Writing poem is most attractive behavior to me. The reason is purification of my soul and pursuing essential thing. So poetic language remains a lot of imageries, metaphors and symbols. Still, I have an obligation that I have to remain my writing to my descendants. This is the first reason to write these poems, because I am a stranger who doesn't know well dominant language, English. And as a stranger, I have a desire to send what my emotions, struggles and experiences are as a first generation. Secondly, I want to send my devotional emotions from in my being and nature. So my poems express some spiritual struggles and devotions as a hidden form like metaphor, symbol and story. Thirdly, my style of poem is narrative or story. This makes me uncomfortable, because I have tried to express with some hidden form of language from my nature and spiritual sight than phenomenon. So I have a prayer to recognize what the universal language which would be human's nature to send inner voices is. Thanks to all my readers!
None a Stranger There offers a collection of wide-ranging essays that explore the creation and understanding of English identity through the lens of early modern drama. Drawing together a rich array of disciplines--literary criticism, theater history, linguistics, book history, and performance studies--the scholars in this collection illuminate how diverse or competing notions of "Englishness" can be seen and studied in early modern English plays. They are an especially fertile site of study because they enabled collective performances in a variety of settings, such as public theaters, royal courts, and streets. They engaged with live audiences from a cross section of society. The contributors also draw parallels in plays of the period between past and present. They identify vivid struggles over controversies--especially Brexit and neonationalism--that still bedevil Britain and much of the western world: attitudes about and experiences of immigrants; xenophobia and tolerance; multiculturalism, assimilation, and hybridity; patriotism and jingoism; racial and ethnic identity; border-making and border-crossing; transnational itinerancy; and other topics. None a Stranger There provides a nuanced understanding of how early modern dramatists shaped and responded to questions about English identity and its relationship with Europe and beyond. It emphasizes the fluidity and complexities of national identity, reminding us that these debates remain deeply relevant in an interconnected world. CONTRIBUTORS Heather Bailey / Todd Andrew Borlik / William Casey Caldwell / Matt Carter / Kevin Chovanec / John S. Garrison / Scott Oldenburg / Matteo Pangallo / Jamie Paris / Vimala C. Pasupathi / Kyle Pivetti / Margaret Tudeau-Clayton
A personal word from the Author As I reflect on the pages of "Tokyo Tales: Stories of Life in Japan's Bustling Metropolis," I find myself immersed in a world of wonder, a tapestry of stories that have touched my heart and left an indelible mark on my soul. Through the captivating narratives and vivid descriptions, I have been transported to the vibrant streets of Tokyo, experiencing the city's essence through the eyes of its inhabitants. Tokyo, a city that breathes with a life of its own, is a symphony of sights, sounds, and emotions. It is a place where tradition dances hand in hand with innovation, where the past intertwines with the present, creating a harmonious blend that is uniquely captivating. In these stories, I have witnessed the delicate balance between honoring age-old customs and embracing the relentless tide of progress. Tokyo is a city that embraces its rich cultural heritage while eagerly exploring the frontiers of the future. The people who inhabit this bustling metropolis are the heart and soul of its enchantment. Their dreams, hopes, and struggles reverberate through each tale, creating a tapestry of humanity that is both universal and deeply personal. From the stoic salaryman navigating the demands of corporate life to the artist seeking solace and inspiration in the city's hidden corners, the characters in "Tokyo Tales" have taught me valuable lessons about resilience, determination, and the pursuit of one's passions. In Tokyo, I have discovered a place where contradictions coexist harmoniously. Amidst the labyrinthine streets and towering skyscrapers, there is a serenity that can be found in the simplicity of a traditional tea ceremony or the tranquility of a Japanese garden. It is a city that celebrates the ephemeral beauty of cherry blossoms in spring and the vibrant colors of autumn leaves, reminding us of the transient nature of life itself. Yet, Tokyo is also a city that pulses with the energy of modernity. Its neon-lit streets, crowded intersections, and technological marvels create a sensory overload that is both exhilarating and awe-inspiring. In these tales, I have marveled at the fusion of ancient traditions with cutting-edge advancements, where futuristic architecture rises alongside centuries-old temples, and where the virtual world seamlessly merges with reality. Beyond the physical landscape, Tokyo is a city of connections. It is a place where strangers become friends, where a shared smile or a moment of kindness transcends language and cultural barriers. In the stories of "Tokyo Tales," I have experienced the warmth and hospitality of Tokyoites, their willingness to embrace diversity and welcome outsiders into their vibrant community. Tokyo has taught me the value of human connection, the power of empathy, and the beauty of forging bonds that transcend borders. As I reach the final pages of this literary journey, I carry with me the memories of Tokyo's tales, the sights, the sounds, and the emotions that have enveloped me throughout this remarkable adventure. The stories have not only provided a glimpse into the lives of Tokyo's inhabitants but have also invited me to reflect on my own journey, my own dreams, and the power of embracing the unknown.
