Search results for ""Author Morris"

Farah Jasmine Griffin has taken to her heart the phrase “read until you understand,” a line her father, who died when she was nine, wrote in a note to her. She has made it central to this book about love of the majestic power of words and love of the magnificence of Black life. Griffin has spent years rooted in the culture of Black genius and the legacy of books that her father left her. A beloved professor, she has devoted herself to passing these works and their wisdom on to generations of students. Here, she shares a lifetime of discoveries: the ideas that inspired the stunning oratory of Frederick Douglass and Malcolm X, the soulful music of Marvin Gaye and Stevie Wonder, the daring literature of Phillis Wheatley and Toni Morrison, the inventive artistry of Romare Bearden and many more. Exploring these works through such themes as justice, rage, self-determination, beauty, joy and mercy allows her to move from her aunt’s love of yellow roses to Gil Scott-Heron’s “Winter in America”. Griffin entwines memoir, history and art while she keeps her finger on the pulse of the present, asking us to grapple with the continuing struggle for Black freedom and the ongoing project that is American democracy. She challenges us to reckon with our commitment to all the nation’s inhabitants and our responsibilities to all humanity.

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What are the future prospects for literary knowledge now that literary texts—and the material remains of authorship, publishing, and reading—are reduced to bitstreams, strings of digital ones and zeros? What are the opportunities and obligations for book history, textual criticism, and bibliography when literary texts are distributed across digital platforms, devices, formats, and networks? Indeed, what is textual scholarship when the "text" of our everyday speech is a verb as often as it is a noun? These are the questions that motivate Matthew G. Kirschenbaum in Bitstreams, a distillation of twenty years of thinking about the intersection of digital media, textual studies, and literary archives. With an intimate narrative style that belies the cold technics of computing, Kirschenbaum takes the reader into the library where all access to Toni Morrison's "papers" is mediated by digital technology; to the bitmapped fonts of Kamau Brathwaite's Macintosh; to the process of recovering and restoring fourteen lost "HyperPoems" by the noted poet William Dickey; and finally, into the offices of Melcher Media, a small boutique design studio reimagining the future of the codex. A persistent theme is that bits—the ubiquitous ones and zeros of computing—are never self-identical, but always inflected by the material realities of particular systems, platforms, and protocols. These materialities are not liabilities: they are the very bulwark on which we stake the enterprise for preserving the future of literary heritage.

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A book for those drawn back to Aldeburgh year after year for the music, writing and arts - and to all who care for the landscape, the sea and the ongoing life of the Suffolk Coast. The New Aldeburgh Anthology takes its inspiration from Ronald Blythe's classic Aldeburgh Anthology of 1972, which summoned the spirit of Aldeburgh and the Suffolk coast in words and images that resonate still, and has proved enduringly popular. This new volume brings the story up to date and distils the very essence of the place just at the point when its identity might seem diluted by the accelerating pace of change. It speaks for and to thepresent generation, combining young voices with old, those of writers and musicians with poets and artists, of historians with naturalists, architects and ecologists, and local people. Britten and Pears' Aldeburgh Festivallies at the heart of the enterprise. Much has changed, but the Festival still owes its unique appeal and character to the remarkable history and the inspiration of its founders, as well as their strong sense of place. Their legacy is re-examined by musicians such as Ian Bostridge, Steven Isserlis and Roger Vignoles, and music writers James Fenton, Paul Kildea, Peter Dickinson and Rupert Christiansen. Aldeburgh and the east coast of Suffolk is about so much more than music, however: the poets Andrew Motion, Blake Morrison, Kevin Crossley-Holland and Lavinia Greenlaw and other writers as diverse as Craig Brown and Wilkie Collins have all been inspired by its bright yet haunting atmosphere, Maggi Hambling and Alison Wilding are sculptors who have left their mark on the landscape, while artists as varied as Sidney Nolan and John Piper, Arthur Boyd and Louise Wilson have all derived rich inspiration from it. The very landscape and ecology of east Suffolk is on the move, too, the coastline responding to the vagaries of climate change, the traditional ways of life, of farming and of fishing giving way to new. George Ewart Evans, W.G. Sebald and Richard Mabey are among those who respond to the power of the landscape, others to the spell of the sea, and the life that has evolved around both is evoked in words and images, some of them startling in their intensity. Amongst the many contributions, the new Anthology contains some of the classic articles from the original, including writings by WH Auden, George Crabbe, Eric Crozier, Imogen Holst, Norman Scarfe and of courseRonald Blythe himself. Published in association with Aldeburgh Music.

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From a suspiciously cheap Hell’s Kitchen walk-up, Nigerian editor and winner of a Toni Morrison Publishing Fellowship Ekong Udousoro is about to begin the opportunity of a lifetime: to learn the ins and outs of the publishing industry from its incandescent epicenter. While his sophisticated colleagues meet him with kindness and hospitality, he is soon exposed to a colder, ruthlessly commercial underbelly—callous agents, greedy landlords, boorish and hostile neighbors, and, beneath a superficial cosmopolitanism, a bedrock of white cultural superiority and racist assumptions about Africa, its peoples, and worst of all, its food. Reckoning, at the same time, with the recent history of the devastating and brutal Biafran War, in which Ekong’s people were a minority of a minority caught up in the mutual slaughter of majority tribes, Ekong’s life in New York becomes a saga of unanticipated strife. The great apartment deal wrangled by his editor turns out to be an illegal sublet crawling with bedbugs. The lights of Times Square slide off the hardened veneer of New Yorkers plowing past the tourists. A collective antagonism toward the “other” consumes Ekong’s daily life. Yet in overcoming misunderstandings with his neighbors, Chinese and Latino and African American, and in bonding with his true allies at work and advocating for healing back home, Ekong proves that there is still hope in sharing our stories. Akpan’s prose melds humor, tenderness, and pain to explore the myriad ways that tribalisms define life everywhere, from the villages of Nigeria to the villages within New York City. New York, My Village is a triumph of storytelling and a testament to the life-sustaining power of community across borders and across boroughs.

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Over the past decade or so, Irishness has emerged as an idealized ethnicity, one with which large numbers of people around the world, and particularly in the United States, choose to identify. Seeking to explain the widespread appeal of all things Irish, the contributors to this collection show that for Americans, Irishness is rapidly becoming the white ethnicity of choice, a means of claiming an ethnic identity while maintaining the benefits of whiteness. At the same time, the essayists challenge essentialized representations of Irishness, bringing attention to the complexities of Irish history and culture that are glossed over in Irish-themed weddings and shamrock tattoos.Examining how Irishness is performed and commodified in the contemporary transnational environment, the contributors explore topics including Van Morrison’s music, Frank McCourt’s writing, the explosion of Irish-themed merchandising, the practices of heritage seekers, the movie The Crying Game, and the significance of red hair. Whether considering the implications of Garth Brooks’s claim of Irishness and his enormous popularity in Ireland, representations of Irish masculinity in the TV series Buffy the Vampire Slayer and Angel, or Americans’ recourse to a consoling Irishness amid the racial and nationalist tensions triggered by the events of September 11, the contributors delve into complex questions of ethnicity, consumerism, and globalization. Ultimately, they call for an increased awareness of the exclusionary effects of claims of Irishness and for the cultivation of flexible, inclusive ways of affiliating with Ireland and the Irish.Contributors. Natasha Casey, Maeve Connolly, Catherine M. Eagan, Sean Griffin, Michael Malouf, Mary McGlynn, Gerardine Meaney, Diane Negra, Lauren Onkey, Maria Pramaggiore, Stephanie Rains, Amanda Third

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Childhood joy, pleasure, and creativity are not often associated with the civil rights movement. Their ties to the movement may have faded from historical memory, but these qualities received considerable photographic attention in that tumultuous era. Katharine Capshaw’s Civil Rights Childhood reveals how the black child has been—and continues to be—a social agent that demands change. Because children carry a compelling aura of human value and potential, images of African American children in the wake of Brown v. Board of Education had a powerful effect on the fight for civil rights. In the iconography of Emmett Till and the girls murdered in the 1963 Birmingham church bombings, Capshaw explores the function of children’s photographic books and the image of the black child in social justice campaigns for school integration and the civil rights movement. Drawing on works ranging from documentary photography, coffee-table and art books, and popular historical narratives and photographic picture books for the very young, Civil Rights Childhood sheds new light on images of the child and family that portrayed liberatory models of blackness, but it also considers the role photographs played in the desire for consensus and closure with the rise of multiculturalism.Offering rich analysis, Capshaw recovers many obscure texts and photographs while at the same time placing major names like Langston Hughes, June Jordan, and Toni Morrison in dialogue with lesser-known writers. An important addition to thinking about representation and politics, Civil Rights Childhood ultimately shows how the photobook—and the aspirations of childhood itself—encourage cultural transformation.

