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Owed
Joshua Bennett
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R309
R252
Discovery Miles 2 520
Save R57 (18%)
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Ships in 9 - 15 working days
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From a 2021 Whiting Award and Guggenheim Fellow recipient, a
'rhapsodic, rigorous poetry collection, which pays homage to
everyday Black experience in the US' (New Yorker) Owed is a book
with celebration at its centre. Its primary concern is how we might
mend the relationship between ourselves and the people, spaces, and
objects we have been taught to think of as insignificant, as
fundamentally unworthy of study, reflection, attention, or care.
Spanning the spectrum of genre and form - from elegy and ode to
origin myth--these poems elaborate an aesthetics of repair. What's
more, they ask that we turn to the songs and sites of the
historically denigrated so that we might uncover a new way of being
in the world together, one wherein we can truthfully reckon with
the brutality of the past and thus imagine the possibilities of our
shared, unpredictable present, anew.
Minor Notes Vol. 1 features the work of three poets. Published in
1837, Poems by a Slave is one of the lesser-known works by George
Moses Horton (1798-1883), once popularly known as the 'black bard
of North Carolina.' Visions of the Dusk (1915) is an American prose
poem known for its formal innovation by Fenton Johnson, a poet,
essayist, editor and educator from Chicago. Georgia Douglas Johnson
was the most widely read black woman poet in the US during the
first three decades of the 20th century. Bronze: A Book of Verse
(1922) was introduced with a foreword by W. E. B. Du Bois.
The Believer, a ten-time National Magazine Award finalist, is a
bimonthly literature, arts, and culture magazine based at the
Beverly Rogers, Carol C. Harter Black Mountain Institute, a
department of the University of Nevada, Las Vegas. In each issue,
readers will find journalism, essays, intimate interviews, an
expansive comics section, poetry, and on occasion, delightful and
unexpected bonus items. Our poetry section is curated by Jericho
Brown, Kristen Radtke selects our comics, and Joshua Wolf Shenk is
our editor-in-chief. Issues feature a column by Nick Hornby, in
which he discusses the things he's been reading, as well as a
comedy advice column.
One of the most influential works of literature during the
abolitionist movement of the early nineteenth century, Narrative of
the Life of Frederick Douglass recounts with powerful eloquence and
detail the author’s life as a slave and his eventual escape to
the North. This Norton Library edition features the original 1845
text and explanatory endnotes that clarify obscure terms and
references. An introduction by Joshua Bennett provides historical
background, highlights some of the narrative’s key themes, and
assesses the enduring legacy of Frederick Douglass’s vital work.
Winner of the William Sanders Scarborough Prize "This trenchant
work of literary criticism examines the complex ways...African
American authors have written about animals. In Bennett's analysis,
Richard Wright, Toni Morrison, Jesmyn Ward, and others subvert the
racist comparisons that have 'been used against them as a tool of
derision and denigration.'...An intense and illuminating
reevaluation of black literature and Western thought." -Ron
Charles, Washington Post For much of American history, Black people
have been conceived and legally defined as nonpersons, a subgenre
of the human. In Being Property Once Myself, prize-winning poet
Joshua Bennett shows that Blackness has long acted as the caesura
between human and nonhuman and delves into the literary imagination
and ethical concerns that have emerged from this experience. Each
chapter tracks a specific animal-the rat, the cock, the mule, the
dog, the shark-in the works of Richard Wright, Toni Morrison, Zora
Neale Hurston, Jesmyn Ward, and Robert Hayden. The plantation, the
wilderness, the kitchenette overrun with pests, the valuation and
sale of animals and enslaved people-all place Black and animal life
in fraught proximity. Bennett suggests that animals are deployed to
assert a theory of Black sociality and to combat dominant claims
about the limits of personhood. And he turns to the Black radical
tradition to challenge the pervasiveness of anti-Blackness in
discourses surrounding the environment and animals. Being Property
Once Myself is an incisive work of literary criticism and a
groundbreaking articulation of undertheorized notions of
dehumanization and the Anthropocene. "A gripping work...Bennett's
