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Evening Street Press is centered on Elizabeth Cady Stanton's 1848 revision of the Declaration of Independence: "that all men -- and women -- are created equal," with equal rights to "life, liberty, and the pursuit of happiness." It recognizes that all people are created equal and focuses on the realities of experience, personal and historical, from the most gritty to the most dreamlike, including awareness of the personal and social forces that block or develop the possibilities of a new culture. Evening Street Press is no longer accepting work for publication. We will continue to vet and publish online work from incarcerated people for our DIY Prison Project. You can read all our publications at www.eveningstreetpress.com Order print copies of any of our publications from our website www.eveningstreetpress.com
A compelling dual-narrated tale from Jennifer Latham that questions how far we've come with race relations. Some bodies won't stay buried. Some stories need to be told. When seventeen-year-old Rowan Chase finds a skeleton on her family's property, she has no idea that investigating the brutal century-old murder will lead to a summer of painful discoveries about the present and the past. Nearly one hundred years earlier, a misguided violent encounter propels seventeen-year-old Will Tillman into a racial firestorm. In a country rife with violence against blacks and a hometown segregated by Jim Crow, Will must make hard choices on a painful journey towards self discovery and face his inner demons in order to do what's right the night Tulsa burns. Through intricately interwoven alternating perspectives, Jennifer Latham's lightning-paced page-turner brings the Tulsa race riot of 1921 to blazing life and raises important questions about the complex state of US race relations--both yesterday and today.
Financial collapses—whether of the junk bond market, the Internet bubble, or the highly leveraged housing market—are often explained as the inevitable result of market cycles: What goes up must come down. In Liquidated, Karen Ho punctures the aura of the abstract, all-powerful market to show how financial markets, and particularly booms and busts, are constructed. Through an in-depth investigation into the everyday experiences and ideologies of Wall Street investment bankers, Ho describes how a financially dominant but highly unstable market system is understood, justified, and produced through the restructuring of corporations and the larger economy. Ho, who worked at an investment bank herself, argues that bankers’ approaches to financial markets and corporate America are inseparable from the structures and strategies of their workplaces. Her ethnographic analysis of those workplaces is filled with the voices of stressed first-year associates, overworked and alienated analysts, undergraduates eager to be hired, and seasoned managing directors. Recruited from elite universities as “the best and the brightest,” investment bankers are socialized into a world of high risk and high reward. They are paid handsomely, with the understanding that they may be let go at any time. Their workplace culture and networks of privilege create the perception that job insecurity builds character, and employee liquidity results in smart, efficient business. Based on this culture of liquidity and compensation practices tied to profligate deal-making, Wall Street investment bankers reshape corporate America in their own image. Their mission is the creation of shareholder value, but Ho demonstrates that their practices and assumptions often produce crises instead. By connecting the values and actions of investment bankers to the construction of markets and the restructuring of U.S. corporations, Liquidated reveals the particular culture of Wall Street often obscured by triumphalist readings of capitalist globalization.
A PEN/JEAN STEIN BOOK AWARD FINALIST ONE OF THE BEST BOOKS OF THE YEAR: The Washington Post • San Francisco Chronicle • NPR • GQ • Time • The Economist • Slate • HuffPost • Book Riot Ghost story, murder mystery, love letter to American music--White Tears is all of this and more, a thrilling investigation of race and appropriation in society today. Seth is a shy, awkward twentysomething. Carter is more glamorous, the heir to a great American fortune. But they share an obsession with music--especially the blues. One day, Seth discovers that he's accidentally recorded an unknown blues singer in a park. Carter puts the file online, claiming it's a 1920s recording by a made-up musician named Charlie Shaw. But when a music collector tells them that their recording is genuine--that there really was a singer named Charlie Shaw--the two white boys, along with Carter's sister, find themselves in over their heads, delving deeper and deeper into America's dark, vengeful heart. White Tears is a literary thriller and a meditation on art--who owns it, who can consume it, and who profits from it.
Evening Street Review is centered on the belief that all men and women are created equal, that they have a natural claim to certain inalienable rights, and that among these are the rights to life, liberty, and the pursuit of happiness. With this center, and an emphasis on writing that has both clarity and depth, it practices the widest eclecticism. Evening Street Review reads submissions of poetry (free verse, formal verse, and prose poetry) and prose (short stories and creative nonfiction) year-round. Submit 3-6 poems or 1-2 prose pieces at a time. Payment is one contributor’s copy. Copyright reverts to author upon publication. Response time is 3-6 months. Please address submissions to Editors, 2881 Wright St, Sacramento, CA 95821-4819. Email submissions are also acceptable; send to the following address as Microsoft Word or rich text files (.rtf): [email protected]. For submission guidelines, subscription information, published works, and author profiles, please visit our website: www.eveningstreetpress.com.
This illuminating guide to the night opens up an entirely new vista on early modern Europe. Using diaries, letters, legal records and representations of the night in early modern religion, literature and art, Craig Koslofsky explores the myriad ways in which early modern people understood, experienced and transformed the night.
