|
Showing 1 - 25 of
62 matches in All Departments
|
Luck
Margaret Randall; Illustrated by Barbara Byers
|
R586
Discovery Miles 5 860
|
Ships in 12 - 17 working days
|
Fearless personal essays from a treasured feminist poet and
activist Luck is a collection of essays covering such topics as
memory, language, landscape, poetry, anger, sex, food, pandemics,
war, violence, feminism, lies, imagination, death, power, identity,
and of course luck. Some are full-blown explorations, others brief
riffs. Some are prose poetry, others straightforward prose. The
author combines scholarly research with personal experience,
producing texts both intimate and illuminating. Always attentive to
the world around her and the one within, Randall has brought us her
most relevant and powerful essays to date.
In 1969, poet and revolutionary Margaret Randall was forced
underground when the Mexican government cracked down on all those
who took part in the 1968 student movement. Needing to leave the
country, she sent her four young children alone to Cuba while she
scrambled to find safe passage out of Mexico. In I Never Left Home,
Randall recounts her harrowing escape and the other extraordinary
stories from her life and career. From living among New York's
abstract expressionists in the mid-1950s as a young woman to
working in the Nicaraguan Ministry of Culture to instill
revolutionary values in the media during the Sandinista movement,
the story of Randall's life reads like a Hollywood production.
Along the way, she edited a bilingual literary journal in Mexico
City, befriended Cuban revolutionaries, raised a family, came out
as a lesbian, taught college, and wrote over 150 books. Throughout
it all, Randall never wavered from her devotion to social justice.
When she returned to the United States in 1984 after living in
Latin America for twenty-three years, the U.S. Immigration and
Naturalization Service ordered her to be deported for her
"subversive writing." Over the next five years, and with the
support of writers, entertainers, and ordinary people across the
country, Randall fought to regain her citizenship, which she won in
court in 1989. As much as I Never Left Home is Randall's story, it
is also the story of the communities of artists, writers, and
radicals she belonged to. Randall brings to life scores of creative
and courageous people on the front lines of creating a more just
world. She also weaves political and social analyses and poetry
into the narrative of her life. Moving, captivating, and
astonishing, I Never Left Home is a remarkable story of a
remarkable woman.
First revised edition of interviews with 14 prominent activists
whose writings influenced the 1979 Nicaraguan revolution and help
us understand present-day Nicaragua Margaret Randall presents a
dynamic collection of personal interviews with Nicaragua's most
important writer-revolutionaries who played major roles in the 1979
revolution and the subsequent reconstruction. This revised first
edition includes a new preface and additional notes that frame the
narrative in high relevance to the present day. The featured
writer-activists speak of their work and practical tasks in
constructing a new society. Among the writers included are Gioconda
Belli, Tomas Borge, Omar Cabezas, Ernesto Cardenal, Vidaluz
Meneses, Julio Valle-Castillo, and Daisy Zamora. The work also
features 50 evocative photographs from the era by Margaret Randall.
Time's Language contains powerful poems of witness as well as
personal poems, and autobiographical prose pieces (that read like
prose poems), recounting a life of resistance, the life of a
life-long literary and political revolutionary. As US Poet Laureate
Juan Felipe Herrera writes, "Here are Margaret Randall's decades of
love, ink, tears, contestation and light-let us bow in gratitude
for this truth-telling, daring, border-breaking, pioneering
long-time volume of soul fire.
Combining anecdotes with analysis, Margaret Randall describes how,
in 20th century revolutionary societies, women's issues were
gradually pushed aside. Randall shows how distorted visions of
liberation and shortcomings in practice left a legacy that not only
shortchanged women but undermined the revolutionary project itself.
Finally, she grapples with the ways in which women themselves often
retreated into more traditional roles and the rage that this
engenders.
Traces the remarkable life of a feminist poet through the items and
images that have have defined her experiences My Life in 100
Objects is a personal reflection on the events and moments that
shaped the life and work of one extraordinary woman. With a
masterful, poetic voice, Margaret Randall uses talismanic objects
and photographs as launching points for her nonlinear narrative.
Through each "object," Randall uncovers another part of herself,
starting in a museum in Amman, Jordan, and ending in the Latin
American Studies Association in Boston. Interwoven throughout are
her most precious relationships, her growth as an artist, and her
brave, revolutionary spirit. As Randall's adventures often coincide
with important moments in history, many of her objects provide a
transcontinental glimpse into social upheavals and transitions. She
shares memories from her years in Cuba (1969 to 1980) and Nicaragua
(1980 to 1984), as well as briefer periods in North Vietnam
(immediately preceding the end of the war in 1975), and Peru
(during the government of Velasco Alvarado). In her introduction,
Randall states, "objects and places have always been alive to me."
