: No. I don't care if you have your hair in cornrows while wearing a Phat Farm t-shirt at an R. Kelly concert. Black people don't get to be president, and white people don't get to use the word nigger. Can we just call it even now? Q: Nick, I'd like to try slang. Is that okay? A: When you guys start using our words, that's when we know it's time for us to stop using them. Every time a white, middle-aged math teacher calls a student, "dog," black people all over the country are notified via email. Believe it. Q: Nick, surely you have to agree that Eminem is a hip-hop visionary? A: Let's try this one more time: Kurtis Blow, RUN-DMC, LL Cool J, Rakim, Chuck D, KRS-One, Tupac, Notorious B.I.G., Nas, Common, Mos Def, Bitch!

    She shows how contemporary surveillance technologies and practices are informed by the long history of racial formation and by the methods of policing black life under slavery, such as branding, runaway slave notices, and lantern laws. Placing surveillance studies into conversation with the archive of transatlantic slavery and its afterlife, Browne draws from black feminist theory, sociology, and cultural studies to analyze texts as diverse as the methods of surveilling blackness she discusses: from the design of the eighteenth-century slave ship Brooks, Jeremy Bentham's Panopticon, and The Book of Negroes, to contemporary art, literature, biometrics, and post-9/11 airport security practices. Surveillance, Browne asserts, is both a discursive and material practice that reifies boundaries, borders, and bodies around racial lines, so much so that the surveillance of blackness has long been, and continues to be, a social and political norm.

    From the lively music of West Africa, to the rich culinary traditions of Muslims in Northwest China, to the thrill of a hunt in Alaska, this collection is a treasure trove of diverse places and cultures, providing the comfort, excitement, and joy of feeling elsewhere. THE BEST AMERICAN TRAVEL WRITING 2021 INCLUDES KIESE MAKEBA LAYMON • LESLIE JAMISON • BILL BUFORD •  JON LEE ANDERSON • MEGHAN DAUM LIGAYA MISHAN • PAUL THEROUX and others

    . . and he's hit the jackpot! After the success of his first two books, Duh! and They Did What!?, Fenster has struck again with Well, Duh! Our Stupid World, and Welcome to It. More tales of the dim-witted and simpleminded are incorporated in chapters such as: Food for Thoughtlessness: The All-Turnip Diet and Other Loony Meals at the Mindless Cafe Hollyweird: Bird Brains in Tinsel Town Dumb Ways to Die: Buried Alive but Not for Long Government by the Idiots: How to Get Elected to AnythingCombined sales of Bob Fenster's previous two books total over 50,000 copies.Ted Rueter is a self-described political junkie and a professor of political science at Tulane University in New Orleans. He is the author of eight books and has written for the New York Times, USA Today, the Los Angeles Times, and the Christian Science Monitor. He earned a Ph.D. from the University of Wisconsin-Madison and has taught at Middlebury College, Georgetown University, Smith College, and UCLA. He is the founder of Noise Free America (Noisefree.org). His Web site is DrPolitics.com.Bob Fenster has combed the world of the intellectually challenged searching for more tales of stupidity to entertain us with . . . and he's hit the jackpot! After the success of his first two books, Duh! and They Did What!?, Fenster has struck again with Well, Duh! Our Stupid World, and Welcome to It. More tales of the dim-witted and simpleminded are incorporated in chapters such as: Food for Thoughtlessness: The All-Turnip Diet and Other Loony Meals at the Mindless Cafe Hollyweird: Bird Brains in Tinsel Town Dumb Ways to Die: Buried Alive but Not for Long Government by the Idiots: How to Get Elected to AnythingCombined sales of Bob Fenster's previous two books total over 50,000 copies.

    The novel opens at the beginning of the 20th century with a community gathering to heal the mysterious illness of a young woman, Ella, who has returned to Jamaica after an unsuccessful marriage abroad. The Afro-Jamaican religion myal, which asserts that good has the power to conquer all, is invoked to heal Ella, who has been left “zombified” and devoid of any black soul. Ella, who is light skinned enough to pass for white, has suffered a breakdown after her white American husband produced a black-face minstrel show based on the stories of her village and childhood. This cultural appropriation is one of a series Ella encountered in her life, and parallels the ongoing theft of the labor and culture of colonized peoples for imperial gain and pleasure. The novel’s rich, vivid language and vital characters earned it the Commonwealth Writers’ Prize for Canada and the Caribbean.

