CAMINO IMAGINADO Blue leaves, hojas rotas in the shape of stars.Ni un "no" en tu vocabulario but for others;blue in place of green in the shape of Spain.Ojos the color of dirt, chocolate, coffee, time,azules las horas, hojas de horas van y se van,ni una palabra, ni una queja, nor broken bita tu lado beside me andamos walking, sí walkingcaminamos caminos like these, such streets, whatcity. 7/15/95 Paris Xicancuicatl collects the poetry of leading avant-garde Chicanx poet Alfred Arteaga (1950–2008), whom French philosopher Gilles Deleuze regarded as "among those rare poets who are able to raise or shape a new language within their language." In his five published collections, Arteaga made crucial breakthroughs in the language of poetry, basing his linguistic experiments on the multilingual Xicanx culture of the US Southwest. His formal resources and finely tuned ear for sound patterns and language play remain astonishing. His poetical work, presented as a whole here for the first time, speaks more than ever to a moment in which border-crossing, cultural diversity, language-mixing and a multi-cultural vision of America are critical issues.

CARE Dress like you care!Eat like you care!Care like you care! You don't thinkapples just grow on trees,do you? * A fish taps a clamagainst a bony knobof coralto crack its shell – which demonstrates intelligenceyes, butis the fishpleased with itself? * Alone in your crib,you form syllables. Are you happy when oneis like another? Add yourselfto yourself. Now you have someone Rae Armantrout has always taken pleasure in uncertainties and conundrums, the tricky nuances of language and feeling. In Conjure that pleasure is matched by dread; fascination meets fear as the poet considers the emergence of new life (twin granddaughters) into an increasingly toxic world: the Amazon smolders, children are caged or die crossing rivers and oceans, and weddings make convenient targets for drone strikes. These poems explore the restless border between self and non-self and ask us to look with new eyes at what we're doing.

July 30TiānwēiCelestial AweHe carried no iron into battle.When he lifted his hand,he brandished the sky.How do we honor the dead? How do we commit them to memory? And how do we come to terms with the way they died? To start, we can name them. When schools collapsed in an earthquake in China, burying over 5,000 children, the government brutally prevented parents from learning who had died. Artist Ai Weiwei, at risk to his own safety, gathered the names of these children, and their names are the subject of this book. Each poem is a poetic meditation on the image and concept suggested by the etymology in the Chinese characters. This act of poetic translation is both a heartbreaking tribute to people whose names have been erased, and a healing meditation on how language suggests a path forward.

The Grand Union was a leaderless improvisation group in SoHo in the 1970s that included people who became some of the biggest names in postmodern dance: Yvonne Rainer, Trisha Brown, Steve Paxton, Barbara Dilley, David Gordon, and Douglas Dunn. Together they unleashed a range of improvised forms from peaceful movement explorations to wildly imaginative collective fantasies. This book delves into the "collective genius" of Grand Union and explores their process of deep play. Drawing on hours of archival videotapes, Wendy Perron seeks to understand the ebb and flow of the performances. Includes 65 photographs.

Testimonyfor Tamir Rice, 2002-2014 Mr. President,After they shot me they tackled my sister.The sound of her knees hitting the sidewalkmade my stomach ache. It was a bad pain.Like when you love someoneand they lie to you. Or that time Mikaela criedall through science class and wouldn't tell anyone why.This isn't even my first letter to you,in the first one I told you about my roomand my favorite basketball teamand asked you to come visit me in Clevelandor send your autograph. In the second oneI thanked you for your responsible citizenship.I hope you are proud of me too.Mom said you made being black beautiful againbut that was before someone killed Trayvon.After that came a sadness so big it made everyonelook the same. It was a long time before we couldgo outside again. Mr. President it took one whole dayfor me to die and even though I'm twelve and not afraid of the darkI didn't know there could be so much of itor so many other boys here. Dancing between lyric and narrative, Hafizah Geter's debut collection moves readers through the fraught internal and external landscapes - linguistic, cultural, racial, familial - of those whose lives are shaped and transformed by immigration. The daughter of a Nigerian Muslim woman and a former Southern Baptist black man, Geter charts the history of a black family of mixed citizenships through poems imbued by migration, racism, queerness, loss, and the heartbreak of trying to feel at home in a country that does not recognize you. Through her mother's death and her father's illnesses, Geter weaves the natural world into the discourse of grief, human interactions, and socio-political discord. This collection thrums with authenticity and heart.

Drawing on a wide array of primary material, civil engineer Richard DeLuca examines how land, law, and technology have shaped Connecticut and its transportation systems, including aviation, roads, bridges, ferries, steamboats, canals, railroads, electric trolleys, and water ports, in Connecticut and along the multi-state travel corridor from New York to Boston. This well-illustrated book focuses on key events in the development of transportation technology and legislation. It is arranged chronologically, highlighting themes from each period, showing the implications of state’s transportation history on the ongoing debates around infrastructure and funding.

How do people in an intensely multicultural city live alongside one another while maintaining clear boundaries? This question is at the core of Parameters and Peripheries of Culture, which illustrates how the Maroons (descendants of escaped slaves) of Suriname, on the northern coast of South America, have used culture-representational performance to sustain their communities within Paramaribo, the capital. Focusing on three collectives known locally as “cultural groups,” which specialize in the music and dance traditions of the Maroons, it marks a vital contribution to knowledge about the cultural map of the African diaspora in South America, Latin America, and the Caribbean.