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There was nothing quite like the Thames-Clyde Express. Covering well over 400 miles, its route stretched from the dreaming spires of London’s St Pancras via the Shires of England, the legendary Settle-Carlisle line, Walter Scott’s Border Country and finally into Glasgow – the Second City of Empire. It never offered the quickest journey between England and Scotland, but it was undoubtedly the most scenic. A former signalman on the tracks of the Thames-Clyde Express, David Pendleton has written what he terms ‘a love letter’ to this famous named train. Rather than a text ending on the sad day in 1975 when the last train reached its destination, he instead views its history and the route it traversed from a present-day perspective. Here is a rich mix of anecdotes and observations, including attractions and oddities either visible from today’s train services or within easy reach of principle stations Gavin Morrison, one of Britain’s most experienced railway photographers, has compiled more than 60 books and has gained the highest reputation for the quality of his work. He is able to capture the Thames-Clyde Express in its glory days and portray both steam and diesel locomotives on the complete route from London to Glasgow in its many moods. The result is a superb array of images taken during a lengthy period of well over 60 years between 1955 and 2022. Collectively this book is a journey in both words and pictures that is highly informative and richly illustrated. It is to be enjoyed as a record of recent times as well as evoking memories of years long past

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'It's brave and honest, and not a moment too soon.' Afua Hirsch, Brit(ish)'[An] outstanding myth-busting book. Everyone should read it.' Bernardine EvaristoWhat is the experience of Black men in Britain today? Never has the conversation about racism and inclusion been more important; there is no better time to explore this question and give Black British men a platform to answer it. SAFE: 20 Ways to be a Black Man in Britain Today is that platform. Including essays from top poets, writers, musicians, actors and journalists, this timely and accessible book is in equal parts a celebration, a protest, a call to arms, and a dismantling of the stereotypes surrounding being a Black man. What does it really mean to reclaim and hold space in the landscape of our society? Where do Black men belong in school, in the media, in their own families, in the conversation about mental health, in the LGBTQ+ community, in grime music - and how can these voices inspire, educate and add to the dialogue of diversity already taking place? Following on from discussions raised by Natives and Why I'm No Longer Talking to White People About Race, this collection takes readers on a rich and varied path to confront and question the position of Black men in Britain today, and shines a light on the way forward.Contributors: Alex Holmes, Alex Wheatle, Aniefiok 'Neef' Ekpoudom, Courttia Newland, Derek Oppong, Derek Owusu, Gbontwi Anyetei; Jesse Bernard, JJ Bola; Joseph Harker; Jude Yawson; Kenechukwu Obienu; Kobna Holdbrook-Smith; Nels Abbey; Okechukwu Nzelu; Robyn Travis; Stephen Morrison-Burke; Suli Breaks; Symeon Brown; Yomi Sode

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A high school romance that flips the switch on the will they or won't they trope when two best friends are forced to confront truths about their friendship, identities, and relationships during their senior year at boarding school.Everyone at the prestigious Bexley School believes that Sage Morgan and Charlie Carmichael are meant to be. Even though Charlie seems to have a new girlfriend every month, and Sage has never had a real relationship, their friends and family all know it's just a matter of time until they realize that they are actually in love.When Luke Morrissey shows up on the Bexley campus his presence immediately shakes things up. Charlie and Luke are drawn to each other the moment they meet, giving Sage the opportunity to spend time with Charlie's twin brother, Nick.But Charlie is afraid of what others will think if he accepts that he has much more than a friendship with Luke. And Sage fears that if she lets things with Nick get too serious too quickly, they won't be able to last as a couple outside of high school and miss their chance at forever. The duo will need to rely on each other and their lifelong friendship to figure things out with the boys they love.Perfect for those looking for: Teen romance books Two love stories in one LGBTQ books A fresh rom-com that twists the tropes Coming-of-age stories Books set at a boarding school

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How Black women’s reproduction became integral to white supremacy, capitalism, and heteropatriarchy—and remains key to their dismantling In the United States, slavery relied on the reproduction and other labors of unfree Black women. Nearly four centuries later, Black reproductivity remains a vital technology for the creation, negotiation, and transformation of sexualized and gendered racial categories. Yet even as Black reproduction has been deployed to resolve the conflicting demands of white supremacy, capitalism, and heteropatriarchy, Sara Clarke Kaplan argues that it also holds the potential to destabilize the oppressive systems it is supposed to maintain.The Black Reproductive convenes Black literary and cultural studies with feminist and queer theory to read twentieth- and twenty-first-century texts and images alongside their pre-emancipation counterparts. These provocative, unexpected couplings include how Toni Morrison’s depiction of infanticide regenders Orlando Patterson’s theory of social death, and how Mary Prince’s eighteenth-century fugitive slave narrative is resignified through the representational paradoxes of Gayl Jones’s blues novel Corregidora. Throughout, Kaplan offers new perspectives on Black motherhood and gendered labor, from debates over the relationship between President Thomas Jefferson and Sally Hemings, to the demise of racist icon Aunt Jemima, to discussions of Black reproductive freedom and abortion. The Black Reproductive gives vital insight into the historic and ongoing conditions of Black unfreedom, and points to the possibilities for a Black feminist practice of individual and collective freedom.

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The extraordinary life story of the celebrated artist and writer, as told through four decades of intimate letters to her beloved motherBarbara Chase-Riboud has led a remarkable life. After graduating from Yale’s School of Design and Architecture, she moved to Europe and spent decades traveling the world and living at the center of artistic, literary, and political circles. She became a renowned artist whose work is now in museum collections around the world. Later, she also became an award-winning poet and bestselling novelist. And along the way, she met many luminaries—from Henri Cartier-Bresson, Salvador Dalí, Alexander Calder, James Baldwin, and Mao Zedong to Toni Morrison, Pierre Cardin, Jacqueline Kennedy Onassis, and Josephine Baker.I Always Knew is an intimate and vivid portrait of Chase-Riboud’s life as told through the letters she wrote to her mother, Vivian Mae, between 1957 and 1991. In candid detail, Chase-Riboud tells her mother about her life in Europe, her work as an artist, her romances, and her journeys around the world, from Western and Eastern Europe to the Middle East, Africa, the Soviet Union, China, and Mongolia.By turns brilliant and naïve, passionate and tender, poignant and funny, these letters show Chase-Riboud in the process of becoming who she is and who she might become. But what emerges most of all is the powerful story of a unique and remarkable relationship between a talented, ambitious, and courageous daughter and her adored mother.