Her history too is alive, as much of a means to consider our own
present as it is to glimpse her vibrant past.
|
Artists in My Life (Hardcover)
Margaret Randall; Foreword by Mary Gabriel, Ed McCaughan
|
R1,189
R964
Discovery Miles 9 640
Save R225 (19%)
|
Ships in 10 - 15 working days
|
Margaret Randall reveals personal stories and profound insights
about the artists who most influenced her life. Artists in My Life
is a collection of intimate and conversational accounts of the
visual artists that have impacted the renowned poet activist
Margaret Randall on her own journey as an artist. Randall writes of
each relationship through multiple lenses: as makers of art, social
commentators, women in a world dominated by male values, and in
solitude or collaboration with communities and the larger artistic
arena. Each story offers insight into the artist's life and work,
and analyses the impact it had on Randall's own work and its impact
on the larger art community. The work strives to answer bigger
questions about visual art as a whole and its lasting political
influence on the world stage. Randalls describes her motivations:
"I go beneath the surface, asking questions and telling stories. I
have wanted to answer questions such as: Why is it that visual
art-drawing, painting, sculpture, photography, architecture-grabs
me and, in particular instances, feels as if it changes me at the
molecular level? How do art and memory interact? How do reason and
intuition come together in art? Do women and men make art
differently? Does great art change the viewer? Does it change the
artist? How does art travel through time?"
In The Price We Pay, Margaret Randall interviews women from a wide
range of economic, racial, and cultural backgrounds to reveal the
role money plays in their lives. These women speak of their
changing expectations and attitudes regarding money. Daughters of
immigrants remember what money meant in the transition between
worlds. They disclose the feelings that they have of stigma or
shame at not having enough, guilt at having too much, and the lies,
secrets and silences caused by these feelings. These personal
stories are woven into a history of women's economics and chapters
on family, work, the media, power and control, and lesbian
economics.
About Little Charlie Lindbergh, like earlier Margaret Randall
poetry collections, presents a unique poetic voice by a revered
elder in the genre. These poems are all about making connections,
many of them unexpected. Randall links national events with
intimate family moments, ancient ruins with present-day
communities, and prehistory with history (making a convincing
argument for the former as a part of the latter). Everyday speech
and expressions that have become social cliches or advertising
banter find their way into these poems and acquire the precision of
literary elegance. Straightforward speech becomes passionate
lyricism. This book gives lie to the notion that so-called
political poetry must by nature come off as propagandistic;
complexity and grace are always present. The poems collected here
pay attention to birth, love, loss, Jewish identity, domestic and
international violence, the environment, language, art, class,
race, gender, and sexual identity. All these seemingly disparate
subjects are linked by an empowering way of seeing and saying. This
is social justice poetry that packs a wallop and moves the reader
deeply.
Featuring the work of more than fifty poets writing across the last
eight decades, Only the Road / Solo el Camino is the most complete
bilingual anthology of Cuban poetry available to an English
readership. It is distinguished by its stylistic breadth and the
diversity of its contributors, who come from throughout Cuba and
its diaspora and include luminaries, lesser-known voices, and
several Afro-Cuban and LGBTQ poets. Nearly half of the poets in the
collection are women. Only the Road paints a full and dynamic
picture of modern Cuban life and poetry, highlighting their unique
features and idiosyncrasies, the changes across generations, and
the ebbs and flows between repression and freedom following the
Revolution. Poet Margaret Randall, who translated each poem,
contributes extensive biographical notes for each poet and a
historical introduction to twentieth-century Cuban poetry.
Featuring the work of more than fifty poets writing across the last
eight decades, Only the Road / Solo el Camino is the most complete
bilingual anthology of Cuban poetry available to an English
readership. It is distinguished by its stylistic breadth and the
diversity of its contributors, who come from throughout Cuba and
its diaspora and include luminaries, lesser-known voices, and
several Afro-Cuban and LGBTQ poets. Nearly half of the poets in the
collection are women. Only the Road paints a full and dynamic
picture of modern Cuban life and poetry, highlighting their unique
features and idiosyncrasies, the changes across generations, and
the ebbs and flows between repression and freedom following the
Revolution. Poet Margaret Randall, who translated each poem,
contributes extensive biographical notes for each poet and a
historical introduction to twentieth-century Cuban poetry.
