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The Marauders of Frontiers
Today the forests have fallen; its gloomy inhabitants, gradually rejected by the civilization that persecutes them without truce or rest, have fled step by step before it; they have gone in search of safer retreats in the distance, taking their parents' bones with them lest they be unearthed and desecrated by the ruthless share of the white plow, which carves its long and productive furrow over their former homelands. hunt. Is this continuous, incessant clearing of the American continent an evil? Not by the way; on the contrary, progress, which marches by leaps and bounds and tends to transform the soil of the New World within a century, deserves all our sympathies. Nevertheless, we cannot help feeling a feeling of painful sympathy for this unfortunate race brutally outlawed, pitilessly hemmed in on all sides, diminishing day by day and fatally doomed to disappear very soon from that land, whose immense territory, four centuries ago at the most, covered with its innumerable masses.
Code of Federal Regulations
Special edition of the Federal Register, containing a codification of documents of general applicability and future effect ... with ancillaries.
Yearbook - American College of Surgeons
Supplements accompany some numbers; annual supplement issued 1944-46 during suspension of main publication.
How to Go Mad without Losing Your Mind
“Hold tight. The way to go mad without losing your mind is sometimes unruly.” So begins La Marr Jurelle Bruce's urgent provocation and poignant meditation on madness in black radical art. Bruce theorizes four overlapping meanings of madness: the lived experience of an unruly mind, the psychiatric category of serious mental illness, the emotional state also known as “rage,” and any drastic deviation from psychosocial norms. With care and verve, he explores the mad in the literature of Amiri Baraka, Gayl Jones, and Ntozake Shange; in the jazz repertoires of Buddy Bolden, Sun Ra, and Charles Mingus; in the comedic performances of Richard Pryor and Dave Chappelle; in the protest music of Nina Simone, Lauryn Hill, and Kendrick Lamar, and beyond. These artists activate madness as content, form, aesthetic, strategy, philosophy, and energy in an enduring black radical tradition. Joining this tradition, Bruce mobilizes a set of interpretive practices, affective dispositions, political principles, and existential orientations that he calls “mad methodology.” Ultimately, How to Go Mad without Losing Your Mind is both a study and an act of critical, ethical, radical madness.
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