The archaeological record that Tubman left behind sheds light on her life and the ways in which she interacted with local and national communities.
Archaeological and historical research at the Harriet Tubman Home, in Auburn and Fleming, New York have uncovered significant details related to Harriet Tubman’s life in Freedom. Among the artifacts recovered from Harriet Tubman’s house were a group of metal buttons with star designs. These buttons were just a few of the tens of thousands of personal items that were part of the daily life of Harriet Tubman, her family, and those who she cared for over more than fifty years of her life in freedom.
This week news related to a renewed effort to move forward with the release of the Harriet Tubman twenty dollar bill once again brings conversations related to the multi-dimensional importance and symbolism of the inclusion of an image of Harriet, a woman and an African American, on U.S. currency. The Tubman $20 bill also has special meaning related to this book. There is a link between the design of the new twenty and the material record recovered at the Harriet Tubman Home. Symbolic representations of the star buttons recovered from archaeological deposits from soils just outside the north door of Tubman’s house were incorporated into the clothing worn by Tubman in the engraving of Tubman on the twenty dollar bill. The Bureau of Engraving requested images of dozens of artifacts from the site and selected these as they were tangible items recovered from Tubman’s house that could be depicted in the engraving and due to the star symbolism. The stars depicted have a well-known correlation to Tubman’s following the North Star to freedom, and the buttons were found in a context of the house where Tubman, her family, and those in her care were living in freedom.
The initial decision to put Tubman on the $20 took place when the archaeological project described in this book was well underway and findings from the site were shedding light on new dimensions of Harriet Tubman’s civic minded pursuit of equality and justice. With the support of congressional legislators, Harriet Tubman Home, Inc. and the AME Zion Church used this new archaeological and historical research on Tubman to work with the National Park Service in an effort that let to recognition of the property as Harriet Tubman National Historic Park, a designation that was achieved in 2017, an effort that is described in the final chapter of the book.
This study integrates a detailed archaeological study with the compilation of an array of primary and secondary source data on Tubman’s life. Tubman’s early life is well known for her efforts to liberate African Americans from slavery. Tubman’s heroic actions conducting African Americans to freedom on the Underground Railroad have been detailed in several books, including Kate Larson’s “Bound for the Promised Land”(2004). In 2020, Tubman’s self-emancipation and her dynamic role as a conductor was vividly portrayed by Cynthia Erivo’s Academy Award nominated performance in the film “Harriet”. However, this study shows that there is even more to Harriet’s story and her on-going contributions to the struggle for freedom, women’s rights, liberty, and social justice. This study remembers Tubman’s commitment to social activism through the life that she lived, in freedom, at her personal home and farm and on behalf of the elderly African Americans that she cared for at the Harriet Tubman Home for the Aged that she created in Fleming and Auburn, New York.
In the time since Tubman’s death, in 1913, the properties once owned by Harriet Tubman have continued to be held as a spiritual placeholder of her dreams and ideals. The properties constitute a landscape rich in artifacts, buildings, and meaning that derive from her life and her efforts on behalf of others. This study celebrates the process of healing and restoration associated with the reunification of Tubman’s properties and their recognition in 2017 as a key element of the newly created Harriet Tubman National Historic Park. In the pursuit of understanding Tubman, and the site, the study encountered many aspects of Tubman’s life that had been lost. The process of rediscovery embraced the multivalent patina of newly uncovered evidence of her life, including elements preserved in the site and in an array of newly examined documents. Together, these data inform us and provide depth and texture illuminating Harriet Tubman’s life, the people with whom she engaged, and the cultural landscape of sites once warmed by Harriet Tubman’s humanity.
