Search results for ""Boston Review""

A NONAME BOOK CLUB PICK Named a Kirkus Reviews "Best Book of 2021" "Becoming Abolitionists is ultimately about the importance of asking questions and our ability to create answers. And in the end, Purnell makes it clear that abolition is a labor of love—one that we can accomplish together if only we decide to."—Nia Evans, Boston ReviewFor more than a century, activists in the United States have tried to reform the police. From community policing initiatives to increasing diversity, none of it has stopped the police from killing about three people a day. Millions of people continue to protest police violence because these "solutions" do not match the problem: the police cannot be reformed. In Becoming Abolitionists, Purnell draws from her experiences as a lawyer, writer, and organizer initially skeptical about police abolition. She saw too much sexual violence and buried too many friends to consider getting rid of police in her hometown of St. Louis, let alone the nation. But the police were a placebo. Calling them felt like something, and something feels like everything when the other option seems like nothing.Purnell details how multi-racial social movements rooted in rebellion, risk-taking, and revolutionary love pushed her and a generation of activists toward abolition. The book travels across geography and time, and offers lessons that activists have learned from Ferguson to South Africa, from Reconstruction to contemporary protests against police shootings. Here, Purnell argues that police can not be reformed and invites readers to envision new systems that work to address the root causes of violence. Becoming Abolitionists shows that abolition is not solely about getting rid of police, but a commitment to create and support different answers to the problem of harm in society, and, most excitingly, an opportunity to reduce and eliminate harm in the first place.

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“Rapp-Hooper takes on directly and convincingly the Trumpian critique that alliances are not worth the investment and have led the nation to fight other people’s battles for them…Her deep erudition, crisp prose style, and innate brilliance shine through on most every page.”—Boston Review“The threat of COVID-19 has bolstered her argument, making plain both the importance of the alliance system and the imperative to adapt alliances to new ends.”—Foreign Policy“Musters rock-solid evidence to demonstrate what policymakers have long believed: that America’s alliances are a remarkably effective foreign policy tool.”—Stephen Hadley, former National Security Advisor“Argues persuasively that the complex alliance system instituted after the devastation of World War II has proven remarkably successful.”—Kirkus ReviewsFor the first 150 years of its existence, heeding George Washington’s warning about the dangers of “entangling alliances,” the United States had just one alliance—a valuable but highly controversial military arrangement with France. That changed dramatically with the Second World War. Between 1948 and 1955, the United States extended defensive security guarantees to twenty-three countries in Europe and Asia. Seventy years later, it is allied with thirty-seven countries.Today the alliance system is threatened from without and within. China and Russia seek to break America’s alliances through conflict and non-military erosion, while US politicians and voters, skeptical of costs, believe we may be better off without them. But what if the alliance system is a victim of its own quiet success? Mira Rapp-Hooper argues that a grand strategy focused on allied defense, deterrence, and assurance helped to keep the peace throughout the Cold War and that the alliance system remains critical to America’s safety and prosperity in the twenty-first century.

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Written by 100 American poets, Isn't It Romantic offers an engaging look at how contemporary poets respond afresh to the well-trammeled territory of the love poem. Award-winning poets from across the country lend their voices to this important document of contemporary poetry. The book also features a bonus full-length audio CD of love songs by independent recording artists. Anthology Contributors include: Karen Volkman, Joe Wenderoth, Eleni Sikelianos, Juliana Spahr, Brenda Shaughnessy, Matthew Rohrer, Claudia Rankine, D.A. Powell, Hoa Nguyen, Noelle Kocot, Lisa Jarnot, Kevin Young, Brian Henry, Christine Hume, Matthea Harvey, Arielle Greenberg, Thalia Field, Thomas Sayers Ellis, Timothy Donnelly, Olena Kalytiak Davis, Stephen Burt, Joshua Beckman, and more. Contributors to the audio CD include: David Berman, Richard Buckner, Vic Chesnutt, Ida, Doug Martsch, Mark Mulcahy, Megan Reiley, Jenny Toomey and more. Editor Brett Fletcher Lauer is the poetry in motion director at the Poetry Society of America and poetry editor of CROWD Magazine. He is the co-editor of Poetry In Motion from Coast to Coast (W. W. Norton, 2002) and his poems have appeared in BOMB, Boston Review, and elsewhere. He lives in Brooklyn. Editor Aimee Kelley is the editor and publisher of CROWD Magazine. She received her BA in English from UC Berkeley and her MFA from the New School for Social Research. She has worked at non-profit organizations such as the Council of Literary Magazines & Presses and the Academy of American Poets. Her poems have appeared in Denver Quarterly, Spinning Jenny, 811 Books and elsewhere. Charles Simic (Introduction) is the author of many books of poems, including The World Doesn't End, winner of the 1990 Pulitzer Prize. He teaches writing at the University of New Hampshire.