Just how “Irish” is traditional Irish music? Trad Nation combines ethnography, oral history, and archival research to challenge the longstanding practice of using ethnic nationalism as a framework for understanding vernacular music traditions. Tess Slominski argues that ethnic nationalism hinders this music’s development today and in an increasingly multiethnic Ireland. She discusses early-twentieth century women whose musical lives were shaped by Ireland’s struggles to become a nation; follows the career of Julia Clifford, a fiddler who lived much of her life in England, and explores the experiences of women, LGBTQ+ musicians, and musicians of color in the early-twenty-first century.

Hartford Seen is the first modern-day art photography book to focus on Connecticut’s capital. Comprising more than 150 full-color images, it has been in the making since Pablo Delano began teaching photography at Trinity College in 1996. In this personal meditation on the city’s built environment, he implements a methodical but intuitive approach, using color and meticulous compositions to evoke the city’s essence, particularly the way global population flows impact the city’s physical structures. Hartford Seen is meant to be taken as a whole, as a visual document that can shed light on the unique characteristics of one city’s past, present, and potential futures.

Moving Bodies, Navigating Conflict is a groundbreaking ethnographic examination of dance practice in Colombo, Sri Lanka, during the civil war (1983–2009). It is the first book of scholarship on bharata natyam (a classical dance originating in India) in Sri Lanka, and the first on the role of dance in the country’s war. Focusing on women dancers, Ahalya Satkunaratnam shows how they navigated conditions of conflict and a neoliberal, global economy, resisted nationalism and militarism, and advocated for peace. Her interdisciplinary methodology combines historical analysis, methods of dance studies, and dance ethnography.

Between 1855 and his death in 1867, Charles Baudelaire inaugurated a new - and in his own words "dangerous" - hybrid form in a series of prose poems known as Paris Spleen. Important and provocative, these fifty poems take the reader on a tour of 1850s Paris, through gleaming cafes and filthy side streets, revealing a metropolis on the eve of great change. In its deliberate fragmentation and merging of the lyrical with the sardonic, Le Spleen de Paris may be regarded as one of the earliest and most successful examples of a specifically urban writing, the textual equivalent of the city scenes of the Impressionists. In this compelling new translation, Keith Waldrop delivers the companion to his innovative translation of The Flowers of Evil. Here, Waldrop's perfectly modulated mix releases the music, intensity, and dissonance in Baudelaire's prose. The result is a powerful new re-imagining that is closer to Baudelaire's own poetry than any previous English translation.

Ethnomusicologist Eric Charry’s innovative and road-tested textbook is an introduction to Rock and R&B suitable for general education courses in music and also accessible for general readers interested in a novel approach to gaining a historically rich, yet concise understanding of these genres. The book is organized around a series of timelines, tables, and figures created by the author, and provides fresh perspectives that bring readers into the heart of the social and cultural import of the music. Charry lays out key theoretical issues, covers the technical foundations of the music industry, and provides a capsule history of who did what when, with particular emphasis on the rapid emergence of distinct genres in the music industry. The book’s figures distill the history and provide new insight into understanding trends. Over 1000 artists, albums, and songs are included here, such as Muddy Water, Elvis Presley, Bob Dylan, Aretha Franklin, The Velvet Underground, Janis Joplin, Jimi Hendrix, Stevie Wonder, Prince, Madonna, Talking Heads, and Public Enemy.

Hailed by Milan Kundera as “an heir of Joyce and Kafka,” Prix Goncourt winner Patrick Chamoiseau is among the leading Francophone writers today. With most of his novels having appeared in English, this book opens a new window on his oeuvre. A moving poetic essay that bears witness to the forgotten history of the French penal colony in French Guiana, French Guiana: Memory Traces of the Penal Colony (Guyane: Traces-Mémoires du bagne) is accompanied by more than sixty evocative color photographs by Rodolphe Hammadi and translated, here for the first time, deftly by Matt Reeck.

In 1773, a young, African American woman named Phillis Wheatley published a book of poetry that challenged Western prejudices about African and female intellectual capabilities. Based on fifteen years of archival research, The Age of Phillis, by award-winning writer Honorée Fanonne Jeffers, imagines the life and times of Wheatley: her childhood in the Gambia, West Africa, her life with her white American owners, her friendship with Obour Tanner, and her marriage to the enigmatic John Peters. Woven throughout are poems about Wheatley’s “age”—the era that encompassed political, philosophical, and religious upheaval, as well as the transatlantic slave trade. For the first time in verse, Wheatley’s relationship to black people and their individual “mercies” is foregrounded, and here we see her as not simply a racial or literary symbol, but a human being who lived and loved while making her indelible mark on history.

North American Women Poets in the 21st Century: Beyond Lyric and Language is an important new addition to the American Poets in the 21st Century series. Like the earlier anthologies, this volume includes generous selections of poetry by some of the best poets of our time as well as illuminating poetics statements and incisive essays on their work. Among the insightful pieces included in this volume are essays by Catherine Cucinella on Marilyn Chin, Meg Tyler on Fanny Howe, Elline Lipkin on Alice Notley, Kamran Javadizadeh on Claudia Rankine, and many more. A companion web site will present audio of each poet’s work.

Mezzaluna gathers poems from all nine of Michele Leggott’s prior books. In complex lyrics, sampling thought and song, voice and vision, Leggott creates lush textured soundscapes. Her poetry covers a wide rage of topics rich in details of her New Zealand life, full of history and family, lights and mirrors, the real and the surreal.