This book is a collection of Kate Rushin's poetry. The author attempts to capture the faces, voices, feelings, words, and stories of her African-American family, people in the neighborhood and town where she grew up.
This book is a collection of Kate Rushin's poetry. The author attempts to capture the faces, voices, feelings, words, and stories of her African-American family, people in the neighborhood and town where she grew up.
The pioneering anthology Home Girls features writings by Black feminist and lesbian activists on topics both provocative and profound. Since its initial publication in 1983, it has become an essential text on Black women's lives and writings. This edition features an updated list of contributor biographies and an all-new preface that provides a fresh assessment of how Black women's lives have changed-or not-since the book was first published. Contributors are Tania Abdulahad, Donna Allegra, Barbara A. Banks, Becky Birtha, Julie Carter, Cenen, Cheryl Clarke, Michelle Cliff, Michelle T. Clinton, Willie M. Coleman, Toi Derricotte, Alexis De Veaux, Jewelle L. Gomez, Akasha (Gloria) Hull, Patricia Jones, June Jordan, Audre Lorde, Raymina Y. Mays, Deidre McCalla, Chirlane McCray, Pat Parker, Linda C. Powell, Bernice Johnson Reagon, Spring Redd, Gwendolyn Rogers, Kate Rushin, Ann Allen Shockley, Barbara Smith, Beverly Smith, Shirley O. Steele, Luisah Teish, Jameelah Waheed, Alice Walker, and Renita Weems.
"What a great premise for an anthology! And it succeeds, both in its celebration of our crazy culture and its fascinating analysis, through the poems, of popular myths that have stood the test of time." —Kliatt In the past few decades, poetry about and around popular culture has become a very hip contemporary art form. Real Things is a collection of over 150 poems by more than 130 poets who themselves represent the cultural diversity of the United States. With subjects ranging from the influence of Mickey Mouse on child-raising to the relationship of Barbie to sex in America, from the societal effects of the movie Psycho to our fascination with dirty politics and Ralph Kramden, the poems in this anthology question and celebrate the attitudes that our society shares.
Updated and expanded edition of the foundational text of women of color feminism. Originally released in 1981, This Bridge Called My Back is a testimony to women of color feminism as it emerged in the last quarter of the twentieth century. Through personal essays, criticism, interviews, testimonials, poetry, and visual art, the collection explores, as coeditor Cherríe Moraga writes, the complex confluence of identitiesrace, class, gender, and sexualitysystemic to women of color oppression and liberation. Reissued here, nearly thirty-five years after its inception, the fourth edition contains an extensive new introduction by Moraga, along with a previously unpublished statement by Gloria Anzaldúa. The new edition also includes visual artists whose work was produced during the same period as Bridge, including Betye Saar, Ana Mendieta, and Yolanda López, as well as current contributor biographies. Bridge continues to reflect an evolving definition of feminism, one that can effectively adapt to, and help inform an understanding of the changing economic and social conditions of women of color in the United States and throughout the world. Immense is my admiration for the ongoing dialogue and discourse on feminism, Indigenous feminism, the defining discussions in women of color movements and the broader movement. I have loved this book for thirty years, and am so pleased we have returned with our stories, words, and attributes to the growing and resilient movement. Winona LaDuke (Anishinaabe), Executive Director, Honor the Earth Praise for the Third Edition This Bridge Called My Back dispels all doubt about the power of a single text to radically transform the terrain of our theory and practice. Twenty years after its publication, we can now see how it helped to untether the production of knowledge from its disciplinary anchorsand not only in the field of womens studies. This Bridge has allowed us to define the promise of research on race, gender, class and sexuality as profoundly linked to collaboration and coalition-building. And perhaps most important, it has offered us strategies for transformative political practice that are as valid today as they were two decades ago. Angela Davis, University of California, Santa Cruz This Bridge Called My Back has served as a significant rallying call for women of color for a generation, and this new edition keeps that call alive at a time when divisions prove ever more stubborn and dangerous. A much-cited text, its influence has been visible and broad both in academia and among activists. We owe much of the sound of our present voices to the brave scholars and feminists whose ideas and ideals crowd its pages. Shirley Geok-lin Lim, University of California, Santa Barbara This book is a manifestothe 1981 declaration of a new politics US Third World Feminism. No great de-colonial writer, from Fanon, Shaarawi, Blackhawk, or Sartre, to Mountain Wolf Woman, de Beauvoir, Saussure, or Newton could have alone proclaimed this politic born of necessity. This politic denies no truths: its luminosities drive into and through our bodies. Writers and readers alike become shape-shifters, are invited to enter the shaman/witness state, to invoke power differently. US Third World Feminism requires a re-peopling: the creation of planetary citizen-warriors. This book is a guide that directs citizenry shadowed in hate, terror, suffering, disconnection, and pain toward the light of social justice, gender and erotic liberation, peace, and revolutionary love. This Bridge transits our dreams, and brings them to the real. Chela Sandoval, University of California, Santa Barbara