Taking part in the Cuban Revolution's first armed action in 1953,
enduring the torture and killings of her brother and fiance,
assuming a leadership role in the underground movement, and
smuggling weapons into Cuba, Haydee Santamaria was the only woman
to participate in every phase of the Revolution. Virtually unknown
outside of Cuba, Santamaria was a trusted member of Fidel Castro's
inner circle and friend of Che Guevara. Following the Revolution's
victory Santamaria founded and ran the cultural and arts
institution Casa de las Americas, which attracted cutting-edge
artists, exposed Cubans to some of the world's greatest creative
minds, and protected queer, black, and feminist artists from state
repression. Santamaria's suicide in 1980 caused confusion and
discomfort throughout Cuba; despite her commitment to the
Revolution, communist orthodoxy's disapproval of suicide prevented
the Cuban leadership from mourning and celebrating her in the Plaza
of the Revolution. In this impressionistic portrait of her friend
Haydee Santamaria, Margaret Randall shows how one woman can help
change the course of history.
|
Luck
Margaret Randall; Illustrated by Barbara Byers
|
R2,106
Discovery Miles 21 060
|
Ships in 12 - 17 working days
|
Fearless personal essays from a treasured feminist poet and
activist Luck is a collection of essays covering such topics as
memory, language, landscape, poetry, anger, sex, food, pandemics,
war, violence, feminism, lies, imagination, death, power, identity,
and of course luck. Some are full-blown explorations, others brief
riffs. Some are prose poetry, others straightforward prose. The
author combines scholarly research with personal experience,
producing texts both intimate and illuminating. Always attentive to
the world around her and the one within, Randall has brought us her
most relevant and powerful essays to date.
Margaret Randall's most recent collection of poems, Out of Violence
Into Poetry, was written over these past few years when language
itself was violated by a president who lied until each lie,
repeated often enough, resembled a terrible truth in the public
discourse. Reality, sanity, beauty: all bend and run the risk of
breaking when distorted beyond recognition. These poems consciously
restore language to its natural habitat. They deal with history,
memory, loss, life, death and promise. They address love and aging.
They become a welcome refuge at a time of uncertainty and take us
on disparate journeys that often have surprising twists. There is
humor as well as rage. We cannot leave it to the politicians alone
to give words their meaning back. That is the job of poets, and
this book does that job well. Randall is the author of nearly 200
books, spanning more than six decades. Out of Violence into Poetry
may well be her finest collection of poetry to date.
A poetry collection about connectivity, this book suggests that
humankind is linked by its concerns for global human rights and a
sustainable global climate. Named for a root system that connects
seemingly separate plants, like a stand of aspen trees, this
compilation seeks to celebrate common human roots.
Incorporating short prose, photography, and poetry, this memoir
celebrates Albuquerque, New Mexico, and recollects how the author's
life and the city itself were impacted by Cold War politics, the
atomic bomb, McCarthyism, racism, and misogyny. Covering topics
such as familial relationships, troubled marriage, lesbianism, and
human rights activism, this collection also provides a poetic
understanding of the region's history and culture over the past
half century. Politically charged, this account highlights inhumane
government policies while recounting the history of this
Southwestern town.
Detailing the natural and human history of Rapa Nui - more commonly
known as Easter Island - this extraordinary collection of poems and
photographs links together the ancient inhabitants of the most
isolated, inhabited spot on earth with common concerns and hopes of
the present. Illustrating the unique culture and ongoing struggle
to survive against dramatic odds, this volume dramatically depicts
the basic desires, misgivings, and challenges that human beings
have long faced, regardless of time and place.
Against Atrocity is Margaret Randall's first large book of poems
since Time's Language: Selected Poems 1959-2018, a major collection
covering work from 30 of her books over a period of 60 years. This
new book shows that this poet continues to be a relevant and
inspiring voice in American letters. It is also a stellar example
of contemporary, intelligent protest poetry by a significant
writer. Long known and honored for her work throughout the
Americas, she is also long admired in the LGBTQ community. Among
numerous awards, Randall was awarded the Lillian Hellman and
Dashiell Hammett grant for writers victimized by political
repression. In 2004 she was the first recipient of PEN New Mexico's
Dorothy Doyle Lifetime Achievement Award for Writing and Human
Rights Activism. In 2017, she was only the second American to be
awarded the prestigious Medal of Literary Merit by Literatura en el
Bravo, Chihuahua, Mexico. Nicaraguan poet Daisy Zamora writes:
"These poems restore language to its authentic meaning, remind us
of the power of words when expressing the truth, and the redeeming
potential of poetry in these terrible times." These are indeed
terrible times, ones in which we increasingly find ourselves
looking to art and creativity to lift us from the unchecked
violence, everyday frustration of deaf governance, and an
out-of-control profit motive that too often seems to bury us in a
dangerous sense of futility. Randall writes as insightfully about
the plight of a single woman or child as she does about global
warming or the mysteries of aging. In these poems we find more
questions than answers, but they are the questions we must continue
to ask ourselves in order for our humanity to survive. Against
Atrocity will also see publication this year, in completely
bilingual format, by Aguacero in Buenos Aires, Argentina. And some
of the poems are included in El lenguaje del tiempo, a book-length
sampling of the poet's work coming out from El Angel Editor in
Quito, Ecuador to coincide with that country's Poesia en paralelo
cero (Poetry on the Equator), an important Latin American poetry
festival. Randall's work is being published in Cuba, throughout
South America, in Europe and Asia. She is someone who combines the
intimate with the international, our small stories with the larger
one that shapes us all. Here are poems that pierce complacency's
thick skin and provide a road map to agency and hope.
