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At long last—a book-length biography celebrates Toni Cade Bambara, a seminal literary, cultural, and political figure who was among the most widely read and frequently reviewed of the well-regarded black women writers to emerge in the 1970s. A Joyous Revolt: Toni Cade Bambara, Writer and Activist is the first-ever, full-length biography of a trailblazing artist who championed black women in her fiction as well as in her life. This incisive study provides a comprehensive treatment of Bambara's published and unpublished works, and it also documents her emerging vision of her role as an agent of change. The biography allows readers into the personal life of Bambara, offering personal insights into a woman with a strong public persona and friendships with other celebrated artists of her era. Perhaps most important for those seeking to understand and appreciate Bambara's legacy, it connects her oeuvre to the context of her experience and places all of her wide-ranging creative work in the context of her singular vision.
At long last—a book-length biography celebrates Toni Cade Bambara, a seminal literary, cultural, and political figure who was among the most widely read and frequently reviewed of the well-regarded black women writers to emerge in the 1970s. A Joyous Revolt: Toni Cade Bambara, Writer and Activist is the first-ever, full-length biography of a trailblazing artist who championed black women in her fiction as well as in her life. This incisive study provides a comprehensive treatment of Bambara's published and unpublished works, and it also documents her emerging vision of her role as an agent of change. The biography allows readers into the personal life of Bambara, offering personal insights into a woman with a strong public persona and friendships with other celebrated artists of her era. Perhaps most important for those seeking to understand and appreciate Bambara's legacy, it connects her oeuvre to the context of her experience and places all of her wide-ranging creative work in the context of her singular vision.
Here is an animated and wonderfully engaging work of cultural history that lays out America’s unruly past by describing the ways in which cutting loose has always been, and still is, an essential part of what it means to be an American. From the time the Pilgrims landed at Plymouth Rock, Americans have defied their stodgy rules and hierarchies with pranks, dances, stunts, and wild parties, shaping the national character in profound and lasting ways. In the nation’s earlier eras, revelers flouted Puritans, Patriots pranked Redcoats, slaves lampooned masters, and forty-niners bucked the saddles of an increasingly uptight middle class. In the twentieth century, fun-loving Americans celebrated this heritage and pushed it even further: flappers “barney-mugged” in “petting pantries,” Yippies showered the New York Stock Exchange with dollar bills, and B-boys invented hip-hop in a war zone in the Bronx. This is the surprising and revelatory history that John Beckman recounts in American Fun. Tying together captivating stories of Americans’ “pursuit of happiness”—and distinguishing between real, risky fun and the bland amusements that paved the way for Hollywood, Disneyland, and Xbox—Beckman redefines American culture with a delightful and provocative thesis. (With black-and-white illustrations throughout.)
Admit the Joyous Passion of Revolt is a Marxist-feminist epic poem -- wait, no, it's historical -- actually it's poems of the worker's body. It is none and all of these things. It is absurd or perhaps entirely sincere. Gomez's second book brings together a series of poems on the life of Bolshevik feminist Alexandra Kollontai. It examines love and desire under capitalism, and imagines how these will look in a post-capitalist world. This is poetry for girls, poetry for communism; it's poetry for the past and for the impossible future.
The New York Times calls him "America's number one Buddhist." He is the co-founder of Tibet House New York, was the first American Tibetan Buddhist monk, and has shared a thirty-five-year friendship with the Dalai Lama. Now, Robert Thurman presents his first completely original book, an introduction to Buddhism and "an inspiring guide to incorporating Buddhist wisdom into daily life" (USA Today). Written with insight, enthusiasm, and impeccable scholarship, Inner Revolution is not only a national bestseller and practical primer on one of the world's most fascinating traditions, but it is also a wide-ranging look at the course of our civilization--and how we can alter it for the better. "Part spiritual memoir, part philosophical treatise and part religious history, Thurman's book is a passionate declaration of the possibilities of renewing the world" (Publishers Weekly, starred review).
