Search results for ""Wayne State University Press""

The poems in Gun/Shy deal with the emotional weight of making do. Tinged with both the regrets and wisdom of aging, Jim Daniels's poems measure the wages of love in a changing world with its vanishing currency. He explores the effects of family work-putting children to bed, leading parents to their final resting places-and what is lost and gained in those exertions. Childhood and adolescence are examined, through both looking back on his own childhood and on that of his children. While his personal death count rises, Daniels reflects on his own mortality. He finds solace in small miracles-his mother stretching the budget to feed five children with ""hamburger surprise"" and potato skins, his children collecting stones and crabapples as if they were gold coins. Daniels, as he always has, carries the anchor of Detroit with him, the weight both a comfort and a burden. He explores race, white privilege, and factory work. Eight Mile Road, a fraught border, pulses with division, and the echoes of music, singing through Detroit's soiled but solid heart, resonate in these poems. His first long poem in many years, ""Gun/Shy,"" centers the book. Through the personas of several characters, Daniels dives into America's gun culture and the violent gulf between the fearful and the feared. Throughout, he seeks connection in likely and unlikely places: a river rising after spring rain and searchlights crossing the night sky. Comets and cloudy skies. Cement ponds and the Garden of Eden. Adolescence and death. Wounds physical and psychic. Disguises and more disguises. These are the myths we memorize to help us sleep at night, those that keep us awake and trembling. Daniels's accessible language, subtlety, and deftness make this collection one that belongs on every poetry reader's shelf.

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Mortality, With Friends is a collection of lyrical essays from Fleda Brown, a writer and caretaker, of her father and sometimes her husband, who lives with the nagging uneasiness that her cancer could return. Memoir in feel, the book muses on the nature of art, of sculpture, of the loss of bees and trees, the end of marriages, and among other things, the loss of hearing and of life itself. Containing twenty-two essays, Mortality, With Friends follows the cascade of loss with the author's imminent joy in opening a path to track her own growing awareness and wisdom. In ""Donna,"" Brown examines a childhood friendship and questions the roles we need to play in each other's lives to shape who we might become. In ""Native Bees,"" Brown expertly weaves together the threads of a difficult family tradition intended to incite happiness with the harsh reality of current events. In ""Fingernails, Toenails,"" she marvels at the attention and suffering that accompanies caring for our aging bodies. In ""Mortality, with Friends,"" Brown dives into the practical and stupefying response to her own cancer and survival. In ""2019: Becoming Mrs. Ramsay,"" she remembers the ghosts of her family and the strident image of herself, positioned in front of her Northern Michigan cottage. Comparable to Lia Purpura's essays in their density and poetics, Brown's intent is to look closely, to stay with the moment and the image. Readers with a fondness for memoir and appreciation for art will be dazzled by the beauty of this collection.

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How It Happens follows the story of author Jean Alicia Elster's maternal grandmother, Dorothy May Jackson. Born in Tennessee in 1890, Dorothy May was the middle daughter of Addie Jackson, a married African-American housekeeper at one of the white boardinghouses in town, and Tom Mitchell, a commanding white attorney from a prominent family. Through three successive generations of African-American women, Elster intertwines the fictionalized adaptations of the defining periods and challenges-race relations, miscegenation, sexual assault, and class divisions-in her family's history. A continuation of the plots begun in Elster's two novels Who's Jim Hines? and The Colored Car, How It Happens continues the story for an older audience and begins with Addie's life before the turn of the century in the South as a married Black woman with three biracial daughters navigating the relationship between her husband and Tom Mitchell. Later the story shifts to Addie's daughter Dorothy May's experiences both as a child and later, as a teacher who, choosing between her career and marriage to a man she barely knows, moves to Detroit. The story moves along with Dorothy May's daughter Jean, who, with the support of her mother and the memory of her grandmother, confronts and comes to terms with her role in society and the options available to her as a college-educated Black woman in the post-World War II industrial North. While there is struggle and hardship for each of these women, they each build off one other and continue to demand space in the world in which they live. Written for young adult readers, How It Happens carries the heart through the obstacles that still face women of color today and persists in holding open the door of communication between generations.

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In How Other People Make Love, Thisbe Nissen chronicles the lives and choices of people questioning the heteronormative institution of marriage. Not best-served by established conventions and conventional mores, these people-young, old, gay, straight, midwestern, coastal-are finding their own paths in learning who they are and how they want to love and be loved, even when those paths must be blazed through the unknown. Concerning husbands and wives, lovers and leavers, Nissen's stories explore our search for connection and all the ways we undercut it, unwittingly and intentionally, when we do find it. How do we hold ourselves together-to function, work, and survive-while endlessly yearning to be undone, unraveled, and laid bare, however untenable and excruciating?How Other People Make Love contains nine stories. "Win's Girl" features a single woman who works at an Iowa slaughterhouse and uses the insurance money from a car accident to update the electric system in her dead parents' old house, only to be unwittingly embroiled with a shady electrician who ultimately forces her to stand up for herself. In "Home Is Where the Heart Gives Out and We Arouse the Grass," a young woman flees after cheating on her husband and winds up at a Nebraska roadside motel populated by participants in a regional dog show who help her decide what to do next. In "Unity Brought Them Together," a young man heads to his favorite New York coffee shop intending to finish the Christmas cards his vacationing fiancée insists on sending, but winds up meeting another displaced young midwestern man there and going home with him instead. All these stories explore the question, "how do we love?" as well as the answers we find, discard, follow, banish, and cling to in all our humanness and desperation. How Other People Make Love asserts that there aren't right and wrong ways to love; there are only our very complicated and contradictory human hearts, minds, bodies, and desires-all searching for something, whether we know what that is or not. These are stories for anyone who has ever loved or been loved.