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A biting, funny, up-to-the-minute collection of essays by a major political thinker that gets to the heart of what feminist criticism can do in the face of everyday politics. Stormy Daniels offered a #metoo moment, and Anderson Cooper missed it. Conservatives don’t believe that gender is fluid, except when they’re feminizing James Comey. “Gaslighting” is our word for male domination but a gaslight also lights the way for a woman’s survival. Across two dozen trenchant, witty reflections, Bonnie Honig offers a biting feminist account of politics since Trump. In today’s shock politics, Honig traces the continuing work of patriarchy, as powerful, mediocre men gaslight their way across the landscape of democratic institutions. But amid the plundering and patriarchy, feminist criticism finds ways to demand justice. Shell-Shocked shows how women have talked back, acted out, and built anew, exposing the practices and policies of feminization that have historically been aimed not just at women but also at racial and ethnic minorities. The task of feminist criticism—and this is what makes it particularly well-suited to this moment—is to respond to shock politics by resensitizing us to its injustices and honing the empathy needed for living with others in the world as equals. Feminist criticism’s penchant for the particular and the idiosyncratic is part of its power. It is drawn to the loose threads of psychological and collective life, not to the well-worn fabrics with which communities and nations hide their shortcomings and deflect critical scrutiny of their injustices. Taking literary models such as Homer’s Penelope and Toni Morrison’s Cee, Honig draws out the loose threads from the fabric of shock politics’ domination and begins unraveling them. Honig’s damning, funny, and razor sharp essays take on popular culture, national politics, and political theory alike as texts for resensitizing through a feminist lens. Here are insightful readings of film and television, from Gaslight to Bombshell, Unbelievable to Stranger Things, Rambo to the Kavanaugh hearings. In seeking out the details that might break the spell of shock, this groundbreaking book illustrates alternative ways of living and writing in a time of public violence, plunder, and—hopefully—democratic renewal.

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Winner, 2021 AERA Outstanding Book Award Winner, 2021 AERA Division F New Scholar's Book Award Winner, 2020 Mary Kelley Book Prize, given by the Society for Historians of the Early American Republic Winner, 2020 Outstanding Book Award, given by the History of Education Society Uncovers the hidden role of girls and women in the desegregation of American education The story of school desegregation in the United States often begins in the mid-twentieth-century South. Drawing on archival sources and genealogical records, Kabria Baumgartner uncovers the story’s origins in the nineteenth-century Northeast and identifies a previously overlooked group of activists: African American girls and women. In their quest for education, African American girls and women faced numerous obstacles—from threats and harassment to violence. For them, education was a daring undertaking that put them in harm’s way. Yet bold and brave young women such as Sarah Harris, Sarah Parker Remond, Rosetta Morrison, Susan Paul, and Sarah Mapps Douglass persisted. In Pursuit of Knowledge argues that African American girls and women strategized, organized, wrote, and protested for equal school rights—not just for themselves, but for all. Their activism gave rise to a new vision of womanhood: the purposeful woman, who was learned, active, resilient, and forward-thinking. Moreover, these young women set in motion equal-school-rights victories at the local and state level, and laid the groundwork for further action to democratize schools in twentieth-century America. In this thought-provoking book, Baumgartner demonstrates that the confluence of race and gender has shaped the long history of school desegregation in the United States right up to the present.

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As this book cogently states this is an eclectic examination of current social problems using the lenses of literature, whether fiction or non-fiction, to open doors to understanding the potential for new and creative interventions that have the potential for transformative change. The beginning quote from Toni Morrison bringing light to those who don't always find themselves true ownership to the land to which they are rooted in is a climate system for readers of this book. James Agee and Walker Evans provide a clear and yet complex vision of how they came to study three families in Hale County, Alabama. Their work gives excellent details on how to enter cultures different from their own. Hillbilly Elegy, Appalachian Reckoning and Nickel Boys all written in the past three years yield description and rhetoric that inform social scientists of the human condition. Appalachian Reckoning disputes much of what J.D. Vance wrote. Furious Hours is an excellent source for data collection and analysis. Literature is not new to social commentary but these are contemporary works that can help scholar activists and public researchers who are doing research and publishing for the public. This is a major goal of this book. Educational issues and their intersection with crime and mental issues are key topics of this cogent book. Opportunity gaps, school to prison pipeline, anxiety and many more issues are fodder for scholar activists that are adumbrated in this forceful book. The community school is proffered as a hub of services for those thorny issues. The school is the place to offer services because so many are fractured in this country today and very likely to become more so. Systemic thinking is a key part of the interventions applied currently. A plus on this topic is that systems thinking is presented in a demystifying way. Vignettes are a strength of this book in that they are what happened and they give readers insight into what worked and what didn't. If you are a bridge player, one peak is worth two finesses. The people in these vignettes are as alive today as they were when these events took place.

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The Female Complaint is part of Lauren Berlant’s groundbreaking “national sentimentality” project charting the emergence of the U.S. political sphere as an affective space of attachment and identification. In this book, Berlant chronicles the origins and conventions of the first mass-cultural “intimate public” in the United States, a “women’s culture” distinguished by a view that women inevitably have something in common and are in need of a conversation that feels intimate and revelatory. As Berlant explains, “women’s” books, films, and television shows enact a fantasy that a woman’s life is not just her own, but an experience understood by other women, no matter how dissimilar they are. The commodified genres of intimacy, such as “chick lit,” circulate among strangers, enabling insider self-help talk to flourish in an intimate public. Sentimentality and complaint are central to this commercial convention of critique; their relation to the political realm is ambivalent, as politics seems both to threaten sentimental values and to provide certain opportunities for their extension. Pairing literary criticism and historical analysis, Berlant explores the territory of this intimate public sphere through close readings of U.S. women’s literary works and their stage and film adaptations. Her interpretation of Uncle Tom’s Cabin and its literary descendants reaches from Harriet Beecher Stowe to Toni Morrison’s Beloved, touching on Shirley Temple, James Baldwin, and The Bridges of Madison County along the way. Berlant illuminates different permutations of the women’s intimate public through her readings of Edna Ferber’s Show Boat; Fannie Hurst’s Imitation of Life; Olive Higgins Prouty’s feminist melodrama Now, Voyager; Dorothy Parker’s poetry, prose, and Academy Award–winning screenplay for A Star Is Born; the Fay Weldon novel and Roseanne Barr film The Life and Loves of a She-Devil; and the queer, avant-garde film Showboat 1988–The Remake. The Female Complaint is a major contribution from a leading Americanist.

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An artist’s record of the homes of 89 leading creatives from interior designers to ceramicists, antiques dealers, florists and chefs. SJ Axelby brings new life to interior portraiture, capturing in paint the favourite rooms of 89 leading creatives from interior designers to ceramicists and antiques dealers (and florists and chefs). A sumptuously illustrated record of a home or special project, each interior portrait is accompanied by a charming and quirky interview with the owner, in which we discover invaluable nuggets of design advice, cocktail choice, life hacks and so much more – all illustrated in watercolour by SJ. There is a long tradition of painting rooms to provide a record of grand homes, giving a glimpse into the life and times of previous generations. Today there is a resurgence of interest in our living spaces, but there is no book in the tradition of illustrated room portraiture to inspire you. SJ Axelby's Interior Portraits will take you into multiple unique and colourful homes, seen through the artist’s eye. Creating an authentic and characterful scheme is much like the composition of a painting: the shape, form, contrast, colour, pattern and texture all need to work in harmony. This pictorial guide includes not only Sarah-Jane’s original watercolours but scrapbook pages annotated with design wisdom from each room’s owners, which will enthuse and empower the reader to try new ideas in their own homes. It’s a creative who’s who of the international design world featuring mouth-watering compositions bursting with colour and pattern and displaying the true joy of a home that reflects its owner’s personality. With a foreword by Kit Kemp of Firmdale Hotels. Just a few of the creatives featured:Alexandra TolstoyAlice Stori LiechtensteinAnna SpiroAshley HicksBen Pentreath & Charlie McCormickCath Kidston PadghamErica DaviesFlora SoamesHenry HollandKit KempLucinda ChambersLulu LytleLuke Edward Hall & Duncan CampbellMatilda GoadPenny MorrisonRobert KimeSkye McAlpineSophie Conran

