Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.

    The Dialogic Imagination presents, in superb English translation, four selections from Voprosy literatury i estetiki (Problems of literature and esthetics), published in Moscow in 1975. The volume also contains a lengthy introduction to Bakhtin and his thought and a glossary of terminology.Bakhtin uses the category "novel" in a highly idiosyncratic way, claiming for it vastly larger territory than has been traditionally accepted. For him, the novel is not so much a genre as it is a force, "novelness," which he discusses in "From the Prehistory of Novelistic Discourse." Two essays, "Epic and Novel" and "Forms of Time and of the Chronotope in the Novel," deal with literary history in Bakhtin's own unorthodox way. In the final essay, he discusses literature and language in general, which he sees as stratified, constantly changing systems of subgenres, dialects, and fragmented "languages" in battle with one another.

    In The Anti-Aesthetic, preeminent critics such as Jean Baudrillard, Rosalind Krauss, Fredric Jameson, and Edward Said consider the full range of postmodern cultural production, from the writing of John Cage, to Cindy Sherman's film stills, to Barbara Kruger's collages. With a redesigned cover and a new afterword that situates the book in relation to contemporary criticism, The Anti-Aesthetic provides a strong introduction for newcomers and a point of reference for those already engaged in discussions of postmodern art, culture, and criticism. Includes a new afterword by Hal Foster and 12 black and white photographs.

    A passionate and subversive defense of the rights of women to study, to teach, and to write, it predates by almost a century and a half serious writings on any continent about the position and education of women. Also included in this wide-ranging selection is a new translation of Sor Juana's masterpiece, the epistemological poem "Primero Sueno, " as well as revealing autobiographical sonnets, reverential religious poetry, secular love poems (which have excited speculation through three centuries), playful verses, and lyrical tributes to New World culture that are among the earliest writings celebrating the people and the customs of this hemisphere. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    Unheard. Alone. Chilling words, but apt to describe the isolation and alienation of queer youth. In silence and fear they move from childhood memories of intolerance or violence to the unknown, unmentored landscape of queer adulthood, their voices stilled or ignored. No longer. Revolutionary Voices celebrates the hues and harmonies of the future of queer society, offering a collection of experiences, ideas, dreams, manifestos, and fantasies expressed through prose, poetry, artwork, and performance pieces. This one-of-a-kind collection is an all-encompassing, far-reaching call to action that provides the groundwork for a new community where all members are recognized as critical components to our future society.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    Told in her own inimitable style, this book transcends genres and categories: guidebook, memoir, poetry, and pure delight.Here in short spellbinding essays are glimpses of the tumultuous life that led Angelou to an exalted place in American letters and taught her lessons in compassion and fortitude: how she was brought up by her indomitable grandmother in segregated Arkansas, taken in at thirteen by her more worldly and less religious mother, and grew to be an awkward, six-foot-tall teenager whose first experience of loveless sex paradoxically left her with her greatest gift, a son.Whether she is recalling such lost friends as Coretta Scott King and Ossie Davis, extolling honesty, decrying vulgarity, explaining why becoming a Christian is a “lifelong endeavor,” or simply singing the praises of a meal of red rice–Maya Angelou writes from the heart to millions of women she considers her extended family. Like the rest of her remarkable work, Letter to My Daughter entertains and teaches; it is a book to cherish, savor, re-read, and share.“I gave birth to one child, a son, but I have thousands of daughters. You are Black and White, Jewish and Muslim, Asian, Spanish speaking, Native Americans and Aleut. You are fat and thin and pretty and plain, gay and straight, educated and unlettered, and I am speaking to you all. Here is my offering to you.”–from Letter to My Daughter

    The recent advent of environmental philosophy and posthuman studies has widened our scope of inquiry to include ecosystems, animals, and artificial intelligence. Yet the vast majority of the stuff in our universe, and even in our lives, remains beyond serious philosophical concern.In Alien Phenomenology, or What It’s Like to Be a Thing, Ian Bogost develops an object-oriented ontology that puts things at the center of being—a philosophy in which nothing exists any more or less than anything else, in which humans are elements but not the sole or even primary elements of philosophical interest. And unlike experimental phenomenology or the philosophy of technology, Bogost’s alien phenomenology takes for granted that all beings interact with and perceive one another. This experience, however, withdraws from human comprehension and becomes accessible only through a speculative philosophy based on metaphor.Providing a new approach for understanding the experience of things as things, Bogost also calls on philosophers to rethink their craft. Drawing on his own background as a videogame designer, Bogost encourages professional thinkers to become makers as well, engineers who construct things as much as they think and write about them.

