This anthology of contemporary American poetry, short fiction, and nonfiction, explores issues of identity, oppression, injustice, and social change. Living American writers produced each piece between 1980 and the present; works were selected based on literary merit and the manner in which they address one or more pressing social issues. William Reichard has assembled some of the most respected literary artists of our time, asking whose voices are ascendant, whose silenced, and why. The work as a whole reveals shifting perspectives and the changing role of writing in the social justice arena over the last few decades.

Religious Studies and Rabbinics have overlapping yet distinct interests, subject matter, and methods. Religious Studies is committed to the study of religion writ large. It develops theories and methods intended to apply across religious traditions. Rabbinics, by contrast, is dedicated to a defined set of texts produced by the rabbinic movement of late antiquity. Religious Studies and Rabbinics represents the first sustained effort to create a conversation between these two academic fields. In one trajectory of argument, the book shows what is gained when each field sees how the other engages the same questions: When did the concept of "religion" arise? How should a scholar's normative commitments interact with their scholarship? The book argues that if scholars from Religious Studies and Rabbinics do not realize they are addressing the same problems, they will not benefit from each other's solutions. A second line of argument brings research methods, theoretical claims, and data associated with one field into contact with those of the other. When Religious Studies categories such as "ritual" or "the sacred" are applied to data from Rabbinics and, conversely, when text-reading strategies distinctive to Rabbinics are employed for texts from other traditions, both Religious Studies and Rabbinics enlarge their scope. The chapters range across such themes as ritual failure; rabbinic conceptions of scripture, ethics, food, time, and everyday life; problems of definition and normativity in the study of religion; J.Z. Smith's writings; and the preaching of the African-American Christian evangelical social justice activist John Perkins. With chapters written by world-class theorists of Religious Studies and prominent text scholars of Rabbinics, the book provides a unique opportunity to expand the conceptual reach and scholarly audience of both Religious Studies and Jewish Studies.

Religious Studies and Rabbinics have overlapping yet distinct interests, subject matter, and methods. Religious Studies is committed to the study of religion writ large. It develops theories and methods intended to apply across religious traditions. Rabbinics, by contrast, is dedicated to a defined set of texts produced by the rabbinic movement of late antiquity. Religious Studies and Rabbinics represents the first sustained effort to create a conversation between these two academic fields. In one trajectory of argument, the book shows what is gained when each field sees how the other engages the same questions: When did the concept of "religion" arise? How should a scholar's normative commitments interact with their scholarship? The book argues that if scholars from Religious Studies and Rabbinics do not realize they are addressing the same problems, they will not benefit from each other's solutions. A second line of argument brings research methods, theoretical claims, and data associated with one field into contact with those of the other. When Religious Studies categories such as "ritual" or "the sacred" are applied to data from Rabbinics and, conversely, when text-reading strategies distinctive to Rabbinics are employed for texts from other traditions, both Religious Studies and Rabbinics enlarge their scope. The chapters range across such themes as ritual failure; rabbinic conceptions of scripture, ethics, food, time, and everyday life; problems of definition and normativity in the study of religion; J.Z. Smith's writings; and the preaching of the African-American Christian evangelical social justice activist John Perkins. With chapters written by world-class theorists of Religious Studies and prominent text scholars of Rabbinics, the book provides a unique opportunity to expand the conceptual reach and scholarly audience of both Religious Studies and Jewish Studies.

Discover the most enduring works of the legendary poet and first black author to win a Pulitzer Prize-now in one collectible volume "If you wanted a poem," wrote Gwendolyn Brooks, "you only had to look out of a window. There was material always, walking or running, fighting or screaming or singing." From the life of Chicago's South Side she made a forceful and passionate poetry that fused Modernist aesthetics with African-American cultural tradition, a poetry that registered the life of the streets and the upheavals of the 20th century. Starting with A Street in Bronzeville (1945), her epoch-making debut volume, The Essential Gwendolyn Brooks traces the full arc of her career in all its ambitious scope and unexpected stylistic shifts. "Her formal range," writes editor Elizabeth Alexander, "is most impressive, as she experiments with sonnets, ballads, spirituals, blues, full and off-rhymes. She is nothing short of a technical virtuoso." That technical virtuosity was matched by a restless curiosity about the life around her in all its explosive variety. By turns compassionate, angry, satiric, and psychologically penetrating, Gwendolyn Brooks' poetry retains its power to move and surprise. About the American Poets Project Elegantly designed in compact editions, printed on acid-free paper, and textually authoritative, the American Poets Project makes available the full range of the American poetic accomplishment, selected and introduced by today's most discerning poets and critics.