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Epic Series brings together three long poems by Eléna Rivera previously published in small press limited editions. Gathered here are Wale; or The Corse, Unknowne Land and The Wait; for Homer’s Penelope. These poems delve into the complexities of becoming and into what it means to be from more than one world, where place is continually shifting, where memories, languages and stories are carried and swallowed up by much larger histories— histories of conflict, translocation and injustice. “Eléna Rivera’s Unknowne Land is a brilliant, mature, deeply engaging work, whose Question is constructed through its unfolding shape—a developing exhalation of grief and wasted opportunity, both classical in its references and recasting of history quest/myth, as well as expansively modern in its resistance to these known parameters. Rivera’s writing is contemplative and thickly quiet, then bell-clear with linguistically researched tones of word on word, her ear perfectly pitched . . . . We are given a contemporary Dantesque work of unique elements held together by spiritual accident and intention—its paradox explored and revealed through the book’s architectural underpinnings and entirely unexpected vision.” —Kathleen Fraser, judge of The Frances Jaffer Book Award “. . . this is a poem of and about extremity, and it reiterates poetry's ongoing role as an extreme discourse of beginnings and apocalypses, strophes and catastrophes. Language explodes or implodes between the double pressures of tradition and innovation. The eruptions and earthquakes and tremblings in Unknowne Land are only the most literal manifestation of this tension.” —Elizabeth Willis, The Poetry Project Newsletter “Quotation or paraphrase are inadequate to the range of emotional reference in Rivera’s book, in part because the emotion accumulates bit by bit—or element by element—as the pain becomes more pronounced (“To reduce the impact, I curl / my body forward”). By allowing that ‘each piece has to be stitched together,’ Rivera advocates a careful reading of the work in its entirety; in this way, her emotional argument gains force and momentum.” —Dawn-Michelle Baude, The Chicago Review “‘Who bears a record of the world?’ Rivera asks as the beginning of the text’s first section ‘Fire,’ and we hear immediately not only the impossibility of a project of such breadth being ‘borne,’ but also the impossible weight of such a responsibility, given the horror of that record. . . . Hers is a language rich with elegiac illumination, ever testing the edges of the illusory. Rivera questions the possibility for any meaning to adhere, even as she entrances us with the ‘rhythm of the pencil’ in her attempts.” —Rusty Morrison, Poetry Flash

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'Today's questions regarding foreign aid centre around aid allocation dynamics, the impact on trade and growth for receivers as well as donors, and, quite frequently, on aid effectiveness. The inter-relationship between aid and politics are also topics of high interest. These are precisely the issues that the Handbook edited by B. Mak Arvin and Byron Lew deals with. In more than 30 contributions, some highly renowned development scholars use the theoretical state of the art combined with empirically based econometric approaches to analyse various issues in the foreign aid field. It is a great pleasure for science-oriented readers to find a wealth of findings derived from hard data and rigorous analytical methods. The book is an excellent contribution to the current foreign aid discussion.'- Siegfried Schönherr, Ifo Institute for Economic Research, Germany'A title like Handbook on the Economics of Foreign Aid is ambitious; it promises coverage of literature that spans from theory to empirics, from macro to micro levels of analysis, from positive to normative economics. This Handbook fulfills this ambition 100 percent. It will be the single place that people will go to get a state-of-the-art survey of a particular issue. Some chapters are written by established experts in the area, others by newcomers that bring a fresh view on the issues involved. All in all, a book that future researchers in foreign aid must consult.'- Pascalis Raimondos, Copenhagen Business School, DenmarkIt would be fair to say that foreign aid today is one of the most important factors in international relations and in the national economy of many countries - as well as one of the most researched fields in economics. Although much has been written on the subject of foreign aid, this book contributes by taking stock of knowledge in the field, with chapters summarizing long-standing debates as well as the latest advances.Several contributions provide new analytical insights or empirical evidence on different aspects of aid, including how aid may be linked to trade and the motives for aid giving. As a whole, the book demonstrates how researchers have dealt with increasingly complex issues over time - both theoretical and empirical - on the allocation, impact, and efficacy of aid, with aid policies placed at the center of the discussion. In addition to students, academics, researchers, and policymakers involved in development economics and foreign aid, this Handbook will appeal to all those interested in development issues and international policies.Contributors: E. Aguayo, E. Alvi, B.M. Arvin, S.A. Asongu, E. Bland, C. Boussalis, J. Brambila-Macias, S. Brown, R. Calleja, L. Chauvet, A. Das, H. Doucouliagos, V.Z. Eichenauer, G.S. Epstein, P. Exposito, S. Feeny, D. Fielding, I.N. Gang, F. Gibson, R. Gounder, P. Guillaumont, M.-C. Guisan, N. Hermes, P. Hühne, A.L. Islam, A. Isopi, S. Kablan, C. Kilby, A. Kumar, S. Lahiri, R. Lensink, B. Lew, I. Martinez-Zarzoso, I. Massa, G. Mavrotas, M. McGillivray, B. Meyer, K. Michaelowa, O. Morrissey, D. Mukherjee, P. Nunnenkamp, M. Paldam, C. Peiffer, R. Pradhan, M.G. Quibria, B. Reinsberg, D. Rowlands, M. Salois, J. Serieux, D. Sogge, S. Torrance, S. Tezanos Vázquez, L. Wagner

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How Latinx artists engage in sonic subcultures to reject neoliberal definitions of belonging What is the connection between the British rock star Morrissey and the Latinx culture of transnational “unbelonging”? What is the relevance of “dyke chords” in Chicana feminist punk and lesbian dissolution? In what ways can dissonant sounds challenge systems of dominance? Unbelonging answers these questions and more through an exploration into Mexican and US-based Latinx artists’, writers’, and creators’ use of the discordant sounds of punk, metal, and rock to give voice to the aesthetic of “unbelonging,” a rejection of consumerist and nationalist mentalities. Iván A. Ramos argues that racial identity and belonging have historically required legible forms of performance. Sound has been the primary medium that amplifies and is used to assign cultural citizenship and, for Latinx individuals, legibility is essential to music perceived as traditional and authentic to their national origins. In the context of twentieth-century neoliberal policies, which cemented the concept of “citizen” within logics of consumerism and capitalism, Ramos turns to focus on Latinx artists, writers, and audiences, who produce experimental and often “inauthentic” performances and installations in sonic subcultures to reject new definitions of economic citizenship. Organized around studies of a number of artists, all whom are explored through the methodological frameworks of sound studies, performance studies, and queer theory, Unbelonging unearths how their very different genres of music share a unifying theme of dissonance. With the backdrop of neoliberalism’s attempt to define citizenship in relation to economic and cultural legibility, Unbelonging offers an urgent analysis of how these oft-overlooked queer and feminist performers and fans used sonic illegibility to challenge gender norms, official definitions of citizenship, and narratives of assimilation. Ultimately, these forms of inauthenticity move beyond negation and become ways to imagine alternative realities.

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Black Venus is a feminist study of the representations of black women in the literary, cultural, and scientific imagination of nineteenth-century France. Employing psychoanalysis, feminist film theory, and the critical race theory articulated in the works of Frantz Fanon and Toni Morrison, T. Denean Sharpley-Whiting argues that black women historically invoked both desire and primal fear in French men. By inspiring repulsion, attraction, and anxiety, they gave rise in the nineteenth-century French male imagination to the primitive narrative of Black Venus.The book opens with an exploration of scientific discourse on black females, using Sarah Bartmann, the so-called Hottentot Venus, and natural scientist Georges Cuvier as points of departure. To further show how the image of a savage was projected onto the bodies of black women, Sharpley-Whiting moves into popular culture with an analysis of an 1814 vaudeville caricature of Bartmann, then shifts onto the terrain of canonical French literature and colonial cinema, exploring the representation of black women by Baudelaire, Balzac, Zola, Maupassant, and Loti. After venturing into twentieth-century film with an analysis of Josephine Baker’s popular Princesse Tam Tam, the study concludes with a discussion of how black Francophone women writers and activists countered stereotypical representations of black female bodies during this period. A first-time translation of the vaudeville show The Hottentot Venus, or Hatred of Frenchwomen supplements this critique of the French male gaze of the nineteenth and early twentieth centuries.Both intellectually rigorous and culturally intriguing, this study will appeal to students and scholars in the fields of nineteenth- and twentieth-century French literature, feminist and gender studies, black studies, and cultural studies.