The archaeological record that Tubman left behind sheds light on her life and the ways in which she interacted with local and national communities. It also projects her strong, individually based, spirituality and her relationship with the AME Zion Church. The AME Zion Church backed Tubman’s struggle. First, by working with her to open the Harriet Tubman Home for the Aged; and then, by keeping her dream, and her legacy, alive through the retention and preservation of her properties. However, within decades of the end of Tubman’s life the breadth and importance of her legacy was nearly forgotten by the broader American society. As the 20th century progressed, the Home was closed and the structures deteriorated; but, the AME Zion Church managed to hold the properties together as a sacred trust. Fortunately, through perseverance, and a reawakening to the importance of the many social movements with which Tubman was actively engaged, her properties were preserved and the material record ensconced within these properties have been studied: including buildings, yards, ruins, and even a remnant apple orchard that were all important parts of Tubman’s life. In this setting the past and present have become intertwined. Now, more than a century after her death, the property, which is still owned by the AME Zion Church through its Harriet Tubman Home, Inc. not-for-profit unit, has taken on new symbolic meaning as a place of pilgrimage and national recognition, as a National Historic Landmark (NHL), and most recently as a National Historic Park.
Archaeological studies began after I took my students to the property as part of a regional “freedom trail” and “social movements” field trip for Syracuse University students. As we walked across the property and into the small museum my group and I were greeted by a warm welcome from site manager, Rev. Paul Carter. While feeling embraced by the welcome, I was instantly struck by the gap between my expectations for the site, given my understanding of the significance of Harriet Tubman’s contribution to American and world history, and the less than expected scale and scope of presentation of the property. I realize now that what I was experiencing was the product of changes in the landscape: missing buildings, miss-information on structures and their use by Tubman, and a general loss of interpretive connections to information on Tubman’s life. Though the land had been retained by the AME Zion Church and the Harriet Tubman Home Inc, changes to the landscape during the decades intervening between Tubman’s life and the present had resulted in significant losses in interpretive meaning. These changes were directional in that they were related to intervening social conditions and structures of social inequality, that in spite of good intentions of the AME Zion Church, had resulted in limited resources and opportunities, and that over time, and processes of physical decay, key elements of Tubman’s legacy were muted or muffled and continuities that were inherent in the landscape were obscured. What I observed at the Tubman Home that day was in contrast to many historic sites that I have visited, like Thomas Jefferson’s Monticello, or the nearby home of Tubman supporters William and Francis Seward, where every vista, room, or action, from the past are amplified and illuminated.
As I toured the small museum my eyes and thoughts focused in on a picture of Harriet Tubman. In the image, Tubman is sitting among a group of African Americans in front of a building, identified as ‘John Brown Hall’. I had not seen the building in the modern landscape, so I asked Rev. Paul Carter where the building was located. He responded that it had been torn down and was lost in the woods at the back of the property. My thoughts flashed back and forth between a feeling of loss and hope, before focusing positively on hope. I asked him if we could go into the woods to look for it. He responded with a smile, saying “by all means.”
I gathered my students and we all headed into the woods to look for the ruins. Only about fifteen minutes later they began eating their lunches at the site as I went to get Reverend Carter who joined us on the newly rediscovered ruins. We discussed the importance of the site and I agreed, pending the support of the AME Zion Church, to excavate the ruins as soon as I finished another project. I remember thinking to myself as we returned home that day: ‘How could this site, a site associated with such an important woman, be so poorly understood?’; ‘How could key elements of the story of her life be missing from the landscape and all but forgotten?’; and ‘What other ruins lie hidden on the property?’
This study is the product of nearly two decades of work at the Harriet Tubman Home, a project that involved hundreds of Syracuse University students, high school students from the region, and many local volunteers from the Auburn area. We carried out excavations at John Brown Hall, then surveyed the entire property and began excavations in and around Tubman’s brick house, we studied her yard, barn, and numerous other buildings and features on the combined 32 acre property. The book describes the process of rediscovery and uses the material evidence to link together numerous aspects of her life, her spirituality and her continued activism related to women’s rights and the welfare of aging African Americans.