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The Boys in the Band’s debut was revolutionary for its fictional but frank presentation of a male homosexual subculture in Manhattan. Based on Mart Crowley’s hit Off-Broadway play from 1968, the film’s two-hour running time approximates real time, unfolding at a birthday party attended by nine men whose language, clothing, and behavior evoke a range of urban gay ""types."" Although various popular critics, historians, and film scholars over the years have offered cursory acknowledgment of the film’s importance, more substantive research and analysis have been woefully lacking. The film’s neglect among academics belies a rich and rewarding object of study. The Boys in the Band merits not only the close reading that should accompany such a well-made text but also recognition as a landmark almost ideally situated to orient us amid the highly complex, shifting cultural terrain it occupied upon its release—and has occupied since.The scholars assembled here bring an invigorating variety of methods to their considerations of this singular film. Coming from a wide range of academic disciplines, they pose and answer questions about the film in remarkably different ways. Cultural analysis, archival research, interviews, study of film traditions, and theoretical framing intensify their revelatory readings of the film. Many of the essays take inventive approaches to longstanding debates about identity politics, and together they engage with current academic work across a variety of fields that include queer theory, film theory, gender studies, race and ethnic studies, and Marxist theory. Addressing The Boys in the Band from multiple perspectives, these essays identify and draw out the film’s latent flashpoints—aspects of the film that express the historical, cinematic, and queer-political crises not only of its own time, but also of today.The Boys in the Band is an accessible touchstone text in both queer studies and film studies. Scholars and students working in the disciplines of film studies, queer studies, history, theater, and sociology will surely find the book invaluable and a shaping influence on these fields in the coming years.

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The Holocaust is often invoked as a benchmark for talking about human rights abuses from slavery and apartheid to colonialism, ethnic cleansing, and genocide. Western educators and politicians draw seemingly obvious lessons of tolerance and anti-racism from the Nazi past, and their work rests on the implicit assumption that Holocaust education and commemoration will expose the dangers of prejudice and promote peaceful coexistence. Holocaust Memory and Racism in the Postwar World, edited by Shirli Gilbert and Avril Alba, challenges the notion that there is an unproblematic connection between Holocaust memory and the discourse of anti-racism. Through diverse case studies, this volume historicizes how the Holocaust has shaped engagement with racism from the 1940s until the present, demonstrating that contemporary assumptions are neither obvious nor inevitable.Holocaust Memory and Racism in the Postwar World is divided into four sections. The first section focuses on encounters between Nazism and racism during and immediately after World War II, demonstrating not only that racist discourses and politics persisted in the postwar period, but also, perhaps more importantly, that few people identified links with Nazi racism. The second section explores Jewish motivations for participating in anti-racist activism, and the varying memories of the Holocaust that informed their work. The third section historicizes the manifold ways in which the Holocaust has been conceptualized in literary settings, exploring efforts to connect the Holocaust and racism in geographically, culturally, and temporally diverse settings. The final section brings the volume into the present, focusing on contemporary political causes for which the Holocaust provides a benchmark for racial equality and justice. Together, the contributions delineate the complex history of Holocaust memory, recognize its contingency, and provide a foundation from which to evaluate its moral legitimacy and political and social effectiveness. Holocaust Memory and Racism in the Postwar World is intended for students and scholars of Holocaust and genocide studies, professionals working in museums and heritage organizations, and anyone interested in building on their knowledge of the Holocaust and the discourse of racism.

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This lively and irreverent memoir explores the settings where Yiddish—a language of song, rebellion, and eternal longing—has thrived: in the cabaret and café, the kitchen and classroom, the literary salon and mystical commune, the partisan brigade and on pilgrimage to Poland. Inspired by his mother's recitations of their family saga in his youth, author David Roskies uncovers a tale of survival, intrigue, sacrifice, and divided loyalties that began over 4,000 miles away and two generations ago. A careful reconstruction of the details of his parents' escape from Europe at the outbreak of the Second World War is juxtaposed with his personal odyssey in the postwar center of Yiddish culture that was Montreal. Roskies embarks on a search for other speakers of his mother tongue with very different stories to tell, which takes him on a journey through the upheavals of 1960s America, the struggle for Soviet Jewry, the Six-Day War and Yom Kippur War, the fall of the Iron Curtain, and the revival of Jewish life here, there, and everywhere. Along the way, he encounters great Yiddish poets and their widows, survivors of the Holocaust, artists, actors, scholars, and teachers. Yiddishlands is essential reading for students of the recent Jewish past and the living Yiddish present.