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A staple of American popular culture during the nineteenth and early twentieth centuries, the freak show seemed to vanish after the Second World War. But as Rachel Adams reveals in Sideshow U.S.A., images of the freak show, with its combination of the grotesque, the horrific, and the amusing, stubbornly reappeared in literature and the arts. Freak shows, she contends, have survived because of their capacity for reinvention. Empty of any inherent meaning, the freak's body becomes a stage for playing out some of the twentieth century's most pressing social and political concerns, from debates about race, empire, and immigration, to anxiety about gender, and controversies over taste and public standards of decency.Sideshow U.S.A. begins by revisiting the terror and fascination the original freak shows provided for their audiences, as well as exploring the motivations of those who sought fame and profit in the business of human exhibition. With this history in mind, Adams turns from live entertainment to more mediated forms of cultural expression: the films of Tod Browning, the photography of Diane Arbus, the criticism of Leslie Fiedler, and the fiction Carson McCullers, Toni Morrison, and Katherine Dunn. Taken up in these works of art and literature, the freak serves as a metaphor for fundamental questions about self and other, identity and difference, and provides a window onto a once vital form of popular culture. Adams's study concludes with a revealing look at the revival of the freak show as live performance in the late 1980s and the 1990s. Celebrated by some, the freak show's recent return is less welcome to those who have traditionally been its victims. At the beginning of a new century, Adams sees it as a form of living history, a testament to the vibrancy and inventiveness of American popular culture, as well as its capacity for cruelty and injustice."Because of its subject matter, this interesting and complex study is provocative, as well as thought-provoking."—Virginia Quarterly Review

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On paper Steve Katz’s career rivals anyone’s except the 1960s’ and ’70’s biggest stars: the Monterey Pop Festival with the legendary Blues Project, Woodstock with Blood, Sweat & Tears, and even producing rock’s most celebrated speed addict, Lou Reed. There were world tours, and his résumé screams “Hall of Fame” — it won’t be long before BS&T are on that ballot. He has three Grammies (ten nominations), three Downbeat Reader’s Poll Awards, three gold records, one platinum record, and one quadruple platinum platter (the second Blood, Sweat & Tears album), not to mention three gold singles with BS&T. All together, he’s sold close to 29 million records. He had affairs with famous female folk singers, made love to Jim Morrison’s girlfriend Pam when Jim was drunk and abusive, partied with Elizabeth Taylor and Groucho Marx, dined with Rudolf Nureyev, conversed with Martin Luther King, Jr. and Tennessee Williams, hung out with Andy Warhol, jammed with everyone from Mose Allison to Jimi Hendrix, and was told to get a haircut by both Mickey Spillane and Danny Thomas. But his memoir is more Portnoy’s Complaint than the lurid party-with-your-pants-down memoir that has become the norm for rock ’n’ roll books. It’s an honest and personal account of a life at the edge of the spotlight—a privileged vantage point that earned him a bit more objectivity and earnest outrage than a lot of his colleagues, who were too far into the scene to lay any honest witness to it. Set during the Greenwich Village folk/rock scene, the Sixties’ most celebrated venues and concerts, and behind closed doors on international tours and grueling studio sessions, this is the unlikely story of a rock star as nerd, nerd as rock star, a nice Jewish boy who got to sit at the cool kid’s table and score the hot chicks.

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__________'Essential reading' Rolling Stone'A must read. The best bit of literature currently out there on Kendrick Lamar' VICE __________Kendrick Lamar is at the top of his game.He has been described as perceptive, philosophical, unapologetic, fearless, and an innovative storyteller whose body of work has been compared to James Joyce and James Baldwin.He is a visionary who will go down as history as one of the most important artists of all time.But what's so striking about Kendrick Lamar, aside from his impressive accolades, is how he's effectively established himself as a formidable opponent of oppression, a force for change. Through his confessional poetics, his politically charged anthems, and his radical performances, Lamar has become a beacon of light for many people in America.The Butterfly Effect not only Lamar's powerful impact on music but also on our current society, especially under the weight of police brutality, divisive politics, and social injustice. This is the extraordinary, triumphant story of a modern lyrical prophet and an American icon who has given hope to those buckling under the weight of systemic oppression, reminding everyone that through it all, "we gon' be alright".__________'By the end of listening to his first full album, I felt like I knew everything about him. He brings you into his world with his lyrics in a way that really paints a clear picture' Eminem'I love everything about his music. I can literally listen to his music and become a kid growing up with all the struggles in the inner city, but at the same time [learn] all the lessons it taught that we use as men today.' Lebron James'Kendrick Lamar understands and employs blues, jazz, and soul in his music, which makes it startling. His work is more than merely brilliant; it is magic' Toni Morrison'Lamar is a man living on a real and metaphorical peak, with one eye trained on the heavens, the other searching for stories in the valley below' Guardian

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Levinas is a thinker for the future, concerned with the future. He inverts the priority of the declaration of the French Revolution "Freedom, Equality, Brotherhood", by designating "brotherhood" first among modern European society's most cherished values. Levinas sees brotherhood as the fundamental condition of our shared humanity and as the foundation of freedom and equality. Thus, he presents himself as a Western thinker who sets modern thought on its head and at the same time enriches it. His radical view of the other, responsibility, subjectivity and the Infinite remains a challenge, today more than ever. Calling out to both religious and secular seekers alike, Levinas asks for an alert and critical dialogue of the ethical and metaphysical meaning of our inter-human and social relationships. In this work, a new generation of philosophers, ethicists and theologians embark on a conversation with Levians, with due appreciation for his genius and uninhibitedness in their questioning. The intermediaries in this provocative dialogue are: Hannah Arendt, Henri Bergson, Anders Nygren, Paul Ricoeur and Hans Urs von Balthasar. The following themes are thus treated: - ethics as liberation and redemption beyond the self - time, duration and alterity - freedom, society and politics - desire between eros and agape - 'good enough' parenting and family ethics - conversational processes and pastoral counselling - asymmetry and reciprocity between the self and the other - modern humanism vs. post-modern anti-humanism as an inspiration for a renewed secular humanism - suffering, death and euthanasia - perspectives and boundaries of interreligious dialogue - the (im)possibility of a Christian interpretation of Levinas' Jewish-inspired thought - a new Christian theology of Trinitarian praxis. This volume likewise includes contributions by: Roger Burggraeve, W. Wolf Diedrich, Annemie Dillen, Thomas Folens, Glen Morrison, Marianne Moyaert, Marina Riemslagh, Anya Topolski, Emilie Van Daele, Jean Vanheessen, Sophie Veulemans and Torben Wolfs. In this book Levinas is presented as an 'extra-ordinary' other who awakes into vigilance the conscience of not only the contributors, but the readers as well: one speaks and the other responds differently.