Tubman was a strong woman with deep spiritual beliefs and a willingness to open her home and extend her resources to others. Moreover, she was deeply respected, not only by the African American community in Auburn and across the nation, but also by a broader local and national community of persons engaged in social causes, activism, and civil liberties. The material and spatial record reveals Harriet Tubman’s efforts to provide for those in need, her support of women’s suffrage, and her efforts to create a special place where aging and homeless African Americans could find shelter and freedom from want.
This is not simply a report of archaeological contexts pertaining to Harriet Tubman, but a material demonstration of the qualities of the life she lived in service to others. The tangible artifacts recovered were used in daily life by Tubman, her friends, family, and people who were reliant on her. They remind us that the message is not just to keep on going; but, like Tubman, to keep moving forward with deliberate action and to pursue freedom and dignity on behalf of others. My hope is that in unearthing the archaeological record of her life the new perspectives gained will serve to inspire new generations to action—to solve the social problems of today.
Douglas Armstrong is Laura J. and L. Douglas Meredith Professor and Maxwell Professor of Teaching Excellence in the Anthropology Department, Maxwell School of Citizenship and Public Affairs at Syracuse University. He is the author of Creole Transformation from Slavery to Freedom: Historical Archaeology of the East End Community, St. John, Virgin Islands. His upcoming book The Archaeology of Harriet Tubman’s Life in Freedom can be pre-ordered at press.syr.edu.
From Douglas Howard, coeditor of Television Finales
So, about a year ago, I was watching that Breaking Bad film on Netflix and Watchmen on HBO, and I was still thinking about the Deadwood movie from the previous spring. Inasmuch as all three of those “shows” amounted to endings and beginnings (and still more endings), the SUP book that I co-edited with David Bianculli on Television Finales was, as a result, still very much on my mind. We seemed so preoccupied with the past, inasmuch as we were returning to it again and again in those movies and on that series. Maybe we were culturally mining those media objects to re-experience the thrill of past moments—like Rey climbing the wreckage of the Death Star in The Rise of Skywalker or Danny Torrance walking back into the Overlook in Doctor Sleep on the big screen. But, in returning to those locations and revisiting some of those characters (and meeting some new ones along the way), we were reinventing that past as a statement about the present and creating new endings that spoke to who or what we had become. (Although “Nostalgia” is literally a drug on Watchmen,exorcising the past may even lead to godhood for Angela Abar at the end of the series, as she literally considers walking on water.) But, of course, that was then, and this is now.
Slumped against my couch and burnt out from another day of e-mails, I stare vacantly at yet another hour of Family Feud and wonder why more people surveyed thought that “lump” was a better rhyme for “bump” than “jump” or how three people could name “chicken alfredo” as a kind of pasta. (Who takes these surveys? Where do they find these people?) Steve Harvey seems particularly happy in these episodes, I think. The families clap and dance together as the music plays, and why shouldn’t they? For them, there is no such thing as COVID, no outbreak spikes and second-wave anxieties, no debates about wearing masks or handwashing protocols, no election recounts, no polarized news for a polarized nation. And they could win a new car if they make it to Friday. While the twenty-thousand-dollar prize for the “fast money” round is a nice payday, it isn’t life-changing money, I grumble from my couch cushion, but the winners scream as if they will be getting lottery payouts. I move for the remote a few times, but I just don’t have the energy to leave this land where someone thinks that “José” starts with an “H” and no one seems to care. I wonder if I am drooling. These are my television habits on a weeknight at home. This is my brain during the pandemic, and this is the past that I now turn to—not reinvented, but reclining.