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A classic in the Black literary canon.Continuously available in print since 1968, this novel has become embedded in progressive anti-racist culture with wide circulation of the book and hotly debated film and television adaptations. A classic in the Black literary tradition, The Spook Who Sat by the Door is a strong comment on entrenched racial inequities in the United States in the late 1960s. With its focus on the "militancy" that characterized the Black Power movement of the 1960s and 1970s, this is the story of one man's reaction to ruling-class hypocrisy in ways that make the novel autobiographical and personal. As a tale of a reaction to the forces of oppression, this book is universal. Dan Freeman, the "spook who sat by the door," is enlisted in the CIA's elitist espionage program. Upon mastering agency tactics, however, he drops out to train young Black Chicagoans to combat racism as"Freedom Fighters" in this explosive novel.

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Presents stories of the bungled efforts by officials at every level to control the smuggling and sale of illegal alcohol. Most entertaining are the creative smuggling efforts undertaken by citizens from all walks of life - from the poor to the affluent, from upstanding citizens to organized criminals and gangsters.

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What if N. K. Jemisin or Ishmael Reed wrote Frankenstein, or if Kara Walker originally illustrated the works of the Brothers Grimm? What if, instead of modern superhero figures, the Black Panther characters as depicted by Ta-Nehisi Coates were figures of mythology, taught alongside the Greco-Roman pantheon? Divided into three sections—"I Don't Know Who Needs To Hear This But," "The Girl With The Frantz Fanon Tattoo," and "The Underground Rubaiyat"—this collection of mythological, Afrofuturist, and surrealist poems addresses a literary void resulting from the structural violence of slavery and segregation. This collection invites readers to interrogate the motifs of canonical poetics alongside historical and contemporary interactions real and imagined. Drawing inspiration from African and Diasporic narratives, these poems evoke the surrealism of African author Amos Tutuola as much as they do English author Lewis Carroll. The Second Stop is Jupiter is a deep engagement with the cultural narrative, populated with Black hero figures who will fuel the imagination. upfromsumdirt invites us to ask, what if, with characters and poetic motifs rooted in existing narratives of Black life and fable. Titles like "The Death of Olympia" and "The Three Sulas" set the tone for this collection to manifest a Pan-Africanist poetics entwined with themes of Classical Romanticism.

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Essays from a Native American grandfather to help navigate life's difficult experiences.Offered in the oral traditions of the Nez Perce, Native American writer W. S. Penn records the conversations he held with his granddaughter, lovingly referred to as ""Bean,"" as he guided her toward adulthood while confronting society's interest in possessions, fairness, and status. Drawing on his own family history and Native mythology, Penn charts a way through life where each endeavor is a journey—an opportunity to love, to learn, or to interact—rather than the means to a prize at the end. Divided into five parts, Penn addresses topics such as the power of words, race and identity, school, and how to be. In the essay "In the Nick of Names," Penn takes an amused look at the words we use for people and how their power, real or imagined, can alter our perception of an entire group. To Have and On Hold is an essay about wanting to assimilate into a group but at the risk of losing a good bit of yourself. "A Harvest Moon" is a humorous anecdote about a Native grandfather visiting his granddaughter's classroom and the absurdities of being a professional Indian. "Not Nobody" uses "Be All that You Can Be Week" at Bean's school to reveal the lessons and advantages of being a "nobody." In "From Paper to Person," Penn imagines the joy that may come to Bean when she spends time with her Paper People—three-foot-tall drawings, mounted on stiff cardboard—and as she grows into a young woman like her mom, able to say she is a person who is happy with what she has and not sorry for what she doesn't. Comical and engaging, the essays in Raising Bean will appeal to readers of all backgrounds and interests, especially those with a curiosity in language, perception, humor, and the ways in which Native people guide their families and friends with stories.

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The sitcom Will & Grace (1998–2006, 2017–20) shifted the media landscape and its treatment of queer themes by starring an openly gay protagonist, Will Truman, on primetime network television. Will, along with his best friend Grace Adler and their constant companions Jack McFarland and Karen Walker, engaged in many stereotypical sitcom shenanigans imbued with decidedly queer twists. Despite the series' groundbreaking nature, its accuracy and responsibility in representing gay men—and of queer culture in general—has been questioned throughout its initial run and reboot. Author Tison Pugh places the sitcom in its historical context of the late 1990s and early 2000s, considering how it contributed to contemporary debates concerning queer life. Will & Grace returned in the Trump era, offering viewers another chance to enjoy the companionship of these quirky yet relatable characters as they grappled with seismic shifts in the nation's political climate. Pugh demonstrates that while heralding a new age of queer representation, characters across the series were homogenized through upper-class whiteness to normalize queerness for a mainstream US audience. In negotiating protocols of network television and the desires of audiences both gay and straight, this trailblazing series remains simultaneously haunted by and liberated from longstanding queer stereotypes.