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This title includes in-depth critical discussions of Maya Angelou's novel. Maya Angelou's ""I Know Why the Caged Bird Sings"" took the world by storm when it was published in 1969. As it shot to the top of best-seller lists, it made Angelou one of the most recognized black women in America. Despite controversy over its frank depiction of sexual abuse, the autobiography is still widely read in high schools and colleges across the country. Three decades after it was published, readers continue to admire Angelou's artistry, wit, and indomitable spirit. Edited by Mildred R. Mickle, Assistant Professor of English at Penn State Greater Allegheny, this volume brings together a variety of critical offerings on Angelou's famous autobiography. Mickle's introduction pays tribute to Angelou's achievement and examines the inspiration she drew from Phillis Wheatley's civil rights advocacy as well as the similarities between ""Caged Bird"" and Harriet Jacobs' ""Incidents in the Life of a Slave Girl"" and Paul Lawrence Dunbar's poetry. ""The Paris Review""'s Christopher Cox reminds readers of how revolutionary Angelou's autobiography was when it was published and recounts the comments Angelou made on her work in an interview with George Plimpton. Four original essays by Amy Sickels, Pamela Loos, Neil Heims, and Robert C. Evans provide valuable context for reader's new to Angelou's work. Sickels discusses the historical events that surround Angelou's life: the civil rights, black power, and black arts movements as well as the emergence of black women's literature with the first publications of Toni Morrison, Nikki Giovanni, Alice Walker, and Lucille Clifton. Loos provides a survey of the major pieces of criticism on ""Caged Bird"", paying special attention to the book's early reception and how it fits in the autobiographical genre and slave narratives, as well as issues of race, gender, aesthetics, and identity. Neil Heims discusses the struggle for a black identity through readings of both ""Caged Bird"" and James Baldwin's ""If Beale Street Could Talk"". Finally, Robert C. Evans examines the role that both formal and informal education play in the young Maya's maturation. The collection also includes ten previously published essays that examine ""Caged Bird"" through a variety of lenses. Critics examine the character of young Maya, noting how her rootlessness contributes to her perseverance and adaptability, as well as how Angelou's narrative technique allows her to recount the details of incredible life without being controlled by them. The book's treatment of sexual abuse is also investigated in the larger context of other black women's narratives of sexual abuse. Other critics attend to ""Caged Bird""'s place in the genre of ethnic autobiography and the particular challenges it presents to teachers seeking to expose students multicultural literature; the childhood roots of Angelou's political activism; the influence of blues music on the narrative's structure; and, the young Maya's relationships with the black community, literature, and the women in her life.

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***THE SUNDAY TIMES BESTSELLER 'A heroic outsider - a pleasure to read.' - The Guardian'A fulsome evocation of football before the Premier League.' - The i'Such a good storyteller...joyous.' - Financial Times'Honest, raw, revealing and very funny. How to live a life and career to the full. Insightful book about the most successful outsider inside football ever...' - Henry Winter, Chief Football Writer, The Times'Pat is a wonderful one-off...and this is the story of why that is.' - John Murray, Chief Sports Correspondent, BBC Radio 5 Live'Unusually vibrant and elegant with heroic doses of humour, insight and self-effacement, this is an absolute must-read for the football connoisseur.' - Omid Djalili 'The biggest influence of my professional career both on and off the pitch.' - Graeme Le Saux'I grew up captivated by Pat Nevin the player. As a man he taught me even more about the beauty of the game. One of football's great mavericks, and Chelsea's greatest players. And he can spin a mean tune too.' - Sam Matterface 'I used to walk miles to see Pat Nevin play football and I'd do the same now to read his thoughts. Always challenging, always entertaining.' - Lord Sebastian Coe'A refreshingly honest and thought-provoking autobiography. As deftly delivered as some of Pat's ball skills in his 1980's heyday.' - ToffeeWeb Pat Nevin never wanted to be a professional footballer.His future was clear, he'd become a teacher like his brothers. There was only one problem with this - Pat was far too good to avoid attention. Raised in Glasgow's East End, Pat loved the game, playing for hours and obsessively following Celtic. But as he grew up, he also loved Joy Division, wearing his Indie 'gloom boom' coat and going on marches - hardly typical footballer behaviour!Placed firmly in the 80s and 90s, before the advent of the Premier League, and often with racism and violence present, Pat Nevin writes with honesty, insight and wry humour. We are transported vividly to Chelsea and Everton, and colourfully diverted by John Peel, Morrissey and nights out at the Hacienda.The Accidental Footballer is a different kind of football memoir. Capturing all the joys of professional football as well as its contradictions and conflicts, it's about being defined by your actions, not your job, and is the perfect reminder of how life can throw you the most extraordinary surprises, when you least expect it.

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In `The Working Class: Poverty, education and alternative voices`, Ian Gilbert unites educators from across the UK and further afield to call on all those working in schools to adopt a more enlightened and empathetic approach to supporting children in challenging circumstances. One of the most intractable problems in modern education is how to close the widening gap in attainment between the haves and the have-nots. Unfortunately, successive governments both in the UK and abroad have gone about solving it the wrong way. Independent Thinking founder Ian Gilbert's increasing frustration with educational policies that favour `no excuses' and `compliance', and that ignore the broader issues of poverty and inequality, is shared by many others across the sphere of education - and this widespread disaffection has led to the assembly of a diverse cast of teachers, school leaders, academics and poets who unite in this book to challenge the status quo. Their thought-provoking commentary, ideas and impassioned anecdotal insights are presented in the form of essays, think pieces and poems that draw together a wealth of research on the issue and probe and discredit the current view on what is best for children from poorer socio-economic backgrounds. Exploring themes such as inclusion, aspiration, pedagogy and opportunity, the contributions collectively lift the veil of feigned `equality of opportunity for all' to reveal the bigger picture of poverty and to articulate the hidden truth that there is always another way. This book is not about giving you all the answers, however. The contributors are not telling teachers or schools leaders how to run their schools, their classroom or their relationships - the field is too massive, too complex, too open to debate and to discussion to propose `off-the-shelf' solutions. Furthermore, the research referred to in this book is not presented in order to tell educators what to think, but rather to inform their own thinking and to challenge some of the dominant narratives about educating the `feckless poor'. This book is about helping educators to ask the right questions, and its starting question is quite simple: how can we approach the education of young people from disadvantaged backgrounds in a way that actually makes a difference for all concerned? Written for policy makers and activists as well as school leaders and educators, The Working Class is both a timely survey of the impact of current policies and an invaluable source of practical advice on what can be done to better support disadvantaged children in the school system. Edited by Ian Gilbert with contributions from Nina Jackson, Tim Taylor, Dr Steven Watson, Rhythmical Mike, Dr Ceri Brown, Dr Brian Male, Julia Hancock, Paul Dix, Chris Kilkenny, Daryn Egan-Simon, Paul Bateson, Sarah Pavey, Dr Matthew McFall, Jamie Thrasivoulou, Hywel Roberts, Dr Kevin Ming, Leah Stewart, (Real) David Cameron, Sir Al Aynsley-Green, Shona Crichton, Floyd Woodrow, Jonathan Lear, Dr Debra Kidd, Will Ryan, Andrew Morrish, Phil Beadle, Jaz Ampaw-Farr, Darren Chetty, Sameena Choudry, Tait Coles, Professor Terry Wrigley, Brian Walton, Dave Whitaker, Gill Kelly, Roy Leighton, Jane Hewitt, Jarlath O'Brien, Crista Hazell, Louise Riley, Mark Creasy, Martin Illingworth, Ian Loynd, David Rogers, Professor Mick Waters and Professor Paul Clarke. Click here to listen to The Working Class on Spotify - It covers all the music mentioned in the book plus a great deal more of working class music from across time and round the world!