If I think about what I’ve been watching as of late, it’s not pretty. Oh no. I have burned more hours than I can count watching Beat Bobby Flay or Chopped, watching people scramble to cook under pressure, watching judges savor some slightly underdone pork loin and show no fear if a chef sweats a tad on their bread pudding. A cough during the dessert round is no cause for alarm, and Bobby Flay is more than willing to hug a competitor after an intense thirty minutes of empanadas. On Diners, Drive-Ins, and Dives, Guy Fieri cruises into town in his cherry-red Camaro with the top down, to that world where patrons sit shoulder to shoulder to eat a world-famous hamburger or sample an obscenely decadent bowl of lobster mac and cheese. Of course, Guy gets to plunge a fork into the beef stew in the kitchen and smirks mischievously while the juice from that steak runs down his cheek. It’s all okay in the near-recent past, in the nightly time machine that shows me sugar-plum visions of pre-COVID glee. The drama here comes by the quart or the pound and often with a side of barbecue sauce. Nostalgia has become my drug of choice, too. I am a watchman. And I am watching.
At times, I feel horribly guilty, especially since there’s so much quality TV out there, older things to binge and newer things to start. But, in the midst of it all, yet another episode of The Office is comfort food, some predictability that goes down like Oysters Rockefeller in the Chopped kitchen or a steaming bowl of chicken soup at one of Guy’s out-of-the-way triple-D joints. (Am I watching too many cooking shows, I wonder, as food metaphors find their way into my vocabulary with alarming frequency? And am I watching too much of The Office? Hard to say. As far as the second one goes, though, my daughter dressed up as Dwight Schrute this year for Halloween.) And why shouldn’t I indulge in yet another half-hour of Impractical Jokers, if only to sit through Sal shouting “Bingo” in a crowded ballroom with none of the numbers on his card? No matter how many times I see it, the serious players are never amused. And no masks come out when Q gets handcuffed to a mime or Joe wears a diaper to square off against a sumo wrestler. Although the bits are frequently cringe-worthy, no one dies of embarrassment; no one dies of anything.
While I wait for civilization to reboot, I continue to tell myself that this experience is unprecedented and that I’m in some kind of cultural hibernation, living on TV predictability in the midst of a world that refuses to be second-guessed. A few years back, I wrote a CSTonline piece about reruns and how they satisfied our psychological craving for order, a necessary “counter” to the “chaos, flux, and unpredictability” of life. Maybe there are times when we need formula and control and security, things that TV often offers too much of. Maybe that’s the point of the exercise (or lack of exercise)—the familiarity, the safety, the predictability. I know that Pam won’t be marrying Roy and Jim won’t be working in Stamford forever. Maybe The Masked Singer is about all the intrigue and mystery that I can handle right now, as so many things remain up in the air. During a recent panel discussion at work, I talked about the need for some mindlessness during the pandemic, some moments of shutdown, a chance for the laptop to cool down and the user to recharge. As Steve Harvey smiles at yet another ridiculous response, I know that he gets it. So, why fight it? Maybe the answer that I’m looking for is somewhere on the board behind those numbers or hidden in a survey question about goldfish or vampires.
Douglas L. Howard is academic chair of the English Department on the Ammerman Campus at Suffolk County Community College. He is the co-editor of Television Finales: From Howdy Doody to Girls published by the Syracuse University Press, co-editor of The Essential Sopranos Reader and editor of Dexter: Investigating Cutting Edge Television.
#RaiseUP: Local Voices
“Great regional lists are essential because they do such heavy lifting – they expose the charm of a region, they help us look truthfully at the sometimes painful and sometimes joyful history of a region, and they’re truly unique to each university press.”-Peggy Solic
As the acquisitions editor for Syracuse University Press’ New York State series, I think our regional list is our most mission-driven – these are the books that tether us most closely to and hopefully reflect the community in which we live and work. Really, the only thing that ties one book to another is that they have to relate to the community that we’ve loosely defined as New York State. History! Geography! Art! Architecture! Food! Drink! Travel! Nature! Politics! Photography! Upstate! Central New York! Western New York! New York City! The Adirondacks! The Catskills! You name it, if it has a connection to New York State, I’m willing to consider it.