*Named a Most Anticipated Title of 2022 by TIME magazine, New York Times, Bustle, and more* In the midst of civil unrest in the summer of 2020 and following the murders of George Floyd, Breonna Taylor, and Ahmaud Arbery, Elizabeth Alexander-one of the great literary voices of our time-turned a mother's eye to her sons' and students' generation and wrote a celebrated and moving reflection on the challenges facing young Black America. Originally published in the New Yorker, the essay incisively and lovingly observed the experiences, attitudes, and cultural expressions of what she referred to as the Trayvon Generation, who even as children could not be shielded from the brutality that has affected the lives of so many Black people. The Trayvon Generation expands the viral essay that spoke so resonantly to the persistence of race as an ongoing issue at the center of the American experience. Alexander looks both to our past and our future with profound insight, brilliant analysis, and mighty heart, interweaving her voice with groundbreaking works of art by some of our most extraordinary artists. At this crucial time in American history when we reckon with who we are as a nation and how we move forward, Alexander's lyrical prose gives us perspective informed by historical understanding, her lifelong devotion to education, and an intimate grasp of the visioning power of art. This breathtaking book is essential reading and an expression of both the tragedies and hopes for the young people of this era that is sure to be embraced by those who are leading the movement for change and anyone rising to meet the moment.

Poetry Speaks Who I Am is filled with more than 100 remarkable poems about you, who you are, and who you are becoming. Dive in-find the poem you love, the one that makes you angry, the one that makes you laugh, the one that knocks the wind out of you, and become a part of Poetry Speaks Who I Am by adding your own inside the book.

Poetry can be life altering. It can be gritty and difficult. It can be hilarious or heart-breaking. And it's meant to be experienced, so we've included a CD on which you'll hear 44 poems, 39 of which are original recordings-you'll only find them here. You'll hear poets both classic and contemporary, well-known and refreshingly new, including:
--Dana Gioia expresses the hunger of a "Vampire's Serenade"
--Elizabeth Alexander waits for that second kiss in "Zodiac"
--Langston Hughes flings his arms wide in "Dream Variations"
--Marilyn Nelson reads to her class in "How I Discovered Poetry"
--Paul Muldoon's poem "Sideman," brought loudly to life by the band Rackett
--And 39 more poems that are immediate and vibrant

From Lucille Clifton's "Here Yet Be Dragons" to Edgar Allan Poe's "Annabel Lee" to "Tia Chucha," by Luis J. Rodriguez, Poetry Speaks Who I Am is a collection that is dynamic, accessible, challenging, classic, edgy, and ultimately not quite perfect. Just like you. If you're lucky, it'll serve as a gateway to a lifetime lived with poetry. At the very least, it'll be a good time. Dive in, and happy hunting.

Here is the good stuff: poetry written by women that actually excites the thinking reader. This anthology, spanning work of the last 75 years, will broaden its readers' notions of what defines erotic poetry. For what is more intriguing, more satisfying than strong, self-assured writing? This groundbreaking anthology includes some of our most powerful women writers-among them Sharon Olds, Elizabeth Alexander, Anne Sexton, Dorianne Laux, Denise Levertov, Adrienne Rich, Lucille Clifton, and Louise Gluck. These poets fully demonstrate that, far from being prurient, the erotic can permeate even the most mundane aspects of life, from reading a book to buying clothes. At the same time, the collection affirms the enormous meaningfulness of poetry-its ability to express the inexpressible and to illuminate the most private and intimate of human experiences. The poets included here represent different ethnicities, geographies, social classes, and sexual preferences. The only characteristic they share is that they are women writing about sex.