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Alison Swan's collection of poems, A Fine Canopy, illustrates how the natural world envelops and encloses us with so many beautiful things: crowns of leaves, the ubiquitous blue sky, our luminous moon, and snow. So much snow. An ecopoet whose writing shows her advocacy for natural resources, in this collection Swan calls the reader to witness, appreciate, and sustain this world before it becomes too late. These poems were written out of an impulse to track down wisdom in the open air, outside of the noisy world of cars and commerce. Swan seeks insight on shores and in scraps of woods and fields-especially on four particular peninsulas: Michigan's upper and lower, Florida, and Washington state's Olympic-and also inside motherhood, which might be the wildest place of all.These are poems about the interconnection of all things, and "knowing things we cannot see". A journey through seasons with a soundtrack of birdsong, Swan's words are incredibly sensory. The reader is made to feel the weight of muddy jeans, the jolt at the tug of a dog's leash, and to see the bright flash of a cardinal's red plumage. Swan's poems remind us that although we all want to make a mark on our world, the smaller the better: stepping into fresh snow, dashing through forests atop dry leaves, laying wet bodies on warm concrete. These quiet interactions with places are as hopeful as they are harmless.Without necessarily tackling the topics head-on, A Fine Canopy evokes the devastation of climate change and the destruction of natural resources. This book engages deeply with the other-than-human to express and investigate alarm, dismay, anger, admiration, adoration in what feels like the end of the world unless we begin to think outside the box. These poems will carry weight with all readers of poetry, especially those who are interested in ecopoetry and connecting with the world around them.

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If you thought the suburbs were boring, think again. Kelly Fordon's I Have the Answer artfully mixes the fabulist with the workaday and illuminates relationships and characters with crisp, elegant prose and dark wit. The stories in Fordon's latest collection are disquieting, humorous, and thought-provoking. They might catch you off guard, but are always infused with deep humanity and tenderness.In these thirteen short stories, Fordon presents people dealing with the grayness of reality and longing for transcendence. Characters within these stories are often as surprised by their own behavior as that of their neighbor's. In "Jungle Life," the narrator attempts to clarify and document the stories of his father, a war veteran, before he descends into dementia. In "Where's the Baby?" a woman reflects on her difficult childhood as she grudgingly cares for her more successful, yet exasperating sister. In "In the Dog House," a woman visits an estate sale and sifts through the layers of lifetimes past while grappling with her long-standing jealousy of a mysterious neighbor. In "The Shorebirds and The Shaman," a woman who has just lost her husband winds up at a kooky weekend retreat role-playing her way out of debilitating grief. Award-winning author Desiree Cooper has called the stories in I Have the Answer "pitch perfect . . . Fordon takes us to the precipice where trauma and triumph are equal possibilities. The people in these stories are so hauntingly real that long after I put the book down, I found myself wondering what had become of them." Readers of contemporary fiction and short stories will enjoy mulling over the complicated feelings this collection evokes.

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Black Indian, searing and raw, is Amy Tan's The Joy Luck Club and Alice Walker's The Color Purple meets Leslie Marmon Silko's Ceremony-only, this isn't fiction. Beautifully rendered and rippling with family dysfunction, secrets, deaths, drunks, and old resentments, Shonda Buchanan's memoir is an inspiring story that explores her family's legacy of being African Americans with American Indian roots and how they dealt with not just society's ostracization but the consequences of this dual inheritance. Buchanan was raised as a Black woman, who grew up hearing cherished stories of her multi-racial heritage, while simultaneously suffering from everything she (and the rest of her family) didn't know. Tracing the arduous migration of Mixed Bloods, or Free People of Color, from the Southeast to the Midwest, Buchanan tells the story of her Michigan tribe-a comedic yet manically depressed family of fierce women, who were everything from caretakers and cornbread makers to poets and witches, and men who were either ignored, protected, imprisoned, or maimed-and how their lives collided over love, failure, fights, and prayer despite a stacked deck of challenges, including addiction and abuse. Ultimately, Buchanan's nomadic people endured a collective identity crisis after years of constantly straddling two, then three, races. The physical, spiritual, and emotional displacement of American Indians who met and married Mixed or Black slaves and indentured servants at America's early crossroads is where this powerful journey begins. Black Indian doesn't have answers, nor does it aim to represent every American's multi-ethnic experience. Instead, it digs as far down into this one family's history as it can go-sometimes, with a bit of discomfort. But every family has its own truth, and Buchanan's search for hers will resonate in anyone who has wondered ""maybe there's more than what I'm being told.

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The story behind Faygo, a Detroit soft drink company since 1907.The Faygo Book is the social history of a company that has forged a bond with a city and its residents for more than a century. The story of Faygo, Detroit’s beloved soda pop, begins over a hundred years ago with two Russian immigrant brothers who were looking to get out of the baking business. Starting with little more than pots, pails, hoses, and a one-horse wagon, Ben and Perry Feigenson reformulated cake frosting recipes into carbonated beverage recipes and launched their business in the middle of the 1907 global financial meltdown. It was an improbable idea. Through recessions and the Great Depression, wartime politics, the rise and fall of Detroit’s population, and the neverending challenges to the industry, the Feigensons persisted. Out of more than forty bottlers in Detroit’s ""pop alley,"" Faygo remained the last one standing.Within the pages of The Faygo Book, author Joe Grimm carefully measures out the ingredients of a successful beverage company in spite of dicey economic times in a boom-and-bust town. Take a large cup of family—when the second generation of Feigensons gambled with the chance at national distribution while the odds were stacked against them-and add a pinch of innovation-not just with their rambunctious rainbow of flavors but with packaging and television advertising that infused Faygo with nostalgia. Mix in a quality product—award-winning classics (and some flops) that they insisted on calling ""pop"" despite the industry's plea for a more grown-up name. Stir in a splash of loyalty to its locally hired employees, many of whom would stay withFaygo for decades. These are the values on which Faygo has hung its hat for generations, making it an integral part of communities across the country.The Faygo Book is the story of a pop, a people, and a place. These stories and facts will tickle the taste buds and memories of Detroiters and Faygo lovers everywhere.