GOOD MORNING AMERICA BUZZ PICK • The Pulitzer Prize–winning playwright and co-writer of In the Heights tells her lyrical story of coming of age against the backdrop of an ailing Philadelphia barrio, with her sprawling Puerto Rican family as a collective muse. LONGLISTED FOR THE ANDREW CARNEGIE MEDAL • ONE OF THE BEST BOOKS OF THE YEAR: NPR, New York Public Library, BookPage, and BookRiot • “Quiara Alegría Hudes is in her own league. Her sentences will take your breath away. How lucky we are to have her telling our stories.”—Lin-Manuel Miranda, award-winning creator of Hamilton and In the Heights Quiara Alegría Hudes was the sharp-eyed girl on the stairs while her family danced their defiance in a tight North Philly kitchen. She was awed by her mother and aunts and cousins, but haunted by the unspoken, untold stories of the barrio—even as she tried to find her own voice in the sea of language around her, written and spoken, English and Spanish, bodies and books, Western art and sacred altars. Her family became her private pantheon, a gathering circle of powerful orisha-like women with tragic real-world wounds, and she vowed to tell their stories—but first she’d have to get off the stairs and join the dance. She’d have to find her language. Weaving together Hudes’s love of music with the songs of her family, the lessons of North Philly with those of Yale, this is a multimythic dive into home, memory, and belonging—narrated by an obsessed girl who fought to become an artist so she could capture the world she loved in all its wild and delicate beauty.
This book is a compilation of the 77 posts Annie Abrahams wrote for her (e)stranger website between April and August 2014. Some of these are personal, others go back to literature, art works or are more theoretical. Abrahams plays creatively with ideas of what it means to be an (e)stranger. She researches its possibilities, beyond it's handicapping proprieties and touches upon themes as different as the use of Latin in church to questions about the relation between code and emotions. PastMono, research, collage, bricolage, assemblage. An (e)stranger is invisible, exotic, unidentifiable, rude, hybrid, blurry, deformed, subversive, incomprehensible, complex, pliable, lonely, abject, harder and more fragile at the same time ... they are more resilient, more inventive, know how to protect themselves, are good observers, look around a lot, see and ask questions about things that seem to be self-evident ...
During the summer of 1964, over one thousand people, including many college students went to Mississippi as part of a state wide effort to register African-American voters and to establish teaching centers that became known as "Freedom Schools." Participants began their training at a college campus in Ohio. Motivated by a strong sense of social justice, Tracy Sugarman, an artist and commercial illustrator from Westport, Connecticut, joined the volunteers in Ohio and set out to document the people and events of what turned out to be an historic period. Sugarman joined the freedom riders, and while somewhat older and more experienced than most of them, was an active participant throughout. Sugarman traveled to Mississippi and shared all the experiences of the workers as well as their fears and anxiety as they were greeted by anger and violence by many white Mississippians. Sugarman describes and beautifully illustrates the living conditions, day-to-day activities, and the interpersonal relationships that developed between the host families and the visitors. The author introduces us and vividly portrays many of the important people in the movement, including Bob Moses and many others, but he also focuses on the ordinary citizens and hosts. Other works have set forth the significant events that occurred during that summer, including especially the Goodman/Schwerner/Chaney murders that took place in Neshoba County and startled the American public. This first hand account focuses more on the human experiences and its meaning for participants. It is an essential source of information about what Freedom Summer did for those who took part in it and now, with the 50th anniversary of Freedom Summer, Stranger at the Gates will bring to life this momentous period for modern readers. Most of the wonderful illustrations created for the 1966 edition of Stranger at the Gates have been reproduced here, and as a special bonus, 26 illustrations that were not included in the original book are included in a gallery of Freedom Summer in brilliant drawings that bring to life, in Tracy Sugarman's powerful reportorial style, the people and places of 1964 Mississippi.
Examines over thirty of Mollie Hunter's fantasies, historical novels, realistic novels of modern life, and nonfiction essays on writing for children. In this book, Greenway offers the first full-length study of the works of Mollie Hunter.