Brilliantly researched and wonderfully written, Love and Capital reveals the rarely glimpsed and heartbreakingly human side of the man whose works would redefine the world after his death. Drawing upon previously unpublished material, acclaimed biographer Mary Gabriel tells the story of Karl and Jenny Marx's marriage. Through it, we see Karl as never before: a devoted father and husband, a prankster who loved a party, a dreadful procrastinator, freeloader, and man of wild enthusiasms -- one of which would almost destroy his marriage. Through years of desperate struggle, Jenny's love for Karl would be tested again and again as she waited for him to finish his masterpiece, Capital. An epic narrative that stretches over decades to recount Karl and Jenny's story against the backdrop of Europe's Nineteenth Century, Love andCapital is a surprising and magisterial account of romance and revolution -- and of one of the great love stories of all time.
One Sunday afternoon in February 1977, Toni Morrison, Alice Walker, Ntozake Shange, and several other Black women writers met at June Jordan’s Brooklyn apartment to eat gumbo, drink champagne, and talk about their work. Calling themselves “The Sisterhood,” the group—which also came to include Audre Lorde, Paule Marshall, Margo Jefferson, and others—would get together once a month over the next two years, creating a vital space for Black women to discuss literature and liberation. The Sisterhood tells the story of how this remarkable community transformed American writing and cultural institutions. Drawing on original interviews with Sisterhood members as well as correspondence, meeting minutes, and readings of their works, Courtney Thorsson explores the group’s everyday collaboration and profound legacy. The Sisterhood advocated for Black women writers at trade publishers and magazines such as Random House, Ms., and Essence, and eventually in academic departments as well—often in the face of sexist, racist, and homophobic backlash. Thorsson traces the personal, professional, and political ties that brought the group together as well as the reasons for its dissolution. She considers the popular and critical success of Sisterhood members in the 1980s, the uneasy absorption of Black feminism into the academy, and how younger writers built on the foundations the group laid. Highlighting the organizing, networking, and community building that nurtured Black women’s writing, this book demonstrates that The Sisterhood offers an enduring model for Black feminist collaboration.
This History explores innovations in African American autobiography since its inception, examining the literary and cultural history of Black self-representation amid life writing studies. By analyzing the different forms of autobiography, including pictorial and personal essays, editorials, oral histories, testimonials, diaries, personal and open letters, and even poetry performance media of autobiographies, this book extends the definition of African American autobiography, revealing how people of African descent have created and defined the Black self in diverse print cultures and literary genres since their arrival in the Americas. It illustrates ways African Americans use life writing and autobiography to address personal and collective Black experiences of identity, family, memory, fulfillment, racism and white supremacy. Individual chapters examine scrapbooks as a source of self-documentation, African American autobiography for children, readings of African American persona poems, mixed-race life writing after the Civil Rights Movement, and autobiographies by African American LGBTQ writers.
Reclaiming fun as a meaningful concept for understanding games and play. “Fun” is somewhat ambiguous. If something is fun, is it pleasant? Entertaining? Silly? A way to trick students into learning? Fun also has baggage—it seems inconsequential, embarrassing, child's play. In Fun, Taste, & Games, John Sharp and David Thomas reclaim fun as a productive and meaningful tool for understanding and appreciating play and games. They position fun at the heart of the aesthetics of games. As beauty was to art, they argue, fun is to play and games—the aesthetic goal that we measure our experiences and interpretations against. Sharp and Thomas use this fun-centered aesthetic framework to explore a range of games and game issues—from workplace bingo to Meow Wolf, from basketball to Myst, from the consumer marketplace to Marcel Duchamp. They begin by outlining three elements for understanding the drive, creation, and experience of fun: set-outsideness, ludic forms, and ambiguity. Moving from theory to practice and back again, they explore the complicated relationships among the titular fun, taste, and games. They consider, among other things, the dismissal of fun by game journalists and designers; the seminal but underinfluential game Myst, and how tastes change over time; the shattering of the gamer community in Gamergate; and an aesthetics of play that goes beyond games.
This book is a volume in the Penn Press Anniversary Collection. To mark its 125th anniversary in 2015, the University of Pennsylvania Press rereleased more than 1,100 titles from Penn Press's distinguished backlist from 1899-1999 that had fallen out of print. Spanning an entire century, the Anniversary Collection offers peer-reviewed scholarship in a wide range of subject areas.