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Scratching the Surface: Adventures in Storytelling is a deeply personal and intimate memoir told through the lens of Harvey Ovshinsky's lifetime of adventures as an urban enthusiast. He was only seventeen when he started The Fifth Estate, one of the country's oldest underground newspapers. Five years later, he became one of the country's youngest news directors in commercial radio at WABX-FM, Detroit's notorious progressive rock station. Both jobs placed Ovshinsky directly in the bullseye of the nation's tumultuous counterculture of the 1960s and 70s. When he became a documentary director, Ovshinsky's dispatches from his hometown were awarded broadcasting's highest honors, including a national Emmy, a Peabody, and the American Film Institute's Robert M. Bennett Award for Excellence. But this memoir is more than a boastful trip down memory lane. It also doubles as a survival guide and an instruction manual that speaks not only to the nature of and need for storytelling but also and equally important, the pivotal role the twin powers of endurance and resilience play in the creative process. You don't have to be a writer, an artist, or even especially creative to take the plunge, Ovshinsky reminds his readers. ""You just have to feel strongly about something or have something you need to get off your chest. And then find the courage to scratch your own surface and share your good stuff with others."" Above all, Ovshinsky is an educator, known for his passionate support of and commitment to mentoring the next generation of urban storytellers. When he wasn't teaching screenwriting and documentary production in his popular workshops and support groups, he taught undergraduate and graduate students at Detroit's College for Creative Studies, Wayne State University, Madonna University, and Washtenaw Community College. ""The thing about Harvey,"" a colleague recalls in Scratching the Surface, ""is that he treats his students like professionals and not like newbies at all. His approach is to, in a very supportive and non-threatening way, combine both introductory and advanced storytelling in one fell swoop.

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"Black People Are My Business": Toni Cade Bambara's Practices of Liberation studies the works of Bambara (1939-1995), an author, documentary filmmaker, social activist, and professor. Thabiti Lewis's analysis serves as a cultural biography, examining the liberation impulses in Bambara's writing, which is concerned with practices that advance the material value of the African American experience and exploring the introspection between artist production and social justice. This is the first monograph that focuses on Bambara's unique approach and important literary contribution to 1970s and 1980s African American literature. It explores her unique nationalist, feminist, Marxist, and spiritualist ethos, which cleared space for many innovations found in black women's fiction.Divided into five chapters, Lewis's study relies on Bambara's voice (from interviews and essays) to craft a "spiritual wholeness aesthetic"-a set of principles that comes out of her practices of liberation and entail family, faith, feeling, and freedom-that reveals her ability to interweave ethnic identity, politics, and community engagement and responsibility with the impetus of balancing black male and female identity influences and interactions within and outside the community. One key feature of Bambara's work is the concentration on women as cultural workers whereby her notion of spiritual wholeness upends what has become a scholarly distinction between feminism and black nationalism. Bambara's fiction situates her as a pivotal voice within the Black Arts Movement and contemporary African American literature.Bambara is an understudied and important artistic voice whose aversion to playing it safe both personified and challenged the boundaries of black nationalism and feminism. "Black People Are My Business" is a wonderful addition to any reader's list, especially those interested in African American literary and cultural studies.

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Jews and Crime in Medieval Europe is a topic laced by prejudice on one hand and apologetics on the other. Beginning in the Middle Ages, Jews were often portrayed as criminals driven by greed. While these accusations were, for the most part, unfounded, in other cases criminal accusations against Jews were not altogether baseless.Drawing on a variety of legal, liturgical, literary, and archival sources, Ephraim Shoham-Steiner examines the reasons for the involvement in crime, the social profile of Jews who performed crimes, and the ways and mechanisms employed by the legal and communal body to deal with Jewish criminals and with crimes committed by Jews.A society's attitude toward individuals identified as criminals - by others or themselves - can serve as a window into that society's mores and provide insight into how transgressors understood themselves and society's atttudes toward them. The book is divided into three main sections. In the first section, Shoham-Steiner examines theft and crimes of a financial nature. In the second section, he discusses physical violence and murder, most importantly among Jews but also incidents when Jews attacked others and cases in which Jews asked non-Jews to commit violence against fellow Jews. In the third section, Shoham-Steiner approaches the role of women in crime and explores the gender differences, surveying the nature of the crimes involving women both as perpetrators and as victims, as well as the reaction to their involvement in criminal activities among medieval European Jews.While the study of crime and social attitudes toward criminals is firmly established in the social sciences, the history of crime and of social attitudes toward crime and criminals is relatively new, especially in the field of medieval studies and all the more so in medieval Jewish studies. Jews and Crime in Medieval Europe blazes a new path for unearthing daily life history from extremely recalcitrant sources.The intended readership goes beyond scholars and students of medieval Jewish studies, medieval European history, and crime in pre-modern society.

