Ingram
Все книги издательства IngramCrowbar Governor
<P>While president of Aetna Life from 1879 to 1922, Morgan Bulkeley served four terms as mayor of Hartford, two terms as Connecticut's governor, and one term as a United States senator. His friends and business and political acquaintances were a who's who of the Gilded Age: Samuel Clemens, J. P. Morgan, Samuel and Elizabeth Colt, Harriet Beecher Stowe, Leland Stanford, Charles Crocker, Albert Spalding, General Sherman, Oliver Wendell Holmes, Katherine Hepburn, as well as every president from Ulysses Grant to Warren Harding. In 1874 Bulkeley formed the Hartford Dark Blues who soon joined the unruly National Association, antecedent of the National League. He served as the league's first president for a year, and was later elected to the Baseball Hall of Fame in Cooperstown. It was during Bulkeley's controversial «holdover» term as governor that he earned the nickname «Crowbar Governor.» He used a crowbar to remove a lock that had been placed on his office door after refusing to vacate the governor's chambers on a technicality. Written in classic storyteller fashion, and augmented by copious research, Crowbar Governor offers readers a privileged glimpse into life and politics in Connecticut during the Gilded Age.</P>
Live from the Homesick Jamboree
<P>Live from the Homesick Jamboree is a brave, brash, funny, and tragic hue and cry on growing up female during the 1970s, «when everything was always so awash» that the speaker finds herself adrift among adults who act like children. The book moves from adolescence through a dry-eyed, poignant exploration of two marriages, motherhood, and the larger world, with the headlong perceptiveness and brio characteristic of Adrian Blevins's work. This poetry is plainspoken and streetwise, brutal and beautiful, provocative and self-incriminating, with much musicality and a corrosive bravura, brilliantly complicated by bursts of vernacular language and flashes of compassion. Whether listening to Emmylou Harris while thinking she should be memorizing Tolstoy, reflecting on her «full-to-bursting motherliness,» aging body, the tensions and lurchings of a relationship, or «the cockamamie lovingness» of it all, the language flies fast and furious. As the poet Tony Hoagland wrote of Blevins's previous book, The Brass Girl Brouhaha, «this is the dirty, trash-talking, highly edified real thang.»</P>
The Trailhead
<P>Song of the Husbands<BR>for Henry<BR> <BR>All winter the kind husbands hover <BR>like mortgaged angels. One <BR>smells gasoline in his sleep, would <BR>be my lover. They want me </P><P>to be well. Specimen, they say, and <BR>mean endearment. I row <BR>into the flood. The vodka </P><P>turns the lemon to crystal, the <BR>carp turn the pond to shit and hunger, <BR>the lingerie turns the trunkful<BR>of lingerie into a special trunk. <BR>And the husbands, the husbands</P><P>If asked they will install a water feature. </P><P>I tend my minor art, <BR>I push my sorrow cart, <BR>the women sing to the women o'er the prison <BR>walls: Daughters of Elysium!: as </P><P>I elysium myself to sleep and, <BR>waking, wear a <BR>poppy cast from silver around<BR>my neck. I grow<BR>ashamed of my teeth, I pawn, redeem, <BR>pawn, redeem, shoo </P><P>deer from the poison hedge. Oh<BR>leanmost season. Speak, <BR>husbands; speak, cocked <BR>honeys; speak!</P><P>"I'm learning to allow for visions," the primary speaker of The Trailhead announces, setting out through a landscape populated by swan-killers, war torturers, and kings. Much of the book takes place in the contemporary American West, and these poems reckon with the violence inherent in that place. A «conversion narrative» of sorts, the book examines the self as a «burned-over district,» individual and cultural pain as a crucible in which the book's sibyls and spinsters are remade, transfigured. «Sacralization/is when things become holy, also/when vertebrae fuse,» the book tells us, pulling at the tensions between secular and sacred embodiment, exposing the essential difficulty of being a speaking woman. The collection arrives at a taut, gendered calling—a firm faith in the power and worth of the female voice—and a broader faith in poetry not as a vehicle of atonement or expiation, but as bulwark against our frailties and failings.</P>
The Emergence of Latin American Science Fiction
<P>Early science fiction has often been associated almost exclusively with Northern industrialized nations. In this groundbreaking exploration of the science fiction written in Latin America prior to 1920, Rachel Haywood Ferreira argues that science fiction has always been a global genre. She traces how and why the genre quickly reached Latin America and analyzes how writers in Argentina, Brazil, and Mexico adapted science fiction to reflect their own realities. Among the texts discussed are one of the first defenses of Darwinism in Latin America, a tale of a time-traveling history book, and a Latin American Frankenstein. Latin American science fiction writers have long been active participants in the sf literary tradition, expanding the limits of the genre and deepening our perception of the role of science and technology in the Latin American imagination. The book includes a chronological bibliography of science fiction published from 1775 to 1920 in all Latin American countries.</P>
Using the Sky
<P>Deborah Hay is an internationally renowned dance artist whose unique approach to bodily practice has had lasting impact on American choreography. Her commitment to dance as a process is as exquisite as it is provoking. Rooted in NYC's 1960s experimental Judson Dance Theater in New York, Hay's work has evolved through experimentation with a use of language that is unique to dance. This book is an exploration and articulation of Hay's process, focusing on several of her most recent works.</P>
Drawing the Surface of Dance
<P>Soloing on the page, choreographer Annie-B Parson rethinks choreography as dance on paper. Parson draws her dances into new graphic structures calling attention to the visual facts of the materiality of each dance work she has made. These drawings serve as both maps of her pieces in the aftermath of performance, and a consideration of the elements of dance itself. Divided into three chapters, the book opens with diagrams of the objects in each of her pieces grouped into chart-structures. These charts reconsider her dances both from the perspective of the resonance of things, and for their abstract compositional properties. In chapter two, Parson delves into the choreographic mind, charting such ideas as an equality in the perception of objects and movement, and the poetics of a kinetic grammar. Charts of erasure, layering and language serve as dynamic and prismatic tools for dance making. Lastly, nodding to the history of chance operations in dance, Parson creates a generative card game of 52 compositional elements for artists of any medium to cut out and play as a method for creating new material. Within the duality of form and content, this book explores the meanings that form itself holds, and Parson's visual maps of choreographic ideas inspire new thinking around the shared elements underneath all art making.</P>
The Collected Poems of Lorenzo Thomas
<P>Lorenzo Thomas (1944-2005) was the youngest member of the Society of Umbra, predecessor of the Black Arts Movement. The Collected Poems of Lorenzo Thomas is the first volume to encompass his entire writing life. His poetry synthesizes New York School and Black Arts aesthetics, heavily influenced by blues and jazz. In a career that spanned decades, Thomas constantly experimented with form and subject, while still writing poetry deeply rooted in the traditions of African American aesthetics. Whether drawing from his experiences during the war in Vietnam, exploring his life in the urban north and the southwest, or parodying his beloved Negritude ancestors, Thomas was a lyric innovator.</P>
Atopia
<P>Atopia grapples with the political climate of the United States manifested through our everyday lives. Sandra Simonds charts the formations and deformations of the social and political through the observations of the poem's speakers, interspersed with the language of social media, news reports, political speech, and the dialogue of friends, children, strangers, and politicians. The Los Angeles Review of Books characterized Simonds's work as «robust, energetic, fanciful, even baroque» and «a necessary counterforce to the structures of gender, power, and labor that impinge upon contemporary life.» These poems reflect on what it means to be human, what it means to build communities within a political structure it also opposes.</P>