Univ of Pittsburgh Press

Cold Comfort is a book of poems written out of deep affection and concern for the world in a dangerous time. An urbane stylist, Anderson characteristically focuses on rural and small-town America, where the events of personal history intersect those of the larger world.

Anderson ( Cold Comfort ) writes in the poem "Setting Out" that "even the most beautiful / of late summer days can cramp into a memory, uneasy /attention to what we haven't thought about in years." In attempting to transform her life experience into poetry, the poet is unfortunately unable to conjure up more than a "cramp" of emotion when relating the events of her past. She writes in "Empirical" that "Everything sad that ever happened to me / I have mourned beside a river"--an interesting declaration, to be sure; but what follows is 'string' is singular a string of vague metaphors and incongruous images. Anderson speaks much about the places where she has visited and lived, and often gets caught up in descriptive details at the expense of any emotional and spiritual resonance that an account of her activities could produce. Ultimately, the poet is quite up front about her reluctance to share anything other than occasionally clever wordplay with readers. She notes in "Heart Labor": "You want me to name the specific sorrows? / They do not matter. You have your own."

"Windfall" includes poems from three previous books by Maggie Anderson, along with a generous selection of new work. In this collection we can see over two decades of the growth of a poet memorable for the clarity, strength, and urgency of her voice. Anderson s poems entangle a language, a history, and a group of belongings, and she is both at home and a foreigner in the places she invokes. Every place in these poems seems inhabitable, yet the tensions of these deceptively quiet lines develop out of the clear reluctance or inability of the poet to sit still. Maggie Anderson writes out of deep grief for the political losses of work and money, of life and limb and home in our dangerous times. She remembers and witnesses, and she also speaks eloquently for our private griefsthe loss of family, vitality and self. These poems do not shout; we listen as if following a whisper in the dark. A counterpoint to the sorrows in these poems is a complex and often joyous music, as well as a wry, sometimes self-deprecating humor which saves the work from solemnity. Her rhythms are diverse and intricate; they move deftly from fiddle whine to saxophone, from fugue to blues."

Poetry. "I can't remember when a book of poems has invited such an attentive reading as Cindy King's marvelous first volume, PEOPLE ARE TINY IN PAINTINGS OF CHINA. Each poem, a descent through shifting strata of syntax and history, requires a sustained renegotiation of one's balance in language and the world. As I read I had the feeling of launching myself from an opening line and falling past gorgeous and complex surfaces, an intricate landscape of experience, until landing on the solid earth of the final lines of these extraordinary poems. PEOPLE ARE TINY IN PAINTINGS OF CHINA is a work of uncommon talent" Lynn Emanuel."

As I Run Toward Africa is Molefi Kete Asante's memoir of his extraordinary life. He takes the reader on a journey from the American South to the homes of kings in Africa. Born into a family of 16 children living in a two bedroom shack, Asante rose to become director of UCLA's Centre for Afro American Studies, editor of the Journal of Black Studies and university professor by the age of 30. The government of Ghana designated Asante as a traditional king in 1996. Asante recounts his meetings with personalities such as Wole Soyinka, Cornel West and others. This is an uplifting real-life story about hope and empowerment.

In Jackknife: New and Selected Poems, Beatty travels the turns and collisions of over twenty years of work. She moves from first-person narratives to poems that straddle the page in fragments, to lines that sprawl with long lines of train tracks. Always landing in meaning, we are inside the body--not in a confessional voice, not autobiography--but arriving through the expanded, exploded image of many stories and genders.

The new poems leap imagistically from the known world to the purely imagined, as in the voice in "Abortion with Gun Barrel": "I am the counselor, /there are cracks in the barrel of the gun/there is aiming/shots of sorrow--/ shots of light." Commitment to a rabid feminist voice continues, but arrival has a new ring to it, with beginnings rescripted: "I am a bastard./I walk around in this body of mine."

Beatty's fascination with the highway and the breakout West jackknifes at the crossroads of the brutal and the white plains of loss--the body torn down and resurrected in the twenty first century..

• ISBN-10: 082296449X
• ISBN-13: 9780822964490
• Release Year: 2017
• Publisher: University of Pittsburgh Press

"HD66: search for a cure or a killer" is a startup mystery novel - a contemporary story that takes place in a technology startup. Blending entrepreneurship with murder, the plot weaves together the discovery of a drug for an incurable disease with an unexpected invention that does the opposite - kills upon contact. Filled with evil venture capitalists, egotistical c-level executives, science, technology, and the roller coaster ride of a startup, "HD66" lets the reader experience life inside a high-technology new venture. The book is intended to be the first in a series involving the naive sleuth (Brie Prince) and the first time detective (Straler Henrik) - an unusual friendship. Brie Prince is a rising young executive at the startup, Quixotic, founded to bring to market a drug for Huntington's Disease (HD), a real life disease with no cure. The "66" in the title stands for the song, "Highway 66 Blues," by Woody Guthrie, who died from Huntington's and who is referenced in the manuscript. Brie is desperate for this cure to save her father - and herself. But, in today's world, bringing a new drug to market is not simple or quick. Brie needs the inventor of the drug to help her. Unfortunately, the scientist-inventor is found dead in the river. Only Brie knows that this was neither accident nor suicide, but murder. She must prove that he was murdered and uncover the killer to find the clue that he left behind to save her. The author is donating a portion of all proceeds to charities which combat HD and violence against women.

