Delany, whose theoretically sophisticated science fiction and fantasy has won him a broad audience among academics and fans of postmodernist fiction, offers insights into and explorations of his own experience as writer, critic, theorist, and gay black man in his new collection of written interviews, a form he describes as a type of "guided essay." Gathered from sources as diverse as Diacritics and Comics Journal, these interviews reveal the broad range of his thought and interests.

    Clandinin and Connelly have created a major tour de force. This book is lucid, fluid, beautifully argued, and rich in examples. Students will find a wealth of arguments to support their research, and teaching faculty will find everything they need to teach narrative inquiry theory and methods.--Yvonna S. Lincoln, professor, Department of Educational Administration, Texas A&M University Understanding experience as lived and told stories--also known as narrative inquiry--has gained popularity and credence in qualitative research. Unlike more traditional methods, narrative inquiry successfully captures personal and human dimensions that cannot be quantified into dry facts and numerical data. In this definitive guide, Jean Clandinin and Michael Connelly draw from more than twenty years of field experience to show how narrative inquiry can be used in educational and social science research. Tracing the origins of narrative inquiry in the social sciences, they offer new and practical ideas for conducting fieldwork, composing field notes, and conveying research results. Throughout the book, stories and examples reveal a wide range of narrative methods. Engaging and easy to read, Narrative Inquiry is a practical resource from experts who have long pioneered the use of narrative in qualitative research.

    the idea that space is not something static and neutral, a frozen entity, but is something intertwined with time and thus ever changing - also when we are not occupying it. Doreen's descriptions of her journey through England for example are clear and precise accounts of this idea, and she very sharply characterizes the attempts not to recognize this idea as utopian and nostalgic." - Olafur EliassonIn this book, Doreen Massey makes an impassioned argument for revitalising our imagination of space. She takes on some well-established assumptions from philosophy, and some familiar ways of characterising the twenty-first century world, and shows how they restrain our understanding of both the challenge and the potential of space.The way we think about space matters. It inflects our understandings of the world, our attitudes to others, our politics. It affects, for instance, the way we understand globalisation, the way we approach cities, the way we develop, and practice, a sense of place. If time is the dimension of change then space is the dimension of the social: the contemporaneous co-existence of others. That is its challenge, and one that has been persistently evaded. For Space pursues its argument through philosophical and theoretical engagement, and through telling personal and political reflection. Doreen Massey asks questions such as how best to characterise these so-called spatial times, how it is that implicit spatial assumptions inflect our politics, and how we might develop a responsibility for place beyond place.This book is "for space" in that it argues for a reinvigoration of the spatiality of our implicit cosmologies. For Space is essential reading for anyone interested in space and the spatial turn in the social sciences and humanities. Serious, and sometimes irreverent, it is a compelling manifesto: for re-imagining spaces for these times and facing up to their challenge.

    A photograph of a gravely joyful crowd gathered on a Prague street in November 1989 provokes reflection on the meaning of democracy and the reunion of a people with long-banished hopes and dreams.With the luminous essays in Keeping a Rendezvous, we are given to see the world as Berger sees it -- to explore themes suggested by the work of Jackson Pollock or J. M. W. Turner, to contemplate the wonder of Paris. Rendezvous are manifold: between critic and art, artist and subject, subject and the unknown. But most significant are the rendezvous between author and reader, as we discover our perceptions informed by John Berger's eloquence and courageous moral imagination.

     The early 1980s were an exciting time for music. Hair metal bands were selling out stadiums, while clubs and house parties in New York City has spawned a new genre of music. At the time, though, hip hop's reach was limited, an artform largely ignored by mainstream radio deejays and the rock-obsessed MTV network.But in 1986, the music world was irrevocably changed when Run-DMC covered Aerosmith's hit "Walk This Way" in the first rock-hip hop collaboration. Other had tried melding styles. This was different, as a pair of iconic arena rockers and the young kings of hip hop shared a studio and started a revolution. The result: Something totally new and instantly popular. Most importantly, "Walk This Way" would be the first rap song to be played on mainstream rock radio.In Walk This Way, Geoff Edgers sets the scene for this unlikely union of rockers and MCs, a mashup that both revived Aerosmith and catapulted hip hop into the mainstream. He tracks the paths of the main artists--Steven Tyler, Joe Perry, Joseph "Run" Simmons, and Darryl "DMC" McDaniels--along with other major players on the scene across their lives and careers, illustrating the long road to the revolutionary marriage of rock and hip hop. Deeply researched and written in cinematic style, this music history is a must-read for fans of hip hop, rock, and everything in between.

    He argues that the election of Nicolas Sarkozy as President does not necessarily signal a crucial turning point in French politics, nor require a further rightward move from competing electoral forces.To understand the significance of Sarkozy, we have to look beyond the right-wing populism and vulgarity of the man himself, and ask what he represents: a reactionary tradition that goes back to the early nineteenth century, a tradition based on fear.Badiou argues that to escape from the atmosphere of depression and anxiety that currently envelops the Left, we need to cast aside the slavish worship of electoral democracy. In a characteristically doughty and wide-ranging conclusion, Alain Badioun maps out a ‘communist hypothesis’ that can lay the basis for a genuine emancipatory politics in the twenty-first century.

    It examines the critical reactions to the different theories of second language acquisition.