How Black women’s reproduction became integral to white supremacy, capitalism, and heteropatriarchy—and remains key to their dismantling In the United States, slavery relied on the reproduction and other labors of unfree Black women. Nearly four centuries later, Black reproductivity remains a vital technology for the creation, negotiation, and transformation of sexualized and gendered racial categories. Yet even as Black reproduction has been deployed to resolve the conflicting demands of white supremacy, capitalism, and heteropatriarchy, Sara Clarke Kaplan argues that it also holds the potential to destabilize the oppressive systems it is supposed to maintain. The Black Reproductive convenes Black literary and cultural studies with feminist and queer theory to read twentieth- and twenty-first-century texts and images alongside their pre-emancipation counterparts. These provocative, unexpected couplings include how Toni Morrison’s depiction of infanticide regenders Orlando Patterson’s theory of social death, and how Mary Prince’s eighteenth-century fugitive slave narrative is resignified through the representational paradoxes of Gayl Jones’s blues novel Corregidora. Throughout, Kaplan offers new perspectives on Black motherhood and gendered labor, from debates over the relationship between President Thomas Jefferson and Sally Hemings, to the demise of racist icon Aunt Jemima, to discussions of Black reproductive freedom and abortion. The Black Reproductive gives vital insight into the historic and ongoing conditions of Black unfreedom, and points to the possibilities for a Black feminist practice of individual and collective freedom.
For fans of Sorry to Bother You and The Wolf of Wall Street comes a blazing, satirical debut novel about a young man given a shot at stardom as the lone black salesman at a mysterious, cult-like, and wildly successful startup where nothing is as it seems.
* Finalist for the National Book Award in Poetry * * Winner of the National Book Critics Circle Award in Poetry * Finalist for the National Book Critics Circle Award in Criticism * Winner of the NAACP Image Award * Winner of the L.A. Times Book Prize * Winner of the PEN Open Book Award * ONE OF THE BEST BOOKS OF THE YEAR: The New Yorker, Boston Globe, The Atlantic, BuzzFeed, NPR. Los Angeles Times, Publishers Weekly, Slate, Time Out New York, Vulture, Refinery 29, and many more . . . A provocative meditation on race, Claudia Rankine's long-awaited follow up to her groundbreaking book Don't Let Me Be Lonely: An American Lyric. Claudia Rankine's bold new book recounts mounting racial aggressions in ongoing encounters in twenty-first-century daily life and in the media. Some of these encounters are slights, seeming slips of the tongue, and some are intentional offensives in the classroom, at the supermarket, at home, on the tennis court with Serena Williams and the soccer field with Zinedine Zidane, online, on TV-everywhere, all the time. The accumulative stresses come to bear on a person's ability to speak, perform, and stay alive. Our addressability is tied to the state of our belonging, Rankine argues, as are our assumptions and expectations of citizenship. In essay, image, and poetry, Citizen is a powerful testament to the individual and collective effects of racism in our contemporary, often named "post-race" society.
Assesses the complex interrelationships between food, race, and gender in America, with special attention paid to the famous figure of Aunt Jemima and the role played by soul food in the post-Civil War period, up through the civil rights movement and the present day. Original.
Since 1992, the Sunken Garden Poetry Festival has welcomed nationally acclaimed poets to the picturesque landscape of Hill-Stead Museum, a National Historic Landmark in Farmington, Connecticut. Reflecting the festival that has attracted thousands to this rolling country estate, the poems in this collection have been selected with a broad audience in mind. In the spirit of the festival’s mission to nurture the art of poetry, the anthology features young and emerging poets alongside established poets, including Lucille Clifton, Billy Collins, Carolyn Forche, Yusef Komunyakaa, Maxine Kumin, James Merrill, Marilyn Nelson, Grace Paley, and Richard Wilbur. This new anthology captures the exciting and unique relationship between a distinctive American museum and poetic expression. In addition to a rich selection of poetry, the book includes both an illustrated introduction providing a history of the festival and an appendix listing all festival dates, poets, and musicians for each year. “The Sunken Garden Poetry Festival is a little paradise for poetry.” – Galway Kinnell Ebook Edition Note: Ebook edition note: The poem “The Skeptics,” by Gary Soto, has been redacted.