These poems recall and are rooted in the experiences of a nine-year-old boy traveling alone for thousands of miles and confronting everywhere the realities of borderland politics, racism, and economic injustice. Calling into question the concept of the American Dream, Zamora reimagines home, fusing music and memory to address the quandaries that tear families apart and—if we’re lucky—inspire the building of lives anew.

     Includes Overdue Account, Walter's Cargo Shorts, Simon's Piecharts, Missing Missy, Obviously a Foggot, Formal Complaints, Justin’s Floodlight, Matthew’s Party, Permission Slip and many more.

     However, as readers of the first two volumes of this series will know, her childhood was hardly the loving, supportive, preparatory period it should have been. Instead of family dinners and piano recitals, there were shattered dishes and abusive parents. Instead of trips to the museum, there were trips to TV studios - to be molested by celebrities. In short, her childhood was nothing short of a nightmare. Should it really be any surprise then, after such a traumatic baptism into life, that her first foray into the adult world was hardly an unmitigated success? From living in squalor to racking up debts, her new-found independence forced her face-to-face with many of life's grim realities. And despite waiting all her life for her freedom, she soon realised that a world without the institutional bars she was so accustomed to was just too much of a jungle. And every jungle has its predators... But what was a girl to do? Regress back to an abusive enslavement? Or continue moving forward in a world that seemed so backward? She needed a friend - and fast. Naturally, her understandable distrust of others didn't make things easy. Not to mention her warped idea of love. In the end though, her determination proved the deciding factor. As far as she was concerned, she'd performed her final "favour", and cried the last of her tears. But just when she thought she'd finally left her demons behind, she found herself at the mercy of unsavoury characters yet again - and this time, without anyone to turn to... DISCLAIMER: This is a true story of child abuse, and as such, reader discretion should be advised. Names have been changed to protect the innocent.

    The story of her life is the story of the paintings, and painters, who matter to her. Her intimate, digressive voice guides us through a gallery of moments that have touched her.In these pages, El Greco visits the Sistine Chapel and is appalled by Michelangelo’s bodies. The mystery of Rothko's refusal to finish murals for the Seagram Building in New York is blended with the story of a hospital in which a prostitute walks the halls while the narrator's husband receives chemotherapy. Alfred de Dreux visits Géricault's workshop; Gustave Courbet's devilish seascapes incite viewers “to have sex, or to eat an apple”; Picasso organizes a cruel banquet in Rousseau’s honor. . . . All of these fascinating episodes in art history interact with the narrator's life in Buenos Aires—her family and work; her loves and losses; her infatuations and disappointments. The effect is of a character refracted by environment, composed by the canvases she studies.Seductive and capricious, Optic Nerve is a book that captures, like no other, the mysterious connections between a work of art and the person who perceives it.

    Inspired by the great Thor Heyerdahl, Buck had recruited seven men to join him on this experiment to discover whether it might have been possible that Polynesia was first settled from South America rather than Asia. But when one of them dropped out a place in the crew became available for Nick. What followed was a somewhat bizarre expedition undertaken by a rather makeshift vessel, a couple of ducks (one of which could have only guessed at its fate) and a group of men, who, when all was said and done, weren't quite sure how to sail a boat. Eight Men and a Duck is a tale of storms, amateur seamen and the occasional shark.

    This work, which was published for the general public in the Western world a year after it was sent to its intended audience, beseeched the Soviet Union's authorities to Give them their ideology! Let the Chinese leaders glory in it for a while. And for that matter, let them shoulder the whole sackful of unfulfillable international obligations, let them grunt and heave and instruct humanity, and foot all the bills for their absurd economics (a million a day just to Cuba), and let them support terrorists and guerrillas in the Southern Hemisphere too if they like. The main source of the savage feuding between us will then melt away, a great many points of today's contention and conflict all over the world will also melt away, and a military clash will become a much remoter possibility and perhaps won't take place at all"--

    It addresses itself, with depth and awareness, to those who believe in the destiny of their country, who feel that things are being done but don't know exactly what; that the country is going some place but don't know exactly where, and how. It illuminates hazy portions of the present by seeing these against the anguish of our past, perceiving in today's continuing crisis intimations of a future with dignity, hope and freedom.It invites the uncommitted to commit themselves to democracy, at the same time redefining for those already committed the value of their affirmation: that, stripped of the enticements of propaganda, communism is still the "biggest swindle in a democracy."Without heat, without cant, without despair, this book quietly and eloquently meets the challenge of revolution, and shows the way. For all who would be encompassed by disillusion, here is a profound treatise written by a man best qualified of all, who has lived in the vortex of the troubled present, swept awash by the dissonances of change, radicalism, violence—revolution, in short—but survived with faith and perception intact.

    The result is an extraordinary, complex portrait of "white girls," as Als dubs them—an expansive but precise category that encompasses figures as diverse as Truman Capote and Louise Brooks, Malcolm X and Flannery O’Connor. In pieces that hairpin between critique and meditation, fiction and nonfiction, high culture and low, the theoretical and the deeply personal, Als presents a stunning portrait of a writer by way of his subjects, and an invaluable guide to the culture of our time.