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Part memoir, part medical cautionary tale, Dumb tells the story of how an urban twentysomething copes with the everyday challenges that come with voicelessness. Webber adroitly uses the comics medium to convey the practical hurdles she faced as well as the fear and dread that accompanied her increasingly lonely journey to regain her life. Her raw cartooning style, occasionally devolving into chaotic scribbles, splotches of ink, and overlapping montages, perfectly captures her frustration and anxiety. But her ordeal ultimately becomes a hopeful story. Throughout, she learns to lean on the support of her close friends, finds self-expression in creating comics, and comes to understand and appreciate how deeply her voice and identity are intertwined.
This book is a collection of digital narratives and personal essays written by twenty-one immigrant and refugee high school students from thirteen countries who reside in Atlanta.
Working up the courage to take a big, important leap is hard, but Jabari is almost absolutely ready to make a giant splash. Jabari is definitely ready to jump off the diving board. He’s finished his swimming lessons and passed his swim test, and he’s a great jumper, so he’s not scared at all. “Looks easy,” says Jabari, watching the other kids take their turns. But when his dad squeezes his hand, Jabari squeezes back. He needs to figure out what kind of special jump to do anyway, and he should probably do some stretches before climbing up onto the diving board. In a sweetly appealing tale of overcoming your fears, newcomer Gaia Cornwall captures a moment between a patient and encouraging father and a determined little boy you can’t help but root for.
In journal entries to her mother, a gifted artist who died suddenly, thirteen-year-old Georgia McCoy reveals how her life changes after she receives an anonymous gift membership to a nearby art museum.
William Faulkner recognized voice as one of the most distinctive and powerful elements in fiction when he delivered his Nobel Prize acceptance speech, describing the last sound at the end of the world as man's "puny inexhaustible voice, still talking." As a testimonial of an artist's faith in his art, the speech raised the value of voice to its highest reach for man, as "one of the props, the pillars to help him endure and prevail." In Fiction's Inexhaustible Voice, Stephen Ross explores the nature of voice in William Faulkner's fiction by examining the various modes of speech and writing that his texts employ. Beginning with the proposition that voice is deeply involved in the experience of reading Faulkner, Ross uses theoretically grounded notions of voice to propose new ways of explaining how Faulkner's novels and stories express meaning, showing how Faulkner used the affective power of voice to induce the reader to forget the silent and originless nature of written fiction. Ross departs from previous Faulkner criticism by proceeding not text-by-text or chronologically but by construction a workable taxonomy which defines the types of voice in Faulkner's fiction: phenomenal voice, a depicted event or object within the represented fictional world; mimetic voice, the illusion that a person is speaking; psychic voice, one heard only in the mind and overheard only through fiction's omniscience; and oratorical voice, an overtly intertextual voice which derives from a discursive practice--Southern oratory--recognizable outside the boundaries of any Faulkner text and identifiable as part of Faulkner's biographical and regional heritage. In Faulkner's own experience, listening was important. As he once confided to Malcolm Cowley, "I listen to the voices, and when I put down what the voices say, it's right." In Fiction's Inexhaustible Voice, Ross conducts a careful analysis of this fundamental source of power in Faulkner's fiction, concluding that the preponderance of voice imagery, represented talking, verbalized thought, and oratorical rhetoric and posturing makes the novels and stories fundamentally vocal. They derive their energy from the play of voices on the imaginative field of written language.