Winner of the 2013 Sinclair Poetry Prize: Early in Judy Ireland’s debut collection, in “Lot’s Wife,” the speaker laments “how unfair it was/to turn her into a pillar of salt when all she was doing/was looking.” Daring to look back carries risks—whether it’s seeing an Iowa landscape where “Seven AM hog reports on the radio” become a young girl’s “cement shoes” or a father who “voted for Nixon” and whose “shame for me/was a big flashlight” nonetheless lives on “in the dim sun/of my yearning”—but so does looking at the present carry risk, for a lover may suddenly announce as if she were “someone saying, ‘I’m partial to strawberries’” that she’s “afraid of dying.” Risk is everywhere in this collection—the rewards are these wonderful poems. —Stephen Gibson, author of Rorschach Art Too, 2014 Donald Justice Prize winner Judy Ireland grew up wild with her sisters and their corn silk hair, barefoot in the dark Iowa earth. In the title poem of this beautiful collection, Cement Shoes, we hear the poet’s brother from his Harley tell her, … “your soul is different,/ your soul is full of books, / and your feet are in cement shoes.” He couldn’t be more right … cement carrying the landscape of Iowa, the land, the creeks, the earth, and the girls growing up among the rows of corn, whose “hair hung down, crazy silks among the rows; / banshees in the corn, …/. Here are lines that resonate long after reading these strong and radiant poems envisioned with an eye as clear as you might imagine an Iowa sky sees in reflection. Here is a poet grounded in her Iowa as in her poems … observant, wry and beautiful lines that weave to water’s edge, from Dry Run Creek, to New Orleans, to New York and back to Iowa … the poet tells us, “I have come so far from Iowa / only to find it in my body. / The blackest dirt on earth and I am every inch and acre of it./ bones planted deep, where no light nor rain can reach. The tall corn grows … and still my hair grows / like prairie.” This wildness pressing the edges of her lines, compels the poet’s voice in this gorgeous body of work. —Susan R. Williamson, Director, Palm Beach Poetry Festival, author of Burning After Dark, winner of the Hannah Kahn 25th Anniversary Chapbook Prize.
Don’t miss one of America’s top 100 most-loved novels, selected by PBS’s The Great American Read. This beloved book by E. B. White, author of Stuart Little and The Trumpet of the Swan, is a classic of children's literature that is "just about perfect." Illustrations in this ebook appear in vibrant full color on a full-color device and in rich black-and-white on all other devices. Some Pig. Humble. Radiant. These are the words in Charlotte's Web, high up in Zuckerman's barn. Charlotte's spiderweb tells of her feelings for a little pig named Wilbur, who simply wants a friend. They also express the love of a girl named Fern, who saved Wilbur's life when he was born the runt of his litter. E. B. White's Newbery Honor Book is a tender novel of friendship, love, life, and death that will continue to be enjoyed by generations to come. It contains illustrations by Garth Williams, the acclaimed illustrator of E. B. White's Stuart Little and Laura Ingalls Wilder's Little House series, among many other books. Whether enjoyed in the classroom or for homeschooling or independent reading, Charlotte's Web is a proven favorite.
Evening Street Review is centered on the belief that all men and women are created equal, that they have a natural claim to certain inalienable rights, and that among these are the rights to life, liberty, and the pursuit of happiness. With this center, and an emphasis on writing that has both clarity and depth, it practices the widest eclecticism. Evening Street Review reads submissions of poetry (free verse, formal verse, and prose poetry) and prose (short stories and creative nonfiction) year round. Submit 3-6 poems or 1-2 prose pieces at a time. Payment is one contributor's copy. Copyright reverts to author upon publication. Response time is 3-6 months. Please address submissions to Editors, 2881 Wright St, Sacramento, CA 95821-5232. Email submissions are also acceptable; send to the following address as Microsoft Word or rich text files (.rtf): [email protected] submission guidelines, subscription information, published works, and author profiles, please visit our website:www.eveningstreetpress.com.© Copyright 2019 by Evening Street Press2881 Wright StSacramento, CA 95821All rights revert to the author upon publication
Evening Street Review is centered on the belief that all men and women are created equal, that they have a natural claim to certain inalienable rights, and that among these are the rights to life, liberty, and the pursuit of happiness. With this center, and an emphasis on writing that has both clarity and depth, it practices the widest eclecticism. Evening Street Review reads submissions of poetry (free verse, formal verse, and prose poetry) and prose (short stories and creative nonfiction) year round. Submit 3-6 poems or 1-2 prose pieces at a time. Payment is one contributor’s copy. Copyright reverts to author upon publication. Response time is 3-6 months. Please address submissions to Editors, 2881 Wright St, Sacramento, CA 95821-4819. Email submissions are also acceptable; send to the following address as Microsoft Word or rich text files (.rtf): [email protected].