Gettysburg. Does any other single word in any language invoke so much passion and angst, enthusiasm and sadness, as do those ten letters? But what IS Gettysburg, exactly? I am almost embarrassed to say I discovered the answer to that question--or at least approached an answer--only late in life. Of course, Gettysburg is a small charming city nestled in south-central Pennsylvania, but in so many ways it beggars description. For about half the year its streets are mainly empty, its businesses quiet, the weather cold and blustery. For the other months, however, the place literally teems with hundreds of thousands of visitors, bustling streets and shops, and more than a handful of unique larger-than-life characters whose fan base spans the globe. And then there is the battle--the event--of the Civil War. The battle that raged there during the first days of July 1863 at the price of more than 50,000 casualties decided much (just how much depending upon who you believe) and forever stamped that place with its passion and angst and enthusiasm and its lingering, forever sadness. Its monuments and guns and plaques tell the story of the colossal clash of arms and societies, just as its National Cemetery bears silent witness to at least part of the cost of that bloody event. And somehow this "greatest little town in America," this mammoth battle, its influential characters (living and dead), its deep meaning and profound influence on our society largely escaped me for nearly six decades. That ended a couple years ago when I finally paid a visit. My journey from the uninitiated to the fully converted only took a short time, but I felt compelled to pen my experiences as they unfolded. And so you hold in your hands Discovering Gettysburg: An Unconventional Introduction to the Greatest Little Town in America and the Monumental Battle that Made It Famous. In it, you will visit with me a host of famous and off-the-beaten-path places on the battlefield, explore the historic town of Gettysburg as it is today, chat with some of the town's fascinating "resources," and follow along, as I did, with some of the most engaging storytelling I have ever had the pleasure of hearing. And nowhere inside will you be bothered with footnotes or stumble your way through academic mumbo jumbo. Thankfully, my friend and award-winning cartoonist Tim Hartman agreed to provide the magnificent maps and outstanding caricatures that grace this book. Discovering Gettysburg is, I fully admit, rather unconventional. But so is the place, the event, and the experience of that hallowed ground.

What are the forces that cause us to strike out and harm each other? Captivity explores the way in which the individual is held hostage by society; how the forces of racism, sexism, and classism frequently express themselves as violence within the family. The book also explores a deeper captivity, like the Jews in Egypt yearning for the Promised Land, the soul trapped in exile from God.

"Poems that stick with you like a song that won't stop repeating itself in your brain, poems whose cadences burrow into your bloodstream, orchestrating your breathing long before their sense attaches its hooks to your heart.

"I have long believed that Lynn Emanuel is one of the most innovative and subversive poets now writing in America. Her aesthetic and artistic choices consistently invoke a complex hybrid poetics that radically reimagines the shape of our poetic discourse. The brilliant, shattering, and disturbing poems of Noose and Hook are not only wry critiques of recent poetic and cultural activity in this country but also compelling signposts to what yet might be possible in our future. This is Lynn Emanuel's most exquisite and powerful book yet."--David St. John

Finalist for "ForeWord Magazine" s 1999 Poetry Book of the Year A reader and a writer don their respective roles and embark on the journey of a book. This is their story--ultimately a love story--darkly funny, mournful, testy. It is about a reader who at times presides over the page like a god, and at others follows the leash of the author's voice through the dark streets of the book like a dog, and it is about a writer of determined slipperiness. As we read, we think that each of us is The Reader, the one who knows the Real Story. But the more we think we understand, the more the story moves away from usall is not what it seems.

Photographer LaToya Ruby Frazier (born 1982) grew up in Braddock, PA, a borough in the American Rust Belt ravaged by the steel-industry crisis that hit the US during the Reagan administration. In this former bastion of the steel industry, the artist was raised in her Afro-American family, whose story she told in The Notion of Family. Her 2016 residency at Grand-Hornu allowed her to pursue her work on postindustrial society in Belgium, turning her camera to the Borinage, a mining region whose intense activity in the 19th century was diminished by a series of crises that led to the closure of the last mine in 1976. Testimonies gathered by Frazier from the former miners and their families have resulted in And from the Coaltips a Tree Will Rise, an extensive collection of portraits, landscapes and still lifes.