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Examines relationships between black and white Detroit residents through the lens of 1967, fifty years later.

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This comprehensive collection of Italian tales in English encourages a revisitation of the fairy-tale canon in light of some of the most fascinating material that has often been excluded from it. In the United States, we tend to associate fairy tales with children and are most familiar with the tales of the Brothers Grimm, Hans Christian Anderson, and Disney. But the first literary fairy tales appeared in Renaissance Italy, and long before the Grimms there was already a rich and sophisticated tradition that included hundreds of tales, including many of those today considered "classic." The authors featured in this volume have, over the centuries, explored and interrogated the intersections between elite and popular cultures and oral and literary narratives, just as they have investigated the ways in which fairy tales have been and continue to be rewritten as expressions of both collective identities and individual sensibilities. The fairy tale in its Italian incarnations provides a striking example of how this genre is a potent vehicle for expressing cultural aspirations and anxieties as well as for imagining different ways of narrating shared futures.

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Linda Solomon met Aretha Franklin in 1983 when she was just beginning her career as a photo journalist and newspaper columnist. The Queen Next Door is a book full of firsts as Solomon was invited not only to capture historical events in Aretha'smusic career showcasing Detroit, but to join in with the Franklin family's most cherished moments.

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A modern-day fairy tale told in conversation between a young girl and the mermaid of Lake Michigan. This is a new tale that feels familiar. The breeze off the lake, the sand underfoot, the supreme sadness of being young and not in control - these sensations come rushing back page by page, bringing to life an ancient myth of coming of age in a troubled world.

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Weaving together the stories and voices of residents, anglers, community leaders, and environmental workers and researchers, this ethnographic account details the lives and livelihoods impacted by a once-unrivaled Michigan salmon fishery.

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Journey to the edges of the Great Lakes in this engaging history of picnicking, wilderness, and foodways. This stunning venture into the American picnic explores how innovation, exploitation, and the changing wilderness of Michigan's Upper Peninsula have shaped the experience of eating outdoors.

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Practical and candid, this book offers actionable steps to help Black women leaders create meaningful success. The reflections and recommendations of the contributors forge a critical and transformative analysis of race, gender, and higher education leadership. With insights from humanities, social sciences, art, and STEM, this essential resource helps to redefine the academy to meet the challenges of the future. Dear Department Chair is comprised of personal letters from prominent Black women department chairs, deans, vice provosts, and university presidents, addressed to current and future Black women academic professionals, and offers a rich source of peer mentorship and professional development. These letters emerged from Chair at the Table, a research collective and peer-mentoring network of current and former Black women department chairs at colleges and universities across the U.S. and Canada. The collective's works, including this volume, serve as tools for faculty interested in administration, current chairs seeking mentorship, and upper-level administrators working to diversify their ranks.

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Essays and poems exploring the diverse range of the Arab American experience.This collection begins with stories of immigration and exile by following newcomers' attempts to assimilate into American society. Editors Ghassan Zeineddine, Nabeel Abraham, and Sally Howell have assembled emerging and established writers who examine notions of home, belonging, and citizenship from a wide array of communities, including cultural heritages originating from Lebanon, Palestine, Iraq, and Yemen. The strong pattern in Arab Detroit today is to oppose marginalization through avid participation in almost every form of American identity-making. This engaged stance is not a by-product of culture, but a new way of thinking about the US in relation to one's homeland. Hadha Baladuna ("this is our country") is the first work of creative nonfiction in the field of Arab American literature that focuses entirely on the Arab diaspora in Metro Detroit, an area with the highest concentration of Arab Americans in the US. Narratives move from a young Lebanese man in the early 1920s peddling his wares along country roads to an aspiring Iraqi-Lebanese poet who turns to the music of Tupac Shakur for inspiration. The anthology then pivots to experiences growing up Arab American in Detroit and Dearborn, capturing the cultural vibrancy of urban neighborhoods and dramatizing the complexity of what it means to be Arab, particularly from the vantage point of biracial writers. Included in these works is a fearless account of domestic and sexual abuse and a story of a woman who comes to terms with her queer identity in a community that is not entirely accepting. The volume also includes photographs from award-winning artist Rania Matar that present heterogenous images of Arab American women set against the arresting backdrop of Detroit. The anthology concludes with explorations of political activism dating back to the 1960s and Dearborn's shifting demographic landscape. Hadha Baladuna will shed light on the shifting position of Arab Americans in an era of escalating tension between the United States and the Arab region.

