A group of friends return to their hometown to confront a nightmare they first stumbled on as teenagers in this mesmerising odyssey of terror. An atmospheric, haunting page-turner from the bestselling author of Come with Me For nearly two decades, Jamie Warren has been running from darkness. He's haunted by a traumatic childhood and the guilt at having disappeared from his disabled brother's life. But then a series of unusual events reunites him with his estranged brother and their childhood friends, and none of them can deny the sense of fate that has seemingly drawn them back together. Nor can they deny the memories of that summer, so long ago – the strange magic taught to them by an even stranger man, and the terrible act that has followed them all into adulthood. In the light of new danger, they must confront their past by facing their futures, and hunting down a man who may very well be a monster.
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Following the collapse of Reconstruction in 1877, African Americans organized a movement—distinct from the white Populist movement—in the South and parts of the Midwest for economic and political reform: Black Populism. Between 1886 and 1898, tens of thousands of black farmers, sharecroppers, and agrarian workers created their own organizations and tactics primarily under black leadership. As Black Populism grew as a regional force, it met fierce resistance from the Southern Democrats and constituent white planters and local merchants. African Americans carried out a wide range of activities in this hostile environment. They established farming exchanges and cooperatives; raised money for schools; published newspapers; lobbied for better agrarian legislation; mounted boycotts against agricultural trusts and business monopolies; carried out strikes for better wages; protested the convict lease system, segregated coach boxes, and lynching; demanded black jurors in cases involving black defendants; promoted local political reforms and federal supervision of elections; and ran independent and fusion campaigns. Growing out of the networks established by black churches and fraternal organizations, Black Populism found further expression in the Colored Agricultural Wheels, the southern branch of the Knights of Labor, the Cooperative Workers of America, the Farmers Union, and the Colored Farmers Alliance. In the early 1890s African Americans, together with their white counterparts, launched the People's Party and ran fusion campaigns with the Republican Party. By the turn of the century, Black Populism had been crushed by relentless attack, hostile propaganda, and targeted assassinations of leaders and foot soldiers of the movement. The movement's legacy remains, though, as the largest independent black political movement until the rise of the modern civil rights movement.
Winner, Lambda Literary Award in LGBTQ Anthology Winner, Judy Grahn Award for Lesbian Nonfiction, Publishing Triangle Awards A Ms. magazine, Refinery29, and Lambda Literary Most Anticipated Read of 2021 A groundbreaking collection tracing the history of intellectual thought by Black Lesbian writers, in the tradition of The New Press's perennial seller Words of Fire African American lesbian writers and theorists have made extraordinary contributions to feminist theory, activism, and writing. Mouths of Rain, the companion anthology to Beverly Guy-Sheftall's classic Words of Fire, traces the long history of intellectual thought produced by Black Lesbian writers, spanning the nineteenth century through the twenty-first century. Using “Black Lesbian” as a capacious signifier, Mouths of Rain includes writing by Black women who have shared intimate and loving relationships with other women, as well as Black women who see bonding as mutual, Black women who have self-identified as lesbian, Black women who have written about Black Lesbians, and Black women who theorize about and see the word lesbian as a political descriptor that disrupts and critiques capitalism, heterosexism, and heteropatriarchy. Taking its title from a poem by Audre Lorde, Mouths of Rain addresses pervasive issues such as misogynoir and anti-blackness while also attending to love, romance, “coming out,” and the erotic. Contributors include: Barbara Smith Beverly Smith Bettina Love Dionne Brand Cheryl Clarke Cathy J. Cohen Angelina Weld Grimke Alexis Pauline Gumbs Audre Lorde Dawn Lundy Martin Pauli Murray Michelle Parkerson Mecca Jamilah Sullivan Alice Walker Jewelle Gomez
Longlisted for the PEN/Diamonstein-Spielvogel Award “A deeply felt and passionately expressed manifesto.” —Kirkus Reviews (starred) A meditation in the spirit of John Berger and bell hooks on art as protest, contemplation, and beauty in politically perilous times As people consider how to respond to a resurgence of racist, xenophobic populism, A Mouth Is Always Muzzled tells an extraordinary story of the ways art brings hope in perilous times. Weaving disparate topics from sugar and British colonialism to attacks on free speech and Facebook activism and traveling a jagged path across the Americas, Africa, India, and Europe, Natalie Hopkinson, former culture writer for the Washington Post and The Root, argues that art is where the future is negotiated. Part post-colonial manifesto, part history of British Caribbean, part exploration of art in the modern world, A Mouth Is Always Muzzled is a dazzling analysis of the insistent role of art in contemporary politics and life. In crafted, well-honed prose, Hopkinson knits narratives of culture warriors: painter Bernadette Persaud, poet Ruel Johnson, historian Walter Rodney, novelist John Berger, and provocative African American artist Kara Walker, whose homage to the sugar trade Sugar Sphinx electrified American audiences. A Mouth Is Always Muzzled is a moving meditation documenting the artistic legacy generated in response to white supremacy, brutality, domination, and oppression. In the tradition of Paul Gilroy, it is a cri de coeur for the significance of politically bold—even dangerous—art to all people and nations.
