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The expatriate, one of America's greatest black writers, giving a bold assessment of the world's outlook on race, a report of the Bandung Conference of 1955.
Winner of the National Book Award for Young People’s Literature, the Michael L. Printz Award, and the Pura Belpré Award! Fans of Jacqueline Woodson, Meg Medina, and Jason Reynolds will fall hard for this astonishing New York Times-bestselling novel-in-verse by an award-winning slam poet, about an Afro-Latina heroine who tells her story with blazing words and powerful truth. Xiomara Batista feels unheard and unable to hide in her Harlem neighborhood. Ever since her body grew into curves, she has learned to let her fists and her fierceness do the talking. But Xiomara has plenty she wants to say, and she pours all her frustration and passion onto the pages of a leather notebook, reciting the words to herself like prayers—especially after she catches feelings for a boy in her bio class named Aman, who her family can never know about. With Mami’s determination to force her daughter to obey the laws of the church, Xiomara understands that her thoughts are best kept to herself. So when she is invited to join her school’s slam poetry club, she doesn’t know how she could ever attend without her mami finding out. But she still can’t stop thinking about performing her poems. Because in the face of a world that may not want to hear her, Xiomara refuses to be silent. “Crackles with energy and snaps with authenticity and voice.” —Justina Ireland, author of Dread Nation “An incredibly potent debut.” —Jason Reynolds, author of the National Book Award Finalist Ghost “Acevedo has amplified the voices of girls en el barrio who are equal parts goddess, saint, warrior, and hero.” —Ibi Zoboi, author of American Street This young adult novel, a selection of the Schomburg Center's Black Liberation Reading List, is an excellent choice for accelerated tween readers in grades 6 to 8. Plus don't miss Elizabeth Acevedo's With the Fire on High and Clap When You Land!
This collection of essays examines the various ways in which the Homeric epics have been responded to, reworked, and rewritten by women writers of the twentieth and early twenty-first centuries. Beginning in 1914 with the First World War, it charts this understudied strand of the history of Homeric reception over the subsequent century up to the present day, analysing the extraordinary responses both to the Odyssey and to the Iliad by women from around the world. The backgrounds of these authors and the genres they employ - memoir, poetry, children's literature, rap, novels - testify not only to the plasticity of Homeric epic, but also to the widening social classes to whom Homer appeals, and it is unsurprising to see the myriad ways in which women writers across the globe have played their part in the story of Homer's afterlife. From surrealism to successive waves of feminism to creative futures, Homer's footprint can be seen in a multitude of different literary and political movements, and the essays in this volume bring an array of critical approaches to bear on the work of authors ranging from H.D. and Simone Weil to Christa Wolf, Margaret Atwood, and Kate Tempest. Students and scholars of not only classics, but also translation studies, comparative literature, and women's writing will find much to interest them, while the volume's concluding reflections by Emily Wilson on her new translation of the Odyssey are an apt reminder to all of just how open a text can be, and of how great a difference can be made by a woman's voice.
This collection of 16 essays discusses the broad relationship of women poets to the American literary tradition
A collection of nine critical essays on the American poet and novelist, arranged in chronological order of their original publication.
An original and valuable intervention in the fast-growing field of feminist and new art histories, Nancy Spero, Encounters offers a sophisticated interpretation of the work of a highly original and under-represented woman artist. The study proposes a new model of comparatism within the field of visual studies, mirroring and complementing Spero's dialogic manner of working. Basing her analyses on extensive research and multiple face-to-face interviews with the artist, Joanna Walker examines how a selection of the artists and art forms Spero cited offer significant points of comparison with her work. Walker presents Spero's encounters with the art of Ana Mendieta; with the poetry of the American poet H.D.; with the dance of Isadora Duncan; and, turning the lens back on Spero as subject, with the portraits of the artist by Abe Frajndlich. Also included are transcripts of Walker's interviews with the artist, and a listing of the books contained in Spero's personal library which informed her practice. Not only does this book cast well-deserved light on an artist who spent most of her career on the margins of the mainstream - it reverses genealogies and revises the traditional remit of the art historical monograph through both its structure and content.
This volume in the Collected Works provides a transcription of the seven books of diaries that Frye kept intermittently from 1942 until 1955.
"Lovely and timely. So glad Joshunda is telling our stories." - Jacqueline Woodson Eight-year-old Ava Murray wants to know why there’s a difference between the warm, friendly Bronx neighborhood filled with music and art in which she lives and the Bronx she sees in news stories on TV and on the Internet. When her mother explains that the power of stories lies in the hands of those who write them, Ava decides to become a journalist. I Can Write the World follows Ava as she explores her vibrant South Bronx neighborhood - buildings whose walls boast gorgeous murals of historical figures as well as intricate, colorful street art, the dozens of different languages and dialects coming from the mouths of passersby, the many types of music coming out of neighbors’ windows and passing cars. In reporting how the music and art and culture of her neighborhood reflect the diversity of the people of New York City, Ava shows the world as she sees it, revealing to children the power of their own voice.
"Let's just say the matter is under control," Chester slyly tells his pals Harold and Howie. But what on earth does he mean? It seems that Bunnicula, the vampire rabbit, is back to his old ways -- or so Chester thinks, having found pale vegetables drained of their juices scattered about the Monroe family kitchen. And now, once and for all, Chester is determined to save the world from this threat. But why has Bunnicula -- so frisky just a short time ago -- been so listless and tired of late? Is this part of Chester's scheme? Can Harold let Chester get away with hurting an innocent bunny, no matter what his harebrained suspicions are? It is not long before the Monroes notice Bunnicula's condition and rush him to the vet, and then the chase is on, ending up with a dramatic confrontation in a most unusual (and dangerous!) location.