    This stunning collection is written with frank, disarming honesty, and ranges from reflections on the rooms in her childhood home to her views on the concept of love. Each essay follows the red strings of fate and explores just what it means for a girl to grow up.

    Instead, she created at home small handmade books. When, in her later years, she stopped producing these, she was still writing a great deal, and at her death she left behind many poems, drafts, and letters. It is among the makeshift and fragile manuscripts of Dickinson’s later writings that we find the envelope poems gathered here. These manuscripts on envelopes (recycled by the poet with marked New England thrift) were written with the full powers of her late, most radical period. Intensely alive, these envelope poems are charged with a special poignancy—addressed to no one and everyone at once.Full-color facsimiles are accompanied by Marta L. Werner and Jen Bervin’s pioneering transcriptions of Dickinson’s handwriting. Their transcriptions allow us to read the texts, while the facsimiles let us see exactly what Dickinson wrote (the variant words, crossings-out, dashes, directional fields, spaces, columns, and overlapping planes).

    Nearly twenty years later, when published for the first time in English, Discourse on Colonialism inspired a new generation engaged in the Civil Rights, Black Power, and antiwar movements. Aimé Césaire eloquently describes the brutal impact of capitalism and colonialism on both the colonizer and colonized, exposing the contradictions and hypocrisy implicit in western notions of "progress" and "civilization" upon encountering the "savage," "uncultured," or "primitive." He reaffirms African values, identity, and culture, and their relevance, reminding us that "the relationship between consciousness and reality is extremely complex. . . . It is equally necessary to decolonize our minds, our inner life, at the same time that we decolonize society." An interview with Aimé Césaire by the poet René Depestre is also included.

    In fact, the controversial author continues, the so-called history we learn in school is no more than a brand, developed by white men who, often unjustly, won the right to spin their stories as hard facts. With Autobiography of a Blue-Eyed Devil, it's Muscio's turn and she's taking it in order to hip the masses to the truth about the American history they think they know. Whose country is it? Has democracy ever really existed? Why does our culture celebrate certain figures and ignore others? Do schools teach kids to perpetuate white supremacist ideologies? Muscio delves deep to answer these questions, marveling at how personal history is to everyone, while challenging people to expand their thinking on America's past and encouraging them to consider how their own histories might read.

    Finally, here is the first compilation of Nikki Giovanni's poetry. It is the testimony of a life's work from one of the commanding voices to grace America's political and poetic landscape at the end of the twentieth century.From the revolutionary "The Great Pax Whitie" and "Poem for Aretha" to the sublime "Ego Tripping" and the tender "My House," these 150 mind-speaking, truth-telling poems are at once powerful yet sensual, angry yet affirming. Arranged chronologically, they reflect the changes Giovanni has endured as a Black woman, lover, mother, teacher, and poet. Here is the evocation of a nation's past and present — intensely personal and fiercely political — from one of our most compassionate, outspoken observers.

    In the fall of 2012, she went through a harrowing cycle of panic attacks and dread that wouldn't abate for months. So she began @sosadtoday, an anonymous Twitter feed that allowed her to express her darkest feelings, and which quickly gained a dedicated following. In So Sad Today, Broder delves deeper into the existential themes she explores on Twitter, grappling with sex, death, love, low self-esteem, addiction, and the drama of waiting for the universe to text you back. With insights as sharp as her humor, Broder explores—in prose that is both gutsy and beautiful, aggressively colloquial and achingly poetic—questions most of us are afraid to even acknowledge, let alone answer, in order to discover what it really means to be a person in this modern world.

    Featuring works by so-called alternative parents who have attempted to move away from mainstream thought, this anthology carefully considers the implications of raising children with disabilities. From professional writers to novice storytellers, including original essays by Robert Rummel-Hudson, Ayun Halliday, and Kerry Cohen, this assortment of authentic, shared experiences from parents in the know is a partial antidote to the stories that misrepresent, ridicule, and objectify disabled children and their parents.