"Rachel B. Herrmann's No Useless Mouth is truly a breath of fresh air in the way it aligns food and hunger as the focal point of a new lens to reexamine the American Revolution. Her careful scrutiny, inclusive approach, and broad synthesis―all based on extensive archival research―produced a monograph simultaneously rich, audacious, insightful, lively, and provocative."―The Journal of American History In the era of the American Revolution, the rituals of diplomacy between the British, Patriots, and Native Americans featured gifts of food, ceremonial feasts, and a shared experience of hunger. When diplomacy failed, Native Americans could destroy food stores and cut off supply chains in order to assert authority. Black colonists also stole and destroyed food to ward off hunger and carve out tenuous spaces of freedom. Hunger was a means of power and a weapon of war. In No Useless Mouth, Rachel B. Herrmann argues that Native Americans and formerly enslaved black colonists ultimately lost the battle against hunger and the larger struggle for power because white British and United States officials curtailed the abilities of men and women to fight hunger on their own terms. By describing three interrelated behaviors—food diplomacy, victual imperialism, and victual warfare—the book shows that, during this tumultuous period, hunger prevention efforts offered strategies to claim power, maintain communities, and keep rival societies at bay. Herrmann shows how Native Americans, free blacks, and enslaved peoples were "useful mouths"—not mere supplicants for food, without rights or power—who used hunger for cooperation and violence, and took steps to circumvent starvation. Her wide-ranging research on black Loyalists, Iroquois, Cherokee, Creek, and Western Confederacy Indians demonstrates that hunger creation and prevention were tools of diplomacy and warfare available to all people involved in the American Revolution. Placing hunger at the center of these struggles foregrounds the contingency and plurality of power in the British Atlantic during the Revolutionary Era. Thanks to generous funding from Cardiff University, the ebook editions of this book are available as Open Access volumes from Cornell Open (cornellpress.cornell.edu/cornell-open) and other repositories.
WINNER OF THE WHITING AWARD PEN AMERICA LITERARY FINALIST Recommended by Héctor Tobar as an essential Los Angeles book in the New York Times. Carribean Fragoza's debut collection of stories reside in the domestic surreal, featuring an unusual gathering of Latinx and Chicanx voices from both sides of the U.S./Mexico border, and universes beyond. "Eat the Mouth That Feeds You is an accomplished debut with language that has the potential to affect the reader on a visceral level, a rare and significant achievement from a forceful new voice in American literature."—Kali Fajardo-Anstine, New York Times Book Review, and author of Sabrina and Corina Carribean Fragoza's imperfect characters are drawn with a sympathetic tenderness as they struggle against circumstances and conditions designed to defeat them. A young woman returns home from college, only to pick up exactly where she left off: a smart girl in a rundown town with no future. A mother reflects on the pain and pleasures of being inexorably consumed by her small daughter, whose penchant for ingesting grandma's letters has extended to taking bites of her actual flesh. A brother and sister watch anxiously as their distraught mother takes an ax to their old furniture, and then to the backyard fence, until finally she attacks the family’s beloved lime tree. Victories are excavated from the rubble of personal hardship, and women's wisdom is brutally forged from the violence of history that continues to unfold on both sides of the US-Mexico border. "Eat the Mouth that Feeds You renders the feminine grotesque at its finest."—Myriam Gurba, author of Mean "Eat the Mouth that Feeds You will establish Fragoza as an essential and important new voice in American fiction."—Héctor Tobar, author of The Barbarian Nurseries "Fierce and feminist, Eat the Mouth That Feeds You is a soul-quaking literary force."—Dontaná McPherson-Joseph, The Foreword, *Starred Review ". . . a work of power and a darkly brilliant talisman that enlarges in necessary ways the feminist, Latinx, and Chicanx canons."—Wendy Ortiz, Alta Magazine "Fragoza's surreal and gothic stories, focused on Latinx, Chicanx, and immigrant women's voices, are sure to surprise and move readers."—Zoe Ruiz, The Millions "This collection of visceral, often bone-chilling stories centers the liminal world of Latinos in Southern California while fraying reality at its edges. Full of horror and wonder."—Kirkus Reviews, *Starred Review "Fragoza's debut collection delivers expertly crafted tales of Latinx people trying to make sense of violent, dark realities. Magical realism and gothic horror make for effective stylistic entryways, as Fragoza seamlessly blurs the lines between the corporeal and the abstract."—Publishers Weekly "The magic realism of Eat the Mouth that Feeds You is thoroughly worked into the fabric of the stories themselves . . . a wonderful debut."—Brian Evenson, author of Song for the Unraveling of the World
Why are Americans so uniquely obsessed with teeth? Brilliantly white, straight teeth? Making the American Mouth is at once a history of United States dentistry and a study of a billion-dollar industry. Alyssa Picard chronicles the forces that limited Americans' access to dental care in the early twentieth century and the ways dentists worked to expand that access--and improve the public image of their profession. Comprehensive in scope, this work describes how dentists' early public health commitments withered under the strain of fights over fluoride, mid-century social movements for racial and gender equity, and pressure to insure dental costs. It explains how dentists came to promote cosmetic services, and why Americans were so eager to purchase them. As we move into the twentyfirst century, dentists' success in shaping their industry means that for many, the perfect American smile will remain a distant--though tantalizing--dream.