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Compares the privileged educational experience offered to the children of relocated Nazi scientists in Texas with the educational disadvantages faced by Mexican American students living in the same city.Educating the Enemy begins with the 144 children of Nazi scientists who moved to El Paso, Texas, in 1946 as part of the military program called Operation Paperclip. These German children were bused daily from a military outpost to four El Paso public schools. Though born into a fascist enemy nation, the German children were quickly integrated into the schools and, by proxy, American society. Their rapid assimilation offered evidence that American public schools played a vital role in ensuring the victory of democracy over fascism. Jonna Perrillo not only tells this fascinating story of Cold War educational policy, but she draws an important contrast with another, much more numerous population of children in the El Paso public schools: Mexican Americans. Like everywhere else in the Southwest, Mexican American children in El Paso were segregated into “Mexican” schools, where the children received a vastly different educational experience. Not only were they penalized for speaking Spanish—the only language all but a few spoke due to segregation—they were tracked for low-wage and low-prestige careers, with limited opportunities for economic success. Educating the Enemy charts what two groups of children—one that might have been considered the enemy, the other that was treated as such—reveal about the ways political assimilation has been treated by schools as an easier, more viable project than racial or ethnic assimilation. Listen to an interview with the author here and read an interview in Time and a piece based on the book in the Boston Review.

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At the center of Franco Ferrucci's inspired novel is a tender, troubled God. In the beginning is God's solitude, and because God is lonely he creates the world. He falls in love with earth, plunges into the oceans, lives as plant and reptile and bird. His every thought and mood serve to populate the planet, with consequences that run away from him--sometimes delightfully, sometimes unfortunately. When a new arrival emerges from the apes, God believes he has finally found the companion he needs to help him make sense of his unruly creation. Yet, as the centuries pass, God feels more and more out of place in the world he has created; by the close of his memoir, he is packing his bags. Highly praised and widely reviewed, The Life of God is a playful, wondrous, and irresistible book, recounting thousands of years of religious and philosophical thought. "A supreme but imperfect entity, the protagonist of this religiously enlightened and orthodoxically heretical novel is possessed by a raving love for his skewed, unbalanced world...Blessed are the readers, for this tale of God's long insomnia will keep them happily awake...Extraordinary." --Umberto Eco "The Life of God is, in truth, the synthesis of a charming writer's ...expression of his boundless hopes for, and poignant disappointments in, his own human kind." --Jack Miles, New York Times Book Review "Rather endearing...This exceedingly amusing novel ...is a continuous provocation and delight; there isn't a dull page in it." --Kirkus Reviews "A smart and charming knitting of secular and ecclesiastic views of the world...The character of God is likable--sweet, utterly human...The prose is delightful ...the writing is consistently witty and intelligent and periodically hilarious." --Allison Stark Draper, Boston Review "'God's only excuse is that he does not exist,' wrote Stendhal, but now Franco Ferrucci has provided the Supreme Being with another sort of alibi." --James Morrow, Washington Post Book World