A revealing look into the lives of ordinary Russians. More than twenty years ago, the longtime NPR correspondent Anne Garrels began to visit the region of Chelyabinsk, an aging military-industrial center a thousand miles east of Moscow that is home to the Russian nuclear program. Her goal was to chart the social and political aftershocks of the USSR's collapse. On her trips to an area once closed to the West, Garrels discovered a populace for whom the new democratic freedoms were as traumatic as they were delightful. The region suffered a severe economic crisis in the early 1990s, and the next twenty years would only bring more turmoil as well as a growing identity crisis and antagonism toward foreigners. The city of Chelyabinsk became richer and more cosmopolitan, even as corruption and intolerance grew more entrenched. In Putin Country, Garrels crafts a necessary portrait of the nation's heartland. We meet upwardly mobile professionals, impassioned activists, and ostentatious mafiosi. We discover surprising subcultures, such as a vibrant underground gay community and a group of determined evangelicals. And we watch doctors and teachers try to cope with a corrupt system. Drawing on these encounters, Garrels explains why Vladimir Putin commands the loyalty of so many Russians, even those who decry the abuses of power they encounter from day to day. Her portrait of Russia's silent majority is both essential and engaging reading at a time when Cold War tensions are resurgent.

Ellen Emerson may be the last living survivor of the Johnstown flood. She was only four years old on May 31, 1889, when twenty million tons of water decimated her hometown of Johnstown, Pennsylvania. Thousands perished in what was the worst natural disaster in U.S. history at the time. As we witness in The Johnstown Girls, the flood not only changed the course of history, but also the individual lives of those who survived it.

Concepts and Their Role in Knowledge offers scholarly analysis of key elements of Ayn Rand's radically new approach to epistemology. The four essays, by contributors intimately familiar with this area of her work, discuss Rand's theory of concepts--including its new account of abstraction and essence--and its central role in her epistemology; how that view leads to a distinctive conception of the justification of knowledge; her realist account of perceptual awareness and its role in the acquisition of knowledge; and finally, the implications of that theory for understanding the growth of scientific knowledge. The volume concludes with critical commentary on the essays by distinguished philosophers with differing philosophical viewpoints and the author's responses to those commentaries.

In the late seventeenth and early eighteenth centuries, cultural, economic, and political changes, as well as increased geographic mobility, placed strains upon British society. But by cultivating friendships and alliances, women worked to socially cohere Britain and its colonies. In the first book-length historical study of female friendship and alliance for the early modern period, Amanda Herbert draws on a series of interlocking microhistorical studies to demonstrate the vitality and importance of bonds formed between British women in the long eighteenth century. She shows that while these alliances were central to women's lives, they were also instrumental in building the British Atlantic world

Thaddeus "Thad" Mosley is a self-taught African American sculptor. Earning a living throughout his adult life as a postal worker in Pittsburgh, Pennsylvania, so that he could support his family by day and work as a sculptor by night, he has evolved an individual and powerful African American voice. He worked alone, patiently developing a sculptural language absolutely his own, yet traceable to his primary sources of inspiration, the vitality of African art and American jazz on the one hand, and on the other, two twentieth-century artists, the Romanian sculptor Constantin Brancusi and the Asian American sculptor Isamu Noguchi. From the beginning Thad Mosley has been a carver. His materials have always been those "at hand," logs from the trees of his native Western Pennsylvania, stones from the sites of demolished buildings in Pittsburgh, and metals from local scrapyards. Finding within each log or block of stone an essential vitality, his carvings invariably bear a syncopation of chisel marks evoking the rhythms and surging freedoms of jazz. Mosley's perseverence and his pride in who he is offer an inspiring example of the unquenchable spirit of a true artists. This short book introduces the life and work of this remarkable man. Davis Lewis, architect, writer, and painter, has been a friend of the artist for twenty-five years. His narrative is distilled from hours of taped interviews with Thad Mosley, as well as from a deep understanding of his art and influences. Lonnie Graham is a nationally known African-American photographer.

The fourth collection of poetry from the literary and cultural critic Fred Moten, B Jenkins is named after the poet's mother, who passed away in 2000. It is both an elegy and an inquiry into many of the themes that Moten has explored throughout his career: language, music, performance, improvisation, and the black radical aesthetic and political tradition. In Moten's verse, the arts, scholarship, and activism intertwine. Cadences echo from his mother's Arkansas home through African American history and avant-garde jazz riffs. Formal innovations suggest the ways that words, sounds, and music give way to one another. The first and last poems in the collection are explicitly devoted to Moten's mother; the others relate more obliquely to her life and legacy. They invoke performers, writers, artists, and thinkers including not only James Baldwin, Roland Barthes, Frederick Douglass, Billie Holiday, Audre Lorde, Charlie Parker, and Cecil Taylor, but also contemporary scholars of race, affect, and queer theory. The book concludes with an interview conducted by Charles Henry Rowell, the editor of the journal Callaloo. Rowell elicits Moten's thoughts on the relation of his poetry to theory, music, and African American vernacular culture.