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A landmark work of bio-romanticism, Mephistos and Other Poems is the first completely new collection in five years from legendary Beat and SF Renaissance poet Michael McClure, reflecting his interests in mammal consciousness and ecological survival. The title sequence stems from McClure's ongoing "grafting" experiment, growing new poems from fragments of previously ones. "Some Fringes" is a series of haiku-like nature poems, while the seventeen-part "Rose Breaths" derives from the poet's practice of meditation. The freestanding poems grouped under the title "Being" pay homage to many of McClure's collaborators and fellow travelers like Bruce Conner, Terry Riley, and Dave Haselwood. The book climaxes with "Song Heavy," recounting McClure's recent encounter with a beached whale in Rockport, Massachusetts, and recalling his classic "For the Death of 100 Whales," which he read at the Six Gallery in 1955--the inaugural moment of American eco-poetics. Michael McClure is an award-winning American poet, playwright, songwriter, and novelist. After moving from Kansas to San Francisco as a young man, he was one of the five poets who participated in the Six Gallery reading that featured the public debut of Allen Ginsberg's landmark poem "Howl." A key figure of the Beat Generation, McClure is immortalized as Pat McLear in Jack Kerouac's novels The Dharma Bums and Big Sur. He also participated in the sixties counterculture alongside musicians like Janis Joplin and Jim Morrison. McClure remains active as a poet, essayist, and playwright and lives with his second wife, Amy, in the San Francisco Bay Area. Michael and I have been twisting the Dharma for twenty years now. He reads his poetry like a mad lion or a hummingbird or a soft evening tidal pool or a wild California thunderstorm...His words are of a new realm of love and joy and terror. What a pleasure to play with such a perceptive artist. It's always been my great joy to make music to his words."--Ray Manzarek [C]ertainly a genius in thought and writing it out ...McClure is one of the few contemporaries to have understood Kerouac as a literary poet--and learned some joyous classic invention therefrom ...Thus we have a McClure poet, a McClure natural philosopher, and a McClure prosateur and novelist. Hardly anyone in America with equal range and sharpness, liveness. What more?"--Allen Ginsberg Praise for Mephistos: In Mephistos we are again thrown into Michael McClure's lavish lair of forceful magic. Its actions are literal ones, handfuls of jewels disintegrate as a firewall rises to a solid prism. There is no poet more adept at calling forth the elements, only to fashion them later as eternal amulets for his readers. 'NEW MOON ((BLACK!)) /STAR CLOUDS/ HALOES/ Flashlight reflects/ into two small eyes.' You will find your body changed through the labyrinth these poems initiate."--Cedar Sigo "Close attention will be rewarded in kind. Keep Mephisto near at hand, read only a poem or two at a time, let the imagery possess you. It's okay, you can trust it. It's McClure: he'll never steer you wrong."--Robert Hunter, lyricist, poet, songwriter "He is such a sweet paradox! Like most of Shelley and the late poems of D.H. Lawrence, McClure turns the phenomenal world inside out, seeking Mind within mind."--Diane di Prima, poet "If you've enjoyed McClure's writings in the past, this volume ought to recapture your poetic heart and rekindle your imagination." --Jonah Raskin, New York Journal of Books "Mephistos is perhaps an open love letter to all of McClure's many fans who have followed him ever since he arrived in San Francisco from Kansas City more than half a century ago."--San Francisco Chronicle

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The award-winning architectural practice Hawkins\Brown, founded in 1988, is well-known for its thoughtful, innovative and sustainable new buildings and refurbishments of all types. The practice prides itself on bringing a fresh and collaborative approach, creating places that are well-made, well-used and well-loved. This new book examines 14 of its projects in detail, interspersed with essays on various themes by members of the practice. The book begins with an examination by the eminent architecture journalist Hugh Pearman of the founding, history and approach of Hawkins\Brown, based on personal interviews with the practice’s two founding principals, Roger Hawkins and Russell Brown. A full discussion of the projects follows, each comprehensively illustrated with photographs, plans and renderings. The Bartlett School of Architecture in London had been outgrown by the School; it has been stripped back and reconfigured to create a building that staff and students alike are delighted to use. The Corby Cube is a well-equipped, multi-purpose civic and cultural centre that is beloved of this East Midlands town’s inhabitants. Here East, the repurposing of the Olympic press and broadcast centres in east London into space for creative and digital industries, is an excellent example of collaboration between client, architect and stakeholders. At Hilden Grange Preparatory School in Kent, Hawkins\Brown slotted exemplary new teaching spaces into natural woodland in a sustainable and sympathetic way. The University of East Anglia’s Bob Champion Building is part of the Norwich Medical School’s vision to become a world leader in clinical research and teaching, and was completed in less than a year. Park Hill housing estate in Sheffield has been updated with a charismatic new facade treatment and revitalized flats, taking it from eyesore to icon. Another housing estate, Peabody Burridge Gardens in southwest London, has been rebuilt completely, and is now more pleasant and better integrated. Tottenham Court Road station in central London – part of the enormous Crossrail project – has been sympathetically but radically redesigned to provide for the extra people who will use it, and includes artworks by Daniel Buren, Richard Wright and Douglas Gordon. At Hackney Town Hall in east London, the refurbishment of an important art deco building required all numerous skills, from reuse and repair to conversion and conservation. A combined refurbishment and new building on Great Suffolk Street just south of the river in central London, meanwhile, has created an expanded commercial building that sits comfortably in its semi-industrial setting. For the City of London Freemen’s School in Surrey, Hawkins\Brown created a new swimming pool that is simultaneously functional, beautiful and sympathetic to its rural location. With the University of Oxford Beecroft Building – where environment is also deeply important – the practice produced a new Physics research facility that both satisfies the city’s stringent historical and conservation controls and is a genuinely groundbreaking scientific building. East Village Plot No. 6 is a `build-to-rent’ development in Stratford, east London, where architecture has been used to create community. Finally, the Thames Tideway Tunnel is a crucial yet little-known infrastructure project that will extend and modernize London’s sewerage system to cope with future demand. The visible architecture here involves various surface points along the river, including at Chelsea Embankment and at Blackfriars. The essays demonstrate Hawkins\Brown’s pride in the input of its staff. Seth Rutt explains the architect’s desire for creative autonomy and wish to follow the process of creating a new building all the way from designing it to supervising the construction. Darryl Chen explains the importance of taking time away from day-to-day work to focus on broader themes, and introduces the practice’s own think tank. Nicola Rutt discusses the importance of refurbishment in the output of the practice, emphasizing its importance to the urban fabric and to the people who inhabit our towns and cities. Morag Morrison writes about the integration of art with architecture, and Katie Tonkinson examines mixed-use architecture in the context of the architect’s approach rather than the client’s brief. Harbinder Birdi explains the importance of urban planning and considering the human context for all projects, and, finally, Oliver Milton and Jack Stewart celebrate the opportunities afforded by new technology.

