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River of Tears is the first ethnography of Brazilian country music, one of the most popular genres in Brazil yet least-known outside it. Beginning in the mid-1980s, commercial musical duos practicing música sertaneja reached beyond their home in Brazil’s central-southern region to become national bestsellers. Rodeo events revolving around country music came to rival soccer matches in attendance. A revival of folkloric rural music called música caipira, heralded as música sertaneja’s ancestor, also took shape. And all the while, large numbers of Brazilians in the central-south were moving to cities, using music to support the claim that their Brazil was first and foremost a rural nation. Since 1998, Alexander Sebastian Dent has analyzed rural music in the state of São Paulo, interviewing and spending time with listeners, musicians, songwriters, journalists, record-company owners, and radio hosts. Dent not only describes the production and reception of this music, he also explains why the genre experienced such tremendous growth as Brazil transitioned from an era of dictatorship to a period of intense neoliberal reform. Dent argues that rural genres reflect a widespread anxiety that change has been too radical and has come too fast. In defining their music as rural, Brazil’s country musicians—whose work circulates largely in cities—are criticizing an increasingly inescapable urban life characterized by suppressed emotions and an inattentiveness to the past. Their performances evoke a river of tears flowing through a landscape of loss—of love, of life in the countryside, and of man’s connections to the natural world.
Enka, a sentimental ballad genre, epitomizes for many the nihonjin no kokoro (heart/soul of Japanese). To older members of the Japanese public, who constitute enka's primary audience, this music--of parted lovers, long unseen rural hometowns, and self-sacrificing mothers--evokes a direct connection to the traditional roots of "Japaneseness." Overlooked in this emotional invocation of the past, however, are the powerful commercial forces that, since the 1970s, have shaped the consumption of enka and its version of national identity. Informed by theories of nostalgia, collective memory, cultural nationalism, and gender, this book draws on the author's extensive fieldwork in probing the practice of identity-making and the processes at work when Japan becomes "Japan."
I've never been one to back down from a challenge. Rather than shy away, I grit my teeth and use it as an opportunity to prove myself. Not just in football, but also in life. Even when I was thrown through a loop in discovering I was bisexual, I embraced it. Owning it so no one can use it as ammunition against me. But when Ciaráin Grady comes barreling into my life with his venomous tongue and amber eyes brimming with disdain, I realize every test of my character and strength could never have prepared me for the trial he holds. One that toes the line of love and hate. It's all-consuming and toxic. Yet under the layers of revulsion he masks his face with, I see it. A glimmer of lust from deep within his secretive, broken soul. And when we're thrown together under heinous circumstances, the distinction between enemy and lover begins to blur. So...what is Ciaráin Grady to me? I'm only certain that he is the greatest challenge of my life. *Follow the River is a full-length, mature, new adult bully/enemies-to-lovers MM (male/male) romance with dark themes. There will be triggering content for some readers.*
A seductive memoir of a life-changing affair during a time of revolution as it unfolds over a decade and across three continents, surprising both lovers with the power and urgency of love.
I remember the things I felt at that bar in the mountains. The music was over... Some songs played on the Jukebox. The tears welled within me. The dusty road outside... I had my whole life ahead of me, a vision of the indescribable future. Tears fell within. Mountain life was different, but it fit me. A ship set sail on a lonely river. What was love anyway? Complicated. There was no one that could hurt me again I imagined. Just scars. Scars and a desire to make something out of my life. My cabin was just a shadow in the night. And I was supposed to believe I didn't know Jesus? I poured shots and beers that night to the locals. Some who had hearts and some whose hearts had escaped them. I'll never forget the songs that played on the Jukebox. The moon cast weary shadows, and eyes met eyes in the smoky bar. Smoke rising. All I could think of was having a fire for myself in my shell of a cabin outside, by the river. A river that always ran...
From a "born storyteller" (Seattle Times), this playful and moving bestselling book of essays invites us into the miraculous and transcendent moments of everyday life. When Brian Doyle passed away at the age of sixty after a bout with brain cancer, he left behind a cult-like following of devoted readers who regard his writing as one of the best-kept secrets of the twenty-first century. Doyle writes with a delightful sense of wonder about the sanctity of everyday things, and about love and connection in all their forms: spiritual love, brotherly love, romantic love, and even the love of a nine-foot sturgeon. At a moment when the world can sometimes feel darker than ever, Doyle's writing, which constantly evokes the humor and even bliss that life affords, is a balm. His essays manage to find, again and again, exquisite beauty in the quotidian, whether it's the awe of a child the first time she hears a river, or a husband's whiskers that a grieving widow misses seeing in her sink every morning. Through Doyle's eyes, nothing is dull. David James Duncan sums up Doyle's sensibilities best in his introduction to the collection: "Brian Doyle lived the pleasure of bearing daily witness to quiet glories hidden in people, places and creatures of little or no size, renown, or commercial value, and he brought inimitably playful or soaring or aching or heartfelt language to his tellings." A life's work, One Long River of Song invites readers to experience joy and wonder in ordinary moments that become, under Doyle's rapturous and exuberant gaze, extraordinary.
This book provides critical insights into the many, often overlooked, challenges and societal issues that face contemporary black men, focusing in particular on the ways in which governing societal expectations result in internal and external constraints on black male identity formation, sexuality and black ’masculine’ expression. Presenting new interview and auto-ethnographic data, and drawing on an array of theoretical approaches methodologies, Hyper Sexual, Hyper Masculine? explores the formation of gendered and sexual identity in the lives of black men, shedding light on the manner in which these are affected by class and social structure. It examines the intersecting oppressions of race, gender and class, while acknowledging and discussing the extent to which black men’s social lives differ as a result of their varying degrees of cumulative disadvantage. A wide-ranging and empirically grounded exploration of the intersecting roles of race, masculinity, and sexuality on the lives of black men, this volume will appeal to scholars across the social sciences with interests in race and ethnicity, gender and sexuality, social stratification and intersectionality.
"Beautifully written and wise … [Martin Prechtel] offers stories that are precious and life-sustaining. Read carefully, and listen deeply."—Mary Oliver, National Book Award and Pulitzer Prize winner Inspiring hope, solace, and courage in living through our losses, author Martín Prechtel, trained in the Tzutujil Maya shamanic tradition, shares profound insights on the relationship between grief and praise in our culture--how the inability that many of us have to grieve and weep properly for the dead is deeply linked with the inability to give praise for living. In modern society, grief is something that we usually experience in private, alone, and without the support of a community. Yet, as Prechtel says, "Grief expressed out loud for someone we have lost, or a country or home we have lost, is in itself the greatest praise we could ever give them. Grief is praise, because it is the natural way love honors what it misses." Prechtel explains that the unexpressed grief prevalent in our society today is the reason for many of the social, cultural, and individual maladies that we are currently experiencing. According to Prechtel, "When you have two centuries of people who have not properly grieved the things that they have lost, the grief shows up as ghosts that inhabit their grandchildren." These "ghosts," he says, can also manifest as disease in the form of tumors, which the Maya refer to as "solidified tears," or in the form of behavioral issues and depression. He goes on to show how this collective, unexpressed energy is the long-held grief of our ancestors manifesting itself, and the work that can be done to liberate this energy so we can heal from the trauma of loss, war, and suffering. At base, this "little book," as the author calls it, can be seen as a companion of encouragement, a little extra light for those deep and noble parts in all of us.