In his controversial essay on white jazz musician Burton Greene, Amiri Baraka asserted that jazz was exclusively an African American art form and explicitly fused the idea of a black aesthetic with radical political traditions of the African diaspora. In the Break is an extended riff on The Burton Greene Affair, exploring the tangled relationship between black avant-garde in music and literature in the 1950s and 1960s, the emergence of a distinct form of black cultural nationalism, and the complex engagement with and disavowal of homoeroticism that bridges the two. Fred Moten focuses in particular on the brilliant improvisatory jazz of John Coltrane, Ornette Coleman, Albert Ayler, Eric Dolphy, Charles Mingus, and others, arguing that all black performance, culture, politics, sexuality, identity, and blackness itself is improvisation. For Moten, improvisation provides a unique epistemological standpoint from which to investigate the provocative connections between black aesthetics and Western philosophy. He engages in a strenuous critical analysis of Western philosophy (Heidegger, Kant, Husserl, Wittgenstein, and Derrida) through the prism of radical black thought and culture. As the critical, lyrical, and disruptive performance of the human, Moten's concept of blackness also brings such figures as Frederick Douglass and Karl Marx, Cecil Taylor and Samuel R. Delany, Billie Holiday and William Shakespeare into conversation with each other. Stylistically brilliant and challenging, much like the music he writes about, Moten's wide-ranging discussion embraces a variety of disciplines: semiotics, deconstruction, genre theory, social history, and psychoanalysis to understand the politicized sexuality, particularly homoeroticism, underpinning black radicalism. In the Break is the inaugural volume in Moten's ambitious intellectual project-to establish an aesthetic genealogy of the black radical tradition.

Lucy Barton is recovering slowly from what should have been a simple operation. Her mother, to whom she hasn’t spoken for many years, comes to see her. Gentle gossip about people from Lucy’s childhood in Amgash, Illinois, seems to reconnect them, but just below the surface lie the tension and longing that have informed every aspect of Lucy’s life: her escape from her troubled family, her desire to become a writer, her marriage, her love for her two daughters. Knitting this powerful narrative together is the brilliant storytelling voice of Lucy herself: keenly observant, deeply human, and truly unforgettable.

• ISBN-10: 0812979524
• ISBN-13: 9780812979527
• Release Year: 2016
• Publisher: Random House

Samuel Hawley isn't like the other fathers in Olympus, Massachusetts. A loner who spent years living on the run, he raised his beloved daughter, Loo, on the road, moving from motel to motel, always watching his back. Now that Loo's a teenager, Hawley wants only to give her a normal life. In his late wife's hometown, he finds work as a fisherman, while Loo struggles to fit in at the local high school. Growing more and more curious about the mother she never knew, Loo begins to investigate. Soon, everywhere she turns, she encounters the mysteries of her parents' lives before she was born. This hidden past is made all the more real by the twelve scars her father carries on his body. Each scar is from a bullet Hawley took over the course of his criminal career. Each is a memory: of another place on the map, another thrilling close call, another moment of love lost and found. As Loo uncovers a history that's darker than she could have known, the demons of her father's past spill over into the present--and together both Hawley and Loo must face a reckoning yet to come.

Judith Vollmer is associate professor of English at the University of Pittsburg at Greensburg. Her poems have been published in various magazines, including Southern Poetry Review and The Women’s Review of Books, and in three anthologies.

Reactor gives voice to beloved and ruined American landscapes through extended meditations of an urban mystical wanderer.

WINNER OF THE 2007 CAVE CANEM POETRY PRIZE Selected by Claudia Rankine Prose poems that profile the interrelationship of the two central characters, looking deeply into their psyches and thoughts of race, class, and identity.

Find 50 Fun, colorful cartoons-within-a-maze from the designer of the world s largest hand-drawn maze and internationally-acclaimed creator of MazeToon! Mazes are a great way to increase hand-eye coordination, bolster problem-solving skills, sharpen reasoning, and more. You ll get all that and then some with these 50 colorfully illustrated mazes that feature fully solvable characters, cartoon elements, and imaginative creatures that figure prominently along every start-to-finish path. Themed, integrated animal illustrations (set within the mazes) are fun, playful, and perfect for big kids and grown-ups too. Besides navigating the usual twists and turns of a traditional maze path, puzzle-solvers will have to navigate through crazy cartoon features, like a dinosaur s mouth, a bat s wings, a vulture s beak, a frog s tongue, and more. There are dozens of dead ends, illusions, twists and turns that increase with the difficulty level. It s not just thoroughly entertaining it s absolutely A-MAZE-ING!