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Introduced by newsreader, presenter, and Barnardo's president Natasha Kaplinsky, Letters From Lockdown features 100+ letters from celebrity names, COVID heroes, and a diverse range of members of the public, all answering the question - 'What was lockdown like for you?'Contributors include: Paul McCartney · Joe Wicks · Malala Yousafzai · Ed Sheeran · Helen Mirren · Cressida Cowell · Mary Berry · Richard Branson · Peppa Pig · Andy Murray · Helena Bonham Carter · Lenny Henry · Bruno Tonioli · Romesh Ranganathan · The family of Captain Tom · Bear Grylls · Charly Cox · Dr Alex George · Jacqueline Wilson · Matt Lucas · Monica Galetti · Kelly Holmes · Bill Gates· Sir Mo Farah and many more.The publisher will donate all profits, which will be a minimum of £1.50 for each copy of the book sold, to Barnardo's (registered charity in England and Wales no. 216250), who do important work to protect and support the UK's most vulnerable children, more in need now than ever.The letter writers include doctors and nurses, care home staff and vaccinators, train drivers and hairdressers, teachers and environmentalists - people who have been on the frontline in tackling the pandemic, or in trying to get the world back on its feet. Other letters document the unforgettable lighter moments of the past year: interviews crashed by children, TikTok triumphs and disasters, and Goats joining Zoom meetings. Each offers their unique perspective on the year everything changed.Other contributors include: Al Gore; Alexandra Shulman, Davina McCall, Toby Regbo, Trevor McDonald, Jo Malone, Keir Starmer, Boris Johnson, Mark Ronson, Maro Itoje, Nicola Adams, Raymond Blanc, Richard Curtis and Emma Freud, Chris Van Dusen, Sita Brahmachari, Sophie Gonzales, Hayden Kays, Tim Peake, Sean Fitzpatrick, and Joan Collins.The idea for the book came from Natasha Kaplinsky's children, Arlo and Kika. They wrote an open letter, wanting to understand other people's experiences of lockdown. Their question, 'What was lockdown like for you?' is the prompt; the collection of letters in response form the book. As we keep our fingers crossed that this summer will bring a safe end to restrictions, this mixture of funny, sad, heart-warming, surprising, heroic and honest experiences will mark the start of a period of reflection.Adrian Packer, Al Gore, Alex George, Alexandra Shulman, Ali Mercer, Alice M Greenwald, Ali Joy, Andy Murray, Antony Cauvin, Anushua Gupta, Bear Grylls, Benjie and Georgia Ingram-Moore, Bill Gates and Melinda French Gates, Bob Wilson, Boris Johnson, Bruno Tonioli, Buckingham Palace, Charly Cox, Chimwemwe Chiweza, Chris and Vicki Agar, Chris Van Dusen, Clare Wenham, Colette Moreira-Henocq, Cressida Cowell, Davey Glover, Davina McCall, Dawn Bilbrough, Dot McCarthy, Ed Balls, Ed Sheeran, Elliot Jacobs, Emma Freud and Richard Curtis, Fergus Llewellyn, George Alagiah, Gill Edwards, Hayden Kays, Helen Mirren, Helena Bonham Carter, Hollie Long, HRH The Duchess of Cornwall, Hugh Fearnley-Whittingstall, Jacqueline Wilson, Jacquie Jenkins, James Graham, Javed Khan, Jenny Messenger, Jo Malone, Joan Collins, Joe Wicks, John Vincent, Josie Naughton, Kathryn England, Karen Pollock, Karl Jones, Keir Starmer, Kelly Holmes, Laura Elliott, Lenny Henry, Lindsay Hoyle, Maff Potts, Maia Elliott, Malala Yousafzai, Margaret Keenan, Marie Benton, Mark Ronson, Maro Itoje, The Marsh Family, Mary Berry, Matt Lucas, Meggie Foster, Michele Walter, Mo Farah, Monica Galetti, Mr Men's Mr Happy, Neera Butt, Nicola Adams, Nina Raingold, Patricia Daley, Paul Atherton, Paul McCartney, Paul Morrison, Paula Talman, Peppa Pig, Philippa Craddock, Raymond Blanc, Rene Germain, Richard Branson, Roja Dove, Romesh Ranganathan, Rosie Jones, Rosie Mitchell, Sandi Procter, Scott Evans, Sean Fitzpatrick, Sharna Jackson, Sita Brahmachari, Sophie Gonzales, Tamara Rojo, Tanni Grey-Thompson, Tessa Mattholie Butunoi, Tim Peake, Tim Steiner, Toby Regbo, Trevor McDonald, Will Shu, Woody, Zoe Burke

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‘Full of Hoffman’s bewitching and lucid prose and vivid characters, The Book of Magic is ultimately about the very human magic of family and love and actions that echo through generations… it casts a spell’ —Matt HaigTHE STUNNING, UNFORGETTABLE CONCLUSION TO THE BELOVED PRACTICAL MAGIC SERIES For centuries, the Owens family has been cursed in matters of love. When beloved aunt Jet Owens hears the sound of the deathwatch beetle, she knows that it is a signal. She has finally discovered the secret to breaking the curse, but time is running out. She has only seven days to live. Unaware of the family’s witchcraft lineage and all it entails, one of the young sisters of the new Owens generation has fallen in love. As the curse strikes once again, her love’s fate hangs in the balance, spurring three generations of Owens to venture back to where it all began and use their gifts to break the spell that has marked all their lives. But doing so threatens to destroy everything the family has fought so hard to protect. How much will they give up for the greatest gift of all?'This page-turning Atlantic-crossing caper is, above all, a paean to family love... These fast fairytales for grown-ups are full of enchanting comfort – more escapist than curse' —Sunday Times'A satisfying tale springs from a slow beginning, packing in escapist fable, real-world savvy and incidents galore' —Mail on Sunday'Delightfully witchy... Alluring on its own, it's also a satisfying end to a timeless saga' —New York Times Book ReviewPRAISE for ALICE HOFFMAN ‘Beautiful, harrowing, a major contribution to twenty-first century literature’Toni Morrison ‘I am still reeling from The Dovekeepers – from the history Alice Hoffman illuminates, from the language she uses to bring these women to life. This novel is a testament to the human spirit and to love rising from the ashes of war. But most of all, this novel is one that will never be forgotten by a reader.’Jodi Picoult ‘In her remarkable new novel, Alice Hoffman holds a mirror to our ancient past as she explores the contemporary themes of sexual desire, women’s solidarity in the face of strife, and the magic that’s quietly present in our day-to-day living. Put The Dovekeepers at the pinnacle of Hoffman’s extraordinary body of work. I was blown away.’Wally Lamb ‘Alice Hoffman takes seemingly ordinary lives and lets us see and feel extraordinary things.’Amy Tan ‘Miss Hoffman heals wounds with the gentle touch of an angel’Joseph Heller 'Oh, what a book this is! Hoffman’s exploration of the world of good and evil, and the constant contest between them, is unflinching; and the humanity she brings to us – it is a glorious experience.'Elizabeth Strout

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‘Full of Hoffman’s bewitching and lucid prose and vivid characters, The Book of Magic is ultimately about the very human magic of family and love and actions that echo through generations… it casts a spell’ —Matt HaigTHE STUNNING, UNFORGETTABLE CONCLUSION TO THE BELOVED PRACTICAL MAGIC SERIES For centuries, the Owens family has been cursed in matters of love. When beloved aunt Jet Owens hears the sound of the deathwatch beetle, she knows that it is a signal. She has finally discovered the secret to breaking the curse, but time is running out. She has only seven days to live. Unaware of the family’s witchcraft lineage and all it entails, one of the young sisters of the new Owens generation has fallen in love. As the curse strikes once again, her love’s fate hangs in the balance, spurring three generations of Owens to venture back to where it all began and use their gifts to break the spell that has marked all their lives. But doing so threatens to destroy everything the family has fought so hard to protect. How much will they give up for the greatest gift of all?'This page-turning Atlantic-crossing caper is, above all, a paean to family love... These fast fairytales for grown-ups are full of enchanting comfort – more escapist than curse' —Sunday Times'A satisfying tale springs from a slow beginning, packing in escapist fable, real-world savvy and incidents galore' —Mail on Sunday'Delightfully witchy... Alluring on its own, it's also a satisfying end to a timeless saga' —New York Times Book ReviewPRAISE for ALICE HOFFMAN ‘Beautiful, harrowing, a major contribution to twenty-first century literature’Toni Morrison ‘I am still reeling from The Dovekeepers – from the history Alice Hoffman illuminates, from the language she uses to bring these women to life. This novel is a testament to the human spirit and to love rising from the ashes of war. But most of all, this novel is one that will never be forgotten by a reader.’Jodi Picoult ‘In her remarkable new novel, Alice Hoffman holds a mirror to our ancient past as she explores the contemporary themes of sexual desire, women’s solidarity in the face of strife, and the magic that’s quietly present in our day-to-day living. Put The Dovekeepers at the pinnacle of Hoffman’s extraordinary body of work. I was blown away.’Wally Lamb ‘Alice Hoffman takes seemingly ordinary lives and lets us see and feel extraordinary things.’Amy Tan ‘Miss Hoffman heals wounds with the gentle touch of an angel’Joseph Heller 'Oh, what a book this is! Hoffman’s exploration of the world of good and evil, and the constant contest between them, is unflinching; and the humanity she brings to us – it is a glorious experience.'Elizabeth Strout

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