Bringing together leading authorities and cutting edge scholars, this collection re-examines the defining concepts of Stalinism and the Stalinization odel. The aim of the book is to explore how the common imperatives of a centralized movement were experienced across national boundaries.

Bringing together leading authorities and cutting edge scholars, this collection re-examines the defining concepts of Stalinism and the Stalinization odel. The aim of the book is to explore how the common imperatives of a centralized movement were experienced across national boundaries.

Suicide is a topic that many people are very uncomfortable with. However, when someone you love dies in this manner, it's a topic that is thrust upon you and survival is something that you may not even care about. I offer a look at my personal travel through this scary odyssey. A life is a precious thing and we don't always realize this until it leaves with a resounding crash. When my husband died I read as many books on suicide as I could find. Some were too clinical to offer any comfort and some were just too scary! I decided that a personal account would be invaluable. In today's world suicide will touch most people in one form or another.

Unwriting Maya Literature provides an important decolonial framework for reading Maya texts that builds on the work of Maya authors and intellectuals such as Q'anjob'al Gaspar Pedro Gonzalez and Kaqchikel Irma Otzoy. Paul M. Worley and Rita M. Palacios privilege the Maya category ts'iib over constructions of the literary in order to reveal how Maya peoples themselves conceive of artistic creation. This offers a decolonial departure from theoretical approaches that remain situated within alphabetic Maya linguistic and literary creation. As ts'iib refers to a broad range of artistic production from painted codices and textiles to works composed in Latin script, as well as plastic arts, the authors argue that texts by contemporary Maya writers must be read as dialoguing with a multimodal Indigenous understanding of text. In other words, ts'iib is an alternative to understanding "writing" that does not stand in opposition to but rather fully encompasses alphabetic writing, placing it alongside and in dialogue with a number of other forms of recorded knowledge. This shift in focus allows for a critical reexamination of the role that weaving and bodily performance play in these literatures, as well as for a nuanced understanding of how Maya writers articulate decolonial Maya aesthetics in their works. Unwriting Maya Literature places contemporary Maya literatures within a context that is situated in Indigenous ways of knowing and being. Through ts'iib, the authors propose an alternative to traditional analysis of Maya cultural production that allows critics, students, and admirers to respectfully interact with the texts and their authors. Unwriting Maya Literature offers critical praxis for understanding Mesoamerican works that encompass non-Western ways of reading and creating texts.

Word Mingas is an encompassing study of oralitures--multilayered cultural knowledge shared through the power of orality--and written literatures by authors from Colombia and other regions in the hemisphere who self-identify as Indigenous. In consequential dialogue with the most recent theories of decoloniality and interculturality, the book weaves and compares two threads of literary critique Rocha Vivas names as oralitegraphies and mirrored visions. The study focuses on texts produced from the early 1990s to the present, and offers productive avenues to discuss, understand, and foster dialogue with the wide array of symbolic-literary systems of the original peoples. Rocha Vivas offers a valuable contribution to the much-needed dialogue on the basic rights of self-representation, self-determination, and the coexistence of multiple systems of representation and identity.