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In her first collection of essays, Molly McQuade performs the role of the ideal reader-passionately interested in ideas and irrepressibly ambivalent. She considers poetry from its composition or translation to its publication, critical reception, and consumption. Her close readings of poems by Emily Dickinson and John Ashbery, among others, offer new insights for those readers blinded by familiarity. She reflects on the consequences of literary friendships, such as Marianne Moore and Elizabeth Bishop's, and contends with hostile influences and their benefits-in her own case, confronting and absorbing the work of E.B. White.But McQuade refuses to stay within the lines that describe poetry per se. Her thoughts on the genre are also enriched by discussions of distinctly nonverbal poetic expression in painting and film, theater and dance. McQuade invigorates prosody's perennial questions-form and function, fashion and faction-and addresses the importance of humor as an elixir for thinking. She dares to define the subject of poetry itself as pleasure. "Poetry," she ventures, "doesn't need to be literary."In every instance, these essays feature a fine mind's play on the page as well as McQuade's characteristic expertise: an awareness that is at once historically informed and hip. If metaphor itself expands the mind's capacity for contrary ideas, then McQuade is a metaphor made manifest. Among writers on writing, here is a writer who is utterly and remarkably unlike any other.Molly McQuade's essays and criticism have appeared in The Village Voice, Hungry Mind Review, New England Review, Boston Review, Newsday, the Chicago Tribune, and elsewhere. She has served as editor of the monthly Poetry Calendar magazine and previously founded and edited the poetry review column of Publishers Weekly. Her writing has received fellowships and awards from the New York Foundation for the Arts, the Pew Charitable Trusts, the National Council of Teachers of English, and the Illinois Arts Council. Her first book, An Unsentimental Education, a collection of biographical portraits of writers, was published in 1995 by the University of Chicago Press. Her poetry, nominated twice for a Pushcart Prize, ha

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Polygamy, forced marriage, female genital mutilation, punishing women for being raped, differential access for men and women to health care and education, unequal rights of ownership, assembly, and political participation, unequal vulnerability to violence. These practices and conditions are standard in some parts of the world. Do demands for multiculturalism--and certain minority group rights in particular--make them more likely to continue and to spread to liberal democracies? Are there fundamental conflicts between our commitment to gender equity and our increasing desire to respect the customs of minority cultures or religions? In this book, the eminent feminist Susan Moller Okin and fifteen of the world's leading thinkers about feminism and multiculturalism explore these unsettling questions in a provocative, passionate, and illuminating debate. Okin opens by arguing that some group rights can, in fact, endanger women. She points, for example, to the French government's giving thousands of male immigrants special permission to bring multiple wives into the country, despite French laws against polygamy and the wives' own bitter opposition to the practice. Okin argues that if we agree that women should not be disadvantaged because of their sex, we should not accept group rights that permit oppressive practices on the grounds that they are fundamental to minority cultures whose existence may otherwise be threatened. In reply, some respondents reject Okin's position outright, contending that her views are rooted in a moral universalism that is blind to cultural difference. Others quarrel with Okin's focus on gender, or argue that we should be careful about which group rights we permit, but not reject the category of group rights altogether. Okin concludes with a rebuttal, clarifying, adjusting, and extending her original position. These incisive and accessible essays--expanded from their original publication in Boston Review and including four new contributions--are indispensable reading for anyone interested in one of the most contentious social and political issues today. The diverse contributors, in addition to Okin, are Azizah al-Hibri, Abdullahi An-Na'im, Homi Bhabha, Sander Gilman, Janet Halley, Bonnie Honig, Will Kymlicka, Martha Nussbaum, Bhikhu Parekh, Katha Pollitt, Robert Post, Joseph Raz, Saskia Sassen, Cass Sunstein, and Yael Tamir.

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I'm ill-equipped for this. I sit by a fake fireplace that frames a real flame. I've been crossed by two crows today. 'Multi-vectored, Rogers's poems hum with life and tension, their speaker poised as mother, seer, reporter and daughter. They speak of loss and cold realities (misplaced charms of luck, a tour of an assisted-living facility, coins thrown into Niagara Falls). They also interweave dreams and visions: "O Lion, I am / an old handmaiden; I will not lay the pretty baby in the lap / of the imposter." Simple but evocative, at once strange and plain, Rogers's poems of address ricochet off the familiar "Dear Reader" or Dickinson's "Dear Master" ...Rogers's poems provide instructions for what to leave, what to take and what to fight. They act as selvage between the vast mother-ocean -- the mem of memory -- and the fabric we make of the uncertain in-between.' -- Hoa Nguyen, The Boston Review 'How can we live with the kind of pain that worsens each day? Dear Leader explains through bold endurance, enumerated blessings and the artistic imagination. By pasting stark truths over, or under, images of strange, compelling beauty, Rogers creates a collage, a simulation of the human heart under assault, bleeding but unbroken. Part Orpheus, part pop-heroine who can "paint the daytime black," all, an original act of aesthetic violence and pure, dauntless, love.' -- Lynn Crosbie 'In Dear Leader, Damian Rogers re-invents the same-old poetic lyric to offers us one-of-a-kind insights on childbirth and party bars, rolling blackouts and old rock standards. Here, what looks at first like familiar language always reveals itself to be a rare mineral. And that's the magic: this is a poetry that refuses to be staged or to succumb to cliche or mannerism, insisting on celebration and condemnation, caution and cosmic vibrations. "Say you're a poet," Rogers advises us, tongue-in-cheek, "Maybe you mean / Hi, I have a lot of feelings." Striking that balance between one-liners and mourning is no small feat.' --Trillium Award Jury Citation Praise for Paper Radio: 'Paper Radio jumped out at me and I can't say why, but that's what you want poetry to do, and I never want to say why. Because it's real and talking to me. Because it's bloody and horrifying beauty. It's the Clash and Buckminster Fuller, Auden and Bowie. -- Bob Holman Originally from the Detroit area, Damian Rogers now lives in Toronto where she works as the poetry editor of House of Anansi Press and as the creative director of Poetry in Voice. Her first book, Paper Radio, was nominated for the Pat Lowther Memorial Award.