    In " An Introduction to the Event-Related Potential Technique," Steve Luck offers the first comprehensive guide to the practicalities of conducting ERP experiments in cognitive neuroscience and related fields, including affective neuroscience and experimental psychopathology. The book can serve as a guide for the classroom or the laboratory and as a reference for researchers who do not conduct ERP studies themselves but need to understand and evaluate ERP experiments in the literature. It summarizes the accumulated body of ERP theory and practice, providing detailed, practical advice about how to design, conduct, and interpret ERP experiments, and presents the theoretical background needed to understand why an experiment is carried out in a particular way. Luck focuses on the most fundamental techniques, describing them as they are used in many of the world's leading ERP laboratories. These techniques reflect a long history of electrophysiological recordings and provide an excellent foundation for more advanced approaches.The book also provides advice on the key topic of how to design ERP experiments so that they will be useful in answering questions of broad scientific interest. This reflects the increasing proportion of ERP research that focuses on these broader questions rather than the "ERPology" of early studies, which concentrated primarily on ERP components and methods. Topics covered include the neural origins of ERPs, signal averaging, artifact rejection and correction, filtering, measurement and analysis, localization, and the practicalities of setting up the lab.

    In it, she confronts a meticulous diary that she has kept for twenty-five years. “I wanted to end each day with a record of everything that had ever happened,” she explains. But this simple statement belies a terror that she might forget something, that she might miss something important. Maintaining that diary, now eight hundred thousand words, had become, until recently, a kind of spiritual practice.Then Manguso became pregnant and had a child, and these two Copernican events generated an amnesia that put her into a different relationship with the need to document herself amid ongoing time.Ongoingness is a spare, meditative work that stands in stark contrast to the volubility of the diary—it is a haunting account of mortality and impermanence, of how we struggle to find clarity in the chaos of time that rushes around and over and through us.“Bold, elegant, and honest . . . Ongoingness reads variously as an addict’s testimony, a confession, a celebration, an elegy.” —The Paris Review“Manguso captures the central challenge of memory, of attentiveness to life . . . A spectacularly and unsummarizably rewarding read.” —Maria Popova, Brain Pickings

    Kenji López-Alt in his introduction. “About how food shapes people, neighborhoods, and history.” This year’s Best American Food Writing captures the food industry at a critical moment in history — from the confrontation of abusive kitchen culture, to the disappearance of the supermarkets, to the rise and fall of celebrity chefs, to the revolution of baby food. Spanning from New York’s premier restaurants to the chile factories of New Mexico, this collection lifts a curtain on how food arrives on our plates, revealing extraordinary stories behind what we eat and how we live.THE BEST AMERICAN FOOD WRITING 2020 INCLUDES  BURKHARD BILGER, KAT KINSMAN, LAURA HAYES, TAMAR HASPEL, SHO SPAETH, TIM MURPHY and others

    Put simply, this group, which was founded in Paris in 1960, approaches creative writing in a way that still has yet to make its impact in the United States and its creative writing programs. Rather than inspiration, rather than experience, rather than self-expression, the Oulipians viewed imaginative writing as an exercise dominated by what they called "constraints." Quite commonly, they would attempt to write stories, for instance, in which strict rules had to be imposed and followed (for example, Georges Perec's notorious novel A Void, which was written without the use of the letter "e"). While a major contribution to literary theory, Oulipo is perhaps most distinguished as an indispensable guide to writers. "This reader is truly impressed by Motte's capacity to present, in a clear fashion, material that is still new and 'difficult' to most of his readership." (Jean-Jacques Thomas, South Atlantic Review 5-88)

    Recipes for poetic terror, anarcho -black magic, post-situ psychotropic surgery, denunciations of spiritual addictions to vapid infotainment cults - this is the bastard classic, the watermark impressed upon our minds. Where conscience informs praxis, and action infects consciousness, T.A.Z. is beginning to worm its way into above-ground culture. This book offers inspired blasts of writing, from slogans to historical essays, on the need to insert revolutionary happiness into everyday life through poetic action, and celebrating the radical optimism present in outlaw cultures. It should appeal to alternative thinkers and punks everywhere, as it celebrates liberation, love and poetic living. The new edition contains the full text of Chaos: The Broadsheets of Ontological Anarchism, the complete communiques and flyers of the Association fo Ontological Anarchy, the long essay 'The Temporary Autonomous Zone, ' and a new preface by the author

    A Field Guide to Getting Lost draws on emblematic moments and relationships in Solnit's own life to explore the issues of wandering, being lost, and the uses of the unknown. The result is a distinctive, stimulating, and poignant voyage of discovery.

    In this collection, including two never-before-published essays, Nussbaum writes about her passion for television that began with stumbling upon "Buffy the Vampire Slayer"—a show that was so much more than it appeared—while she was a graduate student studying Victorian literature. What followed was a love affair with television, an education, and a fierce debate about whose work gets to be called “great” that led Nussbaum to a trailblazing career as a critic whose reviews said so much more about our culture than just what’s good on television. Through these pieces, she traces the evolution of female protagonists over the last decade, the complex role of sexual violence on TV, and what to do about art when the artist is revealed to be a monster. And she explores the links between the television antihero and the rise of Donald Trump.The book is more than a collection of essays. With each piece, Nussbaum recounts her fervent search, over fifteen years, for a new kind of criticism that resists the false hierarchy that elevates one form of culture over another. It traces her own struggle to punch through stifling notions of “prestige television,” searching for a wilder and freer and more varied idea of artistic ambition—one that acknowledges many types of beauty and complexity, and that opens to more varied voices. It’s a book that celebrates television as television, even as each year warps the definition of just what that might mean.