This anthology of contemporary American poetry, short fiction, and nonfiction, explores issues of identity, oppression, injustice, and social change. Living American writers produced each piece between 1980 and the present; works were selected based on literary merit and the manner in which they address one or more pressing social issues.

William Reichard has assembled some of the most respected literary artists of our time, asking whose voices are ascendant, whose silenced, and why. The work as a whole reveals shifting perspectives and the changing role of writing in the social justice arena over the last few decades.

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In THE LIGHT OF THE WORLD, Elizabeth Alexander finds herself at an existential crossroads after the sudden death of her husband. Reflecting with gratitude on the exquisite beauty of the intimacy they shared, grappling with the resulting void, and finding solace in caring for her two teenage sons, Alexander channels her poetic sensibilities into rich, lucid prose that universalizes a very personal quest for meaning and acceptance in the wake of loss. THE LIGHT OF THE WORLD is both an endlessly compelling memoir and a deeply felt meditation on the blessings of love, family, art, and community. For those who have loved and lost, or for anyone who cares about what matters most, this book is required reading.

What is "hope?" How do the thoughts, feelings, and behaviours of higher hope individuals differ from those of their lower hope peers? What different outcomes do these two groups experience and what contribution does hope appear to make to them? These are some of the questions addressed in this book. Using grounded theory methodology, Dr. Alexander has produced an inductively-derived model of hope comprising five themes: 1) The Initiating Context involving perceptions of challenge and uncertainty; 2) Temporal Comparisons concerning imagining a desired future, being dissatisfied with the present, and drawing on past lessons; 3) Developing Strategies including setting goals based on values, planning, and taking action; 4) Drawing on Personal and Social Resources; and 5) an Openness and Flexibility about Outcomes that includes benefit-finding. Investigating hope from an interdisciplinary perspective by drawing on understanding expressed in philosophical, theological, psychiatric, nursing, psychological and "lay" literatures, Dr. Alexander has lifted the veil on the complex yet vital human resource we call "hope."

In surprising turns through different American cities, mindsets, and eras, and through the strange rhythms of dreaming, the celebrated poet Elizabeth Alexander composes her own kind of improvisational jazz. "Antebellum Dream Book" offers a music of resistances as well as soaring flights of fancy: the conflicts of the Civil Rights movement of the 1960s and after; a mother's struggle to see through a postpartum fog; a vision in which the poet takes on the narrative voice of Muhammad Ali. "The New York Times Book Review" has said that "Alexander creates intellectual magic in poem after poem." In this stunning collection, she furthers her reputation as a vital and vivid poetic voice keenly attuned to our ideas of race, gender, politics, and motherhood.

This volume accompanies the first major survey of the work of Lynette Yiadom-Boakye, a London-born painter and author with roots in Ghana. Around eighty paintings, drawings, and prints from private and public collections in Europe and the United States are assembled here, joining new, previously unseen works. Yiadom-Boakye's main theme is the human being; the women and men, painted with oil or charcoal and pastels, appear to be portraits, but are actually fictions. They are always people of Color-whereby the painter highlights the fact of their absence in European art history. Along with her paintings, the catalogue also features the artist's texts and poems. Accompanying essays by Andrea Schlieker, Isabella Maidment, and American poet Elizabeth Alexander explain Yiadom-Boakye's impressive body of work over the past twenty years.

This title presents poetic conversations with a God whose omnipotence brings both peace and uncertainty. DeLana R. A. Dameron searches for answers to spiritual quandaries in her first collection of poems, ""How God Ends Us"", selected by Elizabeth Alexander as the fourth annual winner of the South Carolina Poetry Book Prize. Dameron's poetry forms a lyrical conversation with an ominous and omnipotent deity, one who controls all matters of the living earth, including death and destruction. The poet's acknowledgement of the breadth of this power under divine jurisdiction moves her by turns to anger, grief, celebration, and even joy. From personal to collective to imagined histories, Dameron's poems explore essential, perennial questions emblemized by natural disasters, family struggles, racism, and the experiences of travel abroad. Though she reaches for conclusions that cannot be unveiled, her investigations exhibit the creative act of poetry as a source of consolation and resolution.