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In a thrilling interconnected narrative, You're in the Wrong Place presents characters reaching for transcendence from a place they cannot escape. Charles Baxter stated that "Joseph Harris has a particular feeling for the Detroit suburbs and the slightly stunted lives of the young people there....You're in the Wrong Place isn't uniformly downbeat-there are all sorts of rays of hope that gleam toward the end".The book, composed of twelve stories, begins in the fall of 2008 with the shuttering of Dynamic Fabricating-a fictional industrial shop located in the Detroit suburb of Ferndale. Over the next seven years, the shop's former employees - as well as their friends and families-struggle to find money, purpose, and levity in a landscape suddenly devoid of work, faith, and love.In "Would You Rather", a young couple brought together by Dynamic Fabricating shares a blissful weekend in Northern Michigan, unaware of the catastrophe that awaits them upon their return home. In "Acolytes", a devout Catholic clings to her faith as her brothers descend into cultish soccer violence. In "Memorial", an ex-Dynamic worker scrapes money together for a tribute to his best friend, lost to the war in Afghanistan. In "Was It Good for You?" a cam girl deconstructs materialism with her ageng great aunt, a luxury sales associate, and an anxious, faceless client. And in the title story, simmering tensions come to a boil on a hot summer day for a hardscrabble landscaping crew, hired by the local bank to maintain the lawns of foreclosuresIn turns elegiac and harrowing, You're in the Wrong Place blends lyric intensity with philosophical eroticism to create a singular, powerful vision of contemporary American life. Readers of contemporary fiction grounded in place need to take up this collection.

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Beautifully-crafted prose from one of Michigan’s most original voices.

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With engaged scholarship and an exciting contribution to the field of Israel/Palestine studies, queer scholar-activist Corinne Blackmer stages a pointed critique of scholars whose anti-Israel bias pervades their activism as well as their academic work. Blackmer demonstrates how the Boycott, Divestment, and Sanctions (BDS) movement that seeks to delegitimize and isolate Israel has become a central part of social justice advocacy on campus, particularly within gender and sexuality studies programs. The chapters focus on the intellectual work of Sarah Schulman, Jasbir Puar, Angela Davis, Dean Spade, and Judith Butler, demonstrating how they misapply critical theory in their discussions of the State of Israel. Blackmer shows how these LGBTQ intellectuals mobilize queer theory and intersectionality to support the BDS movement at the expense of academic freedom and open discourse.

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Originally published in 1977 and long out of print, Maurice Yacowar’s Hitchcock’s British Films was the first volume devoted solely to the twenty-three films directed by Alfred Hitchcock in his native England before he came to the United States. As such, it was the first book to challenge the assumption that Hitchcock’s ""mature"" period in Hollywood, from the late 1940s to the early 1960s, represented the director’s best work. In this traditional auteurist examination of Hitchcock’s early work, author Maurice Yacowar considers Hitchcock’s British films in chronological order, reads the composition of individual shots and scenes in each, and pays special attention to the films’ verbal effects.Yacowar’s readings remain compelling more than thirty years after they were written, and some—on Downhill, Champagne, and Waltzes from Vienna—are among the few extended interpretations of these films that exist. Alongside important works such as Murder!, the first The Man Who Knew Too Much, Secret Agent, The Lady Vanishes, and Blackmail, readers will appreciate Yacowar’s equal attention to lesser-known films like The Pleasure Garden, The Ring, and The Manxman. Yacowar dissects Hitchcock’s precise staging and technical production to draw out ethical themes and metaphysical meanings of each film, while keeping a close eye on the source material, such as novels and plays, that Hitchcock used as the inspiration for many of his screenplays. Yacowar concludes with an overview of Hitchcock as auteur and an appendix identifying the director’s appearances in these films.A foreword by Barry Keith Grant and a preface to the second edition from Yacowar complete this comprehensive volume. Anyone interested in Hitchcock, classic British cinema, or the history of film will appreciate Yacowar’s accessible and often witty exploration of the director’s early work.

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In 1978, Jakub Slucki passed away peacefully in his sleep at the age of seventy-seven. A Holocaust survivor whose first wife and two sons had been murdered at the Nazi death camp in Chelmno, Poland, Jakub had lived a turbulent life. Just over thirty-seven years later, his son Charles died of a heart attack. David Slucki's Sing This at My Funeral: A Memoir of Fathers and Sons tells the story of his father and his grandfather, and the grave legacy that they each passed on to him. This is a story about the Holocaust and its aftermath, about absence and the scars that never heal, and about fathers and sons and what it means to raise young men.In Sing This at My Funeral, tragedy follows the Slucki family across the globe: from Jakub's early childhood in Warsaw, where he witnessed the death of his parents during World War I, to the loss of his family by the hand of the Nazis in April 1942 to his remarriage and relocation in Paris, where after years of bereavement he welcomes the birth of his third son before finally settling in Melbourne, Australia in 1950 in an attempt to get as far away from the ravages of war-torn Europe as he could. Charles (Shmulik in Yiddish) was named both after Jakub's eldest son and his slain grandfather-a burden he carried through his life, which was one otherwise marked by optimism and adventure. The ghosts of these relatives were a constant in the Slucki home, a small cottage that became the lifeblood of a small community of Jewish immigrants. despite having been shaped by the ghosts of his father's constantly hovering sorrow. This book interweaves the stories of these men with that of Slucki's own upbringing, showing how traumatic family histories leave their mark for generations. Slucki's memoir blends the scholarly and literary, grounding the story of his grandfather and father in the broader context of the twentieth century. Based on thirty years of letters from Jakub to his brother Mendel, on archival materials, and on interviews with family members, this is a unique story and an innovative approach to writing both history and family narrative. Students, scholars, and general readers of memoirs will enjoy this deeply personal reflection on family and grief.