lyrical lilt in his sharp analyses makes for a thorough yet
accessible read." -LSE Review of Books "These absorbing, deeply
moving pages bring to life a newly reclaimed ethics." -Colin Dayan,
author of The Law Is a White Dog "Tremendously
illuminating...Refreshing and field-defining." -Salamishah Tillet,
author of Sites of Slavery
Exploring the rich relationship between historical thought and
religious debate in Victorian culture, God and Progress offers a
unique and authoritative account of intellectual change in
nineteenth-century Britain. The volume recovers a twofold process
in which the growth of progressive ideas of history transformed
British Protestant traditions, as religious debate, in turn,
profoundly shaped Victorian ideas of history. It adopts a
remarkably wide contextual perspective, embracing believers and
unbelievers, Anglicans and nonconformists, and writers from
different parts of the British Isles, fully situating British
debates in relation to their European and especially German
Idealist surroundings. The Victorian intellectual mainstream came
to terms with religious diversity, changing ethical sensibilities,
and new kinds of knowledge by encouraging providential,
spiritualized, and developmental understandings of human time. A
secular counter-culture simultaneously disturbed this complex
consensus, grounding progress in appeals to scientific advances and
the retreat of metaphysics. God and Progress thus explores the ways
in which divisions within British liberalism were fundamentally
related to differences over the past, present, and future of
religion. It also demonstrates that religious debate powered the
process by which historicism acquired cultural authority in
Victorian national life, and later began to lose it. The study
reconstructs the ways in which theological dynamics, often
relegated to the margins of nineteenth-century British intellectual
history, effectively forged its leading patterns.
Winner of the William Sanders Scarborough Prize A prizewinning poet
argues that Blackness acts as the caesura between human and
nonhuman, man and animal. Throughout US history, Black people have
been configured as sociolegal nonpersons, a subgenre of the human.
Being Property Once Myself delves into the literary imagination and
ethical concerns that have emerged from this experience. Each
chapter tracks a specific animal figure-the rat, the cock, the
mule, the dog, and the shark-in the works of Black authors such as
Richard Wright, Toni Morrison, Zora Neale Hurston, Jesmyn Ward, and
Robert Hayden. The plantation, the wilderness, the kitchenette
overrun with pests, the simultaneous valuation and sale of animals
and enslaved people-all are sites made unforgettable by literature
in which we find Black and animal life in fraught proximity. Joshua
Bennett argues that animal figures are deployed in these texts to
assert a theory of Black sociality and to combat dominant claims
about the limits of personhood. Bennett also turns to the Black
radical tradition to challenge the pervasiveness of anti-Blackness
in discourses surrounding the environment and animals. Being
Property Once Myself is an incisive work of literary criticism and
a close reading of undertheorized notions of dehumanization and the
Anthropocene.
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Owed (Paperback)
Joshua Bennett
|
R539
R432
Discovery Miles 4 320
Save R107 (20%)
|
Ships in 9 - 15 working days
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From "one of the most impressive voices in poetry today" (Dissent
magazine), a new collection that shines a light on forgotten or
obscured parts of the past in order to reconstruct a deeper, truer
vision of the present Gregory Pardlo described Joshua Bennett's
first collection of poetry, The Sobbing School, as an "arresting
debut" that was "abounding in tenderness and rich with character,"
with a "virtuosic kind of code switching." Bennett's new
collection, Owed, is a book with celebration at its center. Its
primary concern is how we might mend the relationship between
ourselves and the people, spaces, and objects we have been taught
to think of as insignificant, as fundamentally unworthy of study,
reflection, attention, or care. Spanning the spectrum of genre and
form--from elegy and ode to origin myth--these poems elaborate an
aesthetics of repair. What's more, they ask that we turn to the
songs and sites of the historically denigrated so that we might
uncover a new way of being in the world together, one wherein we
can truthfully reckon with the brutality of the past and thus
imagine the possibilities of our shared, unpredictable present,
anew.
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