    The book is an analysis of physical suffering and its relation to the numerous vocabularies and cultural forces--literary, political, philosophical, medical, religious--that confront it. Elaine Scarry bases her study on a wide range of sources: literature and art, medical case histories, documents on torture compiled by Amnesty International, legal transcripts of personal injury trials, and military and strategic writings by such figures as Clausewitz, Churchill, Liddell Hart, and Kissinger, She weaves these into her discussion with an eloquence, humanity, and insight that recall the writings of Hannah Arendt and Jean-Paul Sartre. Scarry begins with the fact of pain's inexpressibility. Not only is physical pain enormously difficult to describe in words--confronted with it, Virginia Woolf once noted, "language runs dry"--it also actively destroys language, reducing sufferers in the most extreme instances to an inarticulate state of cries and moans. Scarry analyzes the political ramifications of deliberately inflicted pain, specifically in the cases of torture and warfare, and shows how to be fictive. From these actions of "unmaking" Scarry turns finally to the actions of "making"--the examples of artistic and cultural creation that work against pain and the debased uses that are made of it. Challenging and inventive, The Body in Pain is landmark work that promises to spark widespread debate.

    In a quick, easy read, you can take the main principles from White Fragility: Why It’s So Hard for White People to Talk About Racism! The phrase “white fragility” has grown into a term that many people have accepted and referenced when talking about the defensiveness and discomfort a white person feels when talking about race. The term, originally coined in a 2011 article by Robin DiAngelo, is now used in various articles, books, TV shows, and more. Although it’s commonly heard, not many people truly understand what it means. That’s why Robin DiAngelo wrote the book entitled White Fragility: Why it’s So Hard for White People to Talk About Racism. DiAngelo is an author, former professor, and lecturer with a PhD in Multicultural Education from the University of Washington in Seattle. For more than 20 years, she’s focused on racial justice and whiteness studies. Her book on white fragility is a culmination of everything she’s learned from her personal experiences, her studies, and her interactions with white people and people of color. Her book aims to create a dialogue about race despite the white fragility that Americans feel when confronted with that topic. The book, published in 2018, has gained strong reviews because it explores race in-depth and attempts to break down those walls that white people have built in order to protect themselves from acknowledging their race and the benefits it gives them in life. The book debuted on the New York Times Bestseller List. DiAngelo is the two-time winner of the Student’s Choice Award for Educator of the Year at the University of Washington’s School of Social Work. Aside from her White Fragility book, DiAngelo has numerous other publications and books under her belt. White Fragility: Why It's So Hard for White People to Talk About Racism is the #1 bestseller in the discrimination & racism category on Amazon. That’s because it’s a useful tool that can be used in classrooms, discussions, lectures, and more. For those not in an academic setting, it’s also simply just a book that people from all different cultures can learn from, as it aims to teach us all how we got to this point in society, why we have the racial biases we do, and how we can overcome white fragility in order to have meaningful relationships with people of color.

    Shields evokes his deeply divided personality (his “ridiculous” ambivalence), his character flaws, his woes, his serious despairs. Books are his life raft, but when they come to feel un-lifelike and archaic, he revels in a new kind of art that is based heavily on quotation and consciousness. And he shares with us a final irony: he wants “literature to assuage human loneliness, but nothing can assuage human loneliness. Literature doesn’t lie about this––which is what makes it essential.”

    His parents’ divorce set the stage for a downward spiral of self-destruction. The pressure he felt to keep his family together coupled with a deep desire to “fit in” fueled his experimentation with drugs and alcohol. His descent from upper-middle class teen with a promising future to the depths of heroin addiction left him bankrupt in every imaginable sense of the word. Soon, he was fully immersed in the dark underbelly of society and on the brink of death. Finding his way out of the abyss after ten years was neither quick nor easy. A twelve-step program of recovery and the practice of yoga provided the guiding lights toward a new path. Taylor does much more than share his story in A Way from Darkness; he invites the reader to find healing through community, Ashtanga yoga, and ultimately, acceptance.

    But behind this archetypal small-town landscape lies a complicated past.Starting with the town's founding as a religious promised land, music journalist and poet Daniel Wolff plots a course through 130 years of entwined social and musical history, touching on John Philip Sousa, Count Basie, Frank Sinatra, and Frankie Lymon on the way to the town Bruce was born to run from. Out of the details of local history-the boardwalk in the Gilded Age; the celebrities who passed through, from Stephen Crane to Martin Luther King; sensational murder trials; the birth of Mob control; and a devastating mid-century "race riot"-emerges a universal story of one small town's fortunes. Told with grace and full of fascinating detail, Daniel Wolff's tour across thirteen decades of the Fourth of July in Asbury Park captures all the allure and heartbreak of the American dream reduced to blight and decay, with gentrification as the one hope for a return to its glory days.

    

    Moving from the literary to the visual, from the artistic to the autobiographical, and from the psychoanalytic to the historical, the book defines for the first time the trauma of the Holocaust as a radical crisis of witnessing "the unprecedented historical occurrence of...an event eliminating its own witness." Through the alternation of a literary and clinical perspective, the authors focus on the henceforth modified relation between knowledge and event, literature and evidence, speech and survival, witnessing and ethics.

     The book begins with the history and origin and moves on to the rules of play and ways to win and avoid essential errors as well as the etiquette to follow. With everything from clear instructions on dealing, building, and distributing tiles to a look at the history and future of the game, this is the essential book for anyone who wants to have fun–and win–while playing mah–jongg.