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In this lively and fascinating analysis of humorists and their work, Will Kaufman breaks new ground with his irony fatigue theory. The Comedian as Confidence Man examines the humorist's internal conflict between the social critic who demands to be taken seriously and the comedian who never can be: the irony fatigue condition. Concentrating on eight American literary and performing comedians from the 18th, 19th, and 20th centuries, this study explores the irony fatigue affect that seems to pervade the work of comedians-those particular social observers who are obliged to promise, ""Only kidding, folks,"" even when they may not be; in G. B. Shaw's words, they must ""put things in such a way as to make people who would otherwise hang them believe they are joking."" If these social observers are obliged to become, in effect, confidence men, with irony as the satiric weapon that both attacks and diverts, then the implications are great for those social critics who above all wish to be heeded.

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Invisible Ink is the story of Guy Stern's remarkable life. This is not a Holocaust memoir; however, Stern makes it clear that the horrors of the Holocaust and his remarkable escape from Nazi Germany created the central driving force for the rest of his life. Stern gives much credit to his father's profound cautionary words, "You have to be like invisible ink. You will leave traces of your existence when, in better times, we can emerge again and show ourselves as the individuals we are." Stern carried these words and their psychological impact for much of his life, shaping himself around them, until his emergence as someone who would be visible to thousands over the years. This book is divided into thirteen chapters, each marking a pivotal moment in Stern's life. His story begins with Stern's parents-"the two met, or else this chronicle would not have seen the light of day (nor me, for that matter)." Then, in 1933, the Nazis come to power, ushering in a fiery and destructive timeline that Stern recollects by exact dates and calls "the end of [his] childhood and adolescence." Through a series of fortunate occurrences, Stern immigrated to the United States at the tender age of fifteen. While attending St. Louis University, Stern was drafted into the U.S. Army and soon found himself selected, along with other German-speaking immigrants, for a special military intelligence unit that would come to be known as the Ritchie Boys (named so because their training took place at Ft. Ritchie, MD). Their primary job was to interrogate Nazi prisoners, often on the front lines. Although his family did not survive the war (the details of which the reader is spared), Stern did. He has gone on to have a long and illustrious career as a scholar, author, husband and father, mentor, decorated veteran, and friend. Invisible Ink is a story that will have a lasting impact. If one can name a singular characteristic that gives Stern strength time after time, it is his resolute determination to persevere. To that end Stern's memoir provides hope, strength, and graciousness in times of uncertainty.

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An intimate history of the Holocaust that casts new light on our understanding of victimhood and survival.

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Lyric essayists draw on memoir, poetry, and prose to push against the arbitrary genre restrictions in creative nonfiction, opening up space not only for new forms of writing, but also new voices and a new literary canon. This anthology features some of the best lyric essays published in the last several years by prominent and emerging writers.

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An exquisitely illustrated collection of poetry inspired by a traditional Anishinaabe seasonal year. Anishinaabe author Lois Beardslee shares how a life is lived within two cultures, revealing a worldview shaped by language and customs and expressed through verse both playful and somber. This collection of poems is a lattice of traditional wisdom, wordplay, and cunning modernity that forms a distinctive creative voice. Experiences of duality overlay an Anishinaabe annual cycle, emphasizing the practical nature of traditions and their dependence upon the landscape in which they develop over time. Poems like Waatebagaagiizis and Gidanimibiisaa na reveal the fortitude that maintains traditions against the encroaching backdrop of modernity. Others such as Namegosag and Minowichige playfully connect a moment's experience to the everyday practices that have endured, many through the author's own eyes, and others through kin spanning generations and cultures. These poems not only evoke a se

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Poems that underscore how we commune with those long loved and long gone. In Far Company, we hear Cindy Hunter Morgan thinking about the many ways we carry the natural world inside of us as a kind of embedded cartography. Many of these poems commune not only with lost ancestors but also past poets. We hear conversations with Emily Dickinson, James Wright, Walt Whitman, and W. S. Merwin. These poets, who are part of Hunter Morgan's poetic lineage, are beloved figures in the far company she keeps, but the poems she writes are distinctly hers. Poet Larissa Szporluk remarked, "The poems in this collection are quiet and deceptively simple. My first response was to be amazed by a seeming innocence in delivery—straightforward, picturesque, and compassionate—that then matured like a crystal into something precious and masterful. We are left with the whole forest having met all the trees one by one. There is so much respect in this collection—respect for natural processes that include intergenerational relationships, shared territories, and myths.The poems in Far Company reveal a mind and a heart negotiating both self and world with compassion and invention. They are cinematic in the way they navigate loss, memory, dislocation, hope, and love—abstractions evoked in deeply specific and nuanced ways. There is the drone that flies over Hunter Morgan's grandparents'farm before the house burns and the stag-handled knife in a pocket, its single blade "folded inside like a secret" on a train in Greece. But this collection is full of quieter cinema, too—a grandfather bending to cinch the girth of a horse, days "green / with snap peas and wild tendrils," and "raindrops beading like sweat/ on the lips of snapdragons." The root of this book is Hunter Morgan's love for family and her love for the land her family has shared.These poems map a journey to many places, inward and outward, and engage with the natural world and the built world, moving between both of those environments in ways that acknowledge the complexities of such crossings. Often melancholic but never sentimental, this collection belongs with any reader who seeks out literature in the organic world.

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