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Poetry. "I suppose it only befits this book titled ANGEL OF ANARCHY to nearly be without words for author Glenn Sheldon's tour de force of poems. I would require more wildly angelic language to convey the courageous soarings of Sheldon's language, his unflinching acquaintance with life--human and otherwise--on planet Earth and with outer and deepest inner space. This poet weds the knowledge of contemporary physicists with the knowledge of the poets and holy fools and other 'outsiders' who refuse to vanish the same as angels who refuse to leave us. I admire Glenn Sheldon for daring to write these fierce poems that fly far beyond contemporary people's lives increasingly forced into being poor, controlled, small and afraid. These poems fly, and the poet who wrote them is in the profoundest sense a guardian angel of anarchy for anyone in need of wings."--Susan Deer Cloud
This study examines the work of six American poets who visited Mexico in the 1950s, discussing the complex relationships between location, writing, society, history and dislocation. By interacting with Mexican culture and writing about the experience, these poets had to come to terms with the foreign as well as explore their own identities as Americans. Experiencing Mexico inspired these poets to use many different voices in their poetry, a style in opposition to the hegemony of 1950s American culture. This study compares and contrasts the poets, particularly in terms of class, race, sexual orientation, and gender, and which strategies of "going foreign" each uses. Each chapter examines a poem or series of poems based upon a trip to Mexico. Analyzed in detail are Williams' The Desert Music, Kerouac's Mexico City Blues, Corso's "Mexican Impressions" and "Puma in Chapultepec Zoo," Ginsberg's Siesta in Xbalba, Levertov's "Tomatlan" and others, and Hayden's An Inference of Mexico.
Often treated like night itself—both visible and invisible, feared and romanticized—Latina/os make up the largest minority group in the US. In her newest work, María DeGuzmán explores representations of night in art and literature from the Caribbean, Colombia, Central and South America, and the US, calling into question night's effect on the formation of identity for Latina/os in and outside of the US. She takes as her subject novels, short stories, poetry, essays, non-fiction, photo-fictions, photography, and film, and examines these texts through the lenses of nationhood, sexuality, human rights, exoticism, among others.
Encountering Buddhism in Twentieth-Century British and American Literature explores the ways in which 20th-century literature has been influenced by Buddhism, and has been, in turn, a major factor in bringing about Buddhism's increasing spread and influence in the West. Focussing on Britain and the United States, Buddhism's influence on a range of key literary texts will be examined in the context of those societies' evolving modernity. Writers discussed include T. S. Eliot, Hermann Hesse, Virginia Woolf, Jack Kerouac, Allen Ginsberg, J. D. Salinger, Iris Murdoch, Maxine Hong Kingston. This book brings together for the first time a series of context-rich interpretations that demonstrate the importance of literature in this ongoing cultural change in Britain and the United States.
FDR—the wily political opportunist glowing with charismatic charm, a leader venerated and hated with equal vigor—such is one common notion of a president elected to an unprecedented four terms. But in this first comprehensive study of Roosevelt's leadership of the Democratic party, Sean Savage reveals a different man. He contends that, far from being a mere opportunist, Roosevelt brought to the party a conscious agenda, a longterm strategy of creating a liberal Democracy that would be an enduring majority force in American politics. The roots of Roosevelt's plan for the party ran back to his experiences with New York politics in the 1920s. It was here, Savage argues, that Roosevelt first...
Covers receipts and expenditures of appropriations and other funds.
How the dissemination of Latin American literature in the U.S. was "caught between the desire to support the literary revolution of the Boom writers and the fear of revolutionary politics" (John King).