Starfish on a Beach: The Pandemic Poems grew out of the first
months of the 2020 COVID-19 pandemic. When some of them were posted
on Facebook, readers responded immediately to identify with her
take on what we were all experiencing. These poems reflect the
fear, isolation, and horror we felt as society - as we watched
public life close down, people were urged to stay distant from one
another, wear face masks, and wash our hands frequently. Many of us
lost jobs; some of us lost businesses. We saw beloved family
members and friends sicken and some of them die. We watched
helplessly as sources of income disappeared and the future seemed
uncertain. But I also began thinking about other aspects of life
through the lens of this situation: Have we brought this plague
upon ourselves by our carelessness and lack of accountability to
global warming? Does our social organization really meet our needs?
Why are some communities suffering so much more than others? These
poems reflect all this and more. They are offered in concern,
anger, and also hope for a different future. These poems predate
the killing of George Floyd, so the focus remains on health and
isolation.
Traces the remarkable life of a feminist poet through the items and
images that have have defined her experiences My Life in 100
Objects is a personal reflection on the events and moments that
shaped the life and work of one extraordinary woman. With a
masterful, poetic voice, Margaret Randall uses talismanic objects
and photographs as launching points for her nonlinear narrative.
Through each "object," Randall uncovers another part of herself,
starting in a museum in Amman, Jordan, and ending in the Latin
American Studies Association in Boston. Interwoven throughout are
her most precious relationships, her growth as an artist, and her
brave, revolutionary spirit. As Randall's adventures often coincide
with important moments in history, many of her objects provide a
transcontinental glimpse into social upheavals and transitions. She
shares memories from her years in Cuba (1969 to 1980) and Nicaragua
(1980 to 1984), as well as briefer periods in North Vietnam
(immediately preceding the end of the war in 1975), and Peru
(during the government of Velasco Alvarado). In her introduction,
Randall states, "objects and places have always been alive to me."
Her history too is alive, as much of a means to consider our own
present as it is to glimpse her vibrant past.
In 1937 tens of thousands of Haitians living in the Dominican
Republic were slaughtered by Dominican troops wielding machetes and
knives. Dominican writer and lawyer Freddy Prestol Castillo worked
on the Haiti-Dominican Republic border during the massacre, known
as "The Cutting," and documented the atrocities in real time in You
Can Cross the Massacre on Foot. Written in 1937, published in
Spanish in 1973, and appearing here in English for the first time,
Prestol Castillo's novel is one of the few works that details the
massacre's scale and scope. Conveying the horror of witnessing such
inhumane violence firsthand, it is both an attempt to come to terms
with personal and collective guilt and a search to understand how
people can be driven to indiscriminately kill their neighbors.
In 1937 tens of thousands of Haitians living in the Dominican
Republic were slaughtered by Dominican troops wielding machetes and
knives. Dominican writer and lawyer Freddy Prestol Castillo worked
on the Haiti-Dominican Republic border during the massacre, known
as "The Cutting," and documented the atrocities in real time in You
Can Cross the Massacre on Foot. Written in 1937, published in
Spanish in 1973, and appearing here in English for the first time,
Prestol Castillo's novel is one of the few works that details the
massacre's scale and scope. Conveying the horror of witnessing such
inhumane violence firsthand, it is both an attempt to come to terms
with personal and collective guilt and a search to understand how
people can be driven to indiscriminately kill their neighbors.
First revised edition of interviews with 14 prominent activists
whose writings influenced the 1979 Nicaraguan revolution and help
us understand present-day Nicaragua Margaret Randall presents a
dynamic collection of personal interviews with Nicaragua's most
important writer-revolutionaries who played major roles in the 1979
revolution and the subsequent reconstruction. This revised first
edition includes a new preface and additional notes that frame the
narrative in high relevance to the present day. The featured
writer-activists speak of their work and practical tasks in
constructing a new society. Among the writers included are Gioconda
Belli, Tomas Borge, Omar Cabezas, Ernesto Cardenal, Vidaluz
Meneses, Julio Valle-Castillo, and Daisy Zamora. The work also
features 50 evocative photographs from the era by Margaret Randall.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|