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"In Learning to Die in the Anthropocene, Roy Scranton draws on his experiences in Iraq to confront the grim realities of climate change. The result is a fierce and provocative book."--Elizabeth Kolbert, Pulitzer Prize-winning author of The Sixth Extinction: An Unnatural History "Roy Scranton's Learning to Die in the Anthropocene presents, without extraneous bullshit, what we must do to survive on Earth. It's a powerful, useful, and ultimately hopeful book that more than any other I've read has the ability to change people's minds and create change. For me, it crystallizes and expresses what I've been thinking about and trying to get a grasp on. The economical way it does so, with such clarity, sets the book apart from most others on the subject."--Jeff VanderMeer, author of the Southern Reach trilogy "Roy Scranton lucidly articulates the depth of the climate crisis with an honesty that is all too rare, then calls for a reimagined humanism that will help us meet our stormy future with as much decency as we can muster. While I don't share his conclusions about the potential for social movements to drive ambitious mitigation, this is a wise and important challenge from an elegant writer and original thinker. A critical intervention."--Naomi Klein, author of This Changes Everything: Capitalism vs. the Climate "Concise, elegant, erudite, heartfelt & wise."--Amitav Ghosh, author of Flood of Fire "War veteran and journalist Roy Scranton combines memoir, philosophy, and science writing to craft one of the definitive documents of the modern era."--The Believer Best Books of 2015 Coming home from the war in Iraq, US Army private Roy Scranton thought he'd left the world of strife behind. Then he watched as new calamities struck America, heralding a threat far more dangerous than ISIS or Al Qaeda: Hurricane Katrina, Superstorm Sandy, megadrought--the shock and awe of global warming. Our world is changing. Rising seas, spiking temperatures, and extreme weather imperil global infrastructure, crops, and water supplies. Conflict, famine, plagues, and riots menace from every quarter. From war-stricken Baghdad to the melting Arctic, human-caused climate change poses a danger not only to political and economic stability, but to civilization itself ...and to what it means to be human. Our greatest enemy, it turns out, is ourselves. The warmer, wetter, more chaotic world we now live in--the Anthropocene--demands a radical new vision of human life. In this bracing response to climate change, Roy Scranton combines memoir, reportage, philosophy, and Zen wisdom to explore what it means to be human in a rapidly evolving world, taking readers on a journey through street protests, the latest findings of earth scientists, a historic UN summit, millennia of geological history, and the persistent vitality of ancient literature. Expanding on his influential New York Times essay (the #1 most-emailed article the day it appeared, and selected for Best American Science and Nature Writing 2014), Scranton responds to the existential problem of global warming by arguing that in order to survive, we must come to terms with our mortality. Plato argued that to philosophize is to learn to die. If that's true, says Scranton, then we have entered humanity's most philosophical age--for this is precisely the problem of the Anthropocene. The trouble now is that we must learn to die not as individuals, but as a civilization. Roy Scranton has published in the New York Times, Wall Street Journal, Rolling Stone, Boston Review, and Theory and Event, and has been interviewed on NPR's Fresh Air, among other media.

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