“Riveting and transformative, evocative and immersive...by turns vibrant and bold and wise, discovering Dorothy’s story is a singular pleasure.”--The New York Times A remarkable, sweeping historical novel based on the incredible true life story of Dorothy Kirwan Thomas, a free Black woman who rose from slavery to become one of the wealthiest and most powerful landowners in the colonial West Indies. Born into slavery on the tiny Caribbean island of Montserrat, Doll bought her freedom—and that of her sister and her mother—from her Irish planter father and built a legacy of wealth and power as an entrepreneur, merchant, hotelier, and planter that extended from the marketplaces and sugar plantations of Dominica and Barbados to a glittering luxury hotel in Demerara on the South American continent. Vanessa Riley’s novel brings Doll to vivid life as she rises above the harsh realities of slavery and colonialism by working the system and leveraging the competing attentions of the men in her life: a restless shipping merchant, Joseph Thomas; a wealthy planter hiding a secret, John Coseveldt Cells; and a roguish naval captain who will later become King William IV of England. From the bustling port cities of the West Indies to the forbidding drawing rooms of London’s elite, Island Queen is a sweeping epic of an adventurer and a survivor who answered to no one but herself as she rose to power and autonomy against all odds, defying rigid eighteenth-century morality and the oppression of women as well as people of color. It is an unforgettable portrait of a true larger-than-life woman who made her mark on history.
Shortlisted for the J. Anthony Lukas Prize The story of art collective Gran Fury--which fought back during the AIDS crisis through direct action and community-made propaganda--offers lessons in love and grief. In the late 1980s, the AIDS pandemic was annihilating queer people, intravenous drug users, and communities of color in America, and disinformation about the disease ran rampant. Out of the activist group ACT UP (AIDS Coalition to Unleash Power), an art collective that called itself Gran Fury formed to campaign against corporate greed, government inaction, stigma, and public indifference to the epidemic. Writer Jack Lowery examines Gran Fury's art and activism from iconic images like the "Kissing Doesn't Kill" poster to the act of dropping piles of fake bills onto the trading floor of the New York Stock Exchange. Lowery offers a complex, moving portrait of a collective and its members, who built essential solidarities with each other and whose lives evidenced the profound trauma of enduring the AIDS crisis. Gran Fury and ACT UP's strategies are still used frequently by the activists leading contemporary movements. In an era when structural violence and the devastation of COVID-19 continue to target the most vulnerable, this belief in the power of public art and action persists.
Today, a variety of gender-based threats and discrimination continue to characterize journalism. Both male and female journalists are prone to online and offline threats, casual stereotypes in their routine work, and discrimination (especially in terms of job opportunities, promotion, and pay-scale). Working in a safe and non-discriminatory environment is the right of all journalists, regardless of their gender. The Handbook of Research on Discrimination, Gender Disparity, and Safety Risks in Journalism is a critical reference book that highlights equal rights in journalism to ensure the safety of women and men. The book investigates the level and nature of threats, both online and offline, faced by journalists as well as gender discrimination in journalism. Best practices and examples that can promote a safe working environment and gender equality in journalism are also presented. Highlighting important themes such as online harassment, sexism, and gender-based violence, this book is ideal for journalists, reporters, media organizations, professionals, researchers, academicians, and students working or studying in the fields of journalism, media and communications, human rights, and women’s studies.
A rich mosaic of photographs, words, and songs, Voices from the Mountains tells the turbulent story of the Appalachian South in the twentieth century. Focusing on the abuses of the coal industry and the grassroots struggle against mine owners that began in the 1960s, Guy and Candie Carawan have gathered quotations from a variety of sources; words and music to more than fifty ballads and songs, laments and satires, hymns and protests; and more than one hundred and fifty photographs of longtime Appalachian residents, their homes, their countryside, the mines they work in, and the labor battles they have fought. The "voices" that speak out in these pages range from the mountain people themselves to such well-known artists as Jean Ritchie, Hazel Dickens, Harriet Simpson Arnow, and Wendell Berry. Together they tell of the damage wrought by strip mining and the empty promises of land reclamation; the search for work and a new life in the North; the welfare rights, labor, antipoverty, and black lung movements; early days in the mines; disasters and negligence in the coal industry; and protest and change in the coal fields. Dignity and despair, poverty and perseverance, tradition and change--Voices from the Mountains eloquently conveys the complex panorama of modern Appalachian life.