The first question I ask myself when I open a proposal for a manuscript in our New York State series is: Does it excite me? That is the great fun (and the great privilege) of acquiring regional titles! More importantly, however, it also has to serve the readers of New York State as well as the mission of the press to “preserve the history, literature, and culture of our region.” So, I also ask myself: Does it tell me something new or original or unknown or interesting about New York State? Does it feature individuals or voices we haven’t heard before? Does it provide us with new perspective on the region? For example, we recently opened a new series, Haudenosaunee and Indigenous Worlds, which I hope, while not geographically limited to New York State, will drive discussion on important regional issues. Syracuse University and Syracuse University Press now stand on the ancestral lands of the Onondaga Nation, firekeepers of the Haudenosaunee.
My acquisitions strategy in this area is, I’ll admit, somewhat self-serving – manuscripts have to tick certain boxes to fit our list, but I also want books and projects that will pull me further into the community and teach me something about a region that is fairly new to me. I moved to Syracuse a year and a half ago and having spent six months of that time mostly at home I’ve counted on our regional list to help transport me around the state! I’ve used Chuck D’Imperio’s many travel books to help plan road trips, been inspired to take up a meditative walking habit after reading Nina Shengold’s Reservoir Year: A Walker’s Book of Days, and bought some new snow shovels after reading Timothy Kneeland’s forthcoming Declaring Disaster: Buffalo’s Blizzard of ’77 and the Creation of FEMA.
Great regional lists are essential because they do such heavy lifting – they expose the charm of a region, they help us look truthfully at the sometimes painful and sometimes joyful history of a region, and they’re truly unique to each university press. They reflect the best of what university presses exist to do – to publish authors that might be overlooked elsewhere but whose work is essential to understanding and appreciating a region.
#RaiseUP is the 2020 theme of the year. It highlights the role that the university press community plays in elevating authors, subjects, and whole disciplines that bring new perspectives, ideas, and voices to readers around the globe—in partnership with booksellers, librarians, and others. #UPWeek
The 100th anniversary of the Negro Leagues has been a highly anticipated celebration, with plans for many MLB teams to honor the historic players throughout the 2020 baseball season. Although these plans are rescheduled until 2021, there has been no shortage of memorials from a wide variety of fans–including a few former presidents.
Bob Kendrick, president of the Negro Leagues Baseball Museum, and columnist Joe Posnanski joined efforts to create the “Tipping Your Cap” campaign. Beginning in mid-June, the ‘TipYourCap2020’ Twitter account has gathered over 2,000 followers in about a month. Beginning with fans posting videos and photos, the campaign quickly caught the attention of former players and presidents, as well as the Hollywood community.
We joined the campaign on Twitter with a photo of our editor tipping her cap to the great Negro Leagues players and we’ve highlighted two SU Press books that honor these activists and their efforts. These books follow the Negro Leagues from their birth, highlighting many accomplishments, until their eventual collapse providing a history rarely discussed in such detail.
In Black Baseball Entrepreneurs 1860-1901, Lomax reflects on black baseball’s beginning as exercise or a pastime. He follows the incredible transition into a lucrative opportunity for black entrepreneurs as black baseball became an organization and commercialized amusement. The black baseball community began earning respect and paving the way for future athletes and activists with these originating efforts.
In the second and final book in the mini-series, Black Baseball Entrepreneurs 1902-1931: Operating by Any Means Necessary, Lomax continues with the development of black baseball as an organization and the way it was promoted. Focusing on how race influenced the institutional development of black baseball, Lomax discusses the decision made by Black baseball managers to distance themselves from white clubs and managers. This book is an informative and interesting take on the promotion of the Negro Leagues and how that influenced the success of this organization.
To commemorate Pride Month, a celebration of the progress made in the fight for equality among the LGBTQ community, SU Press interviewed Michael Long, the editor of Gay is Good: The Life and Letters of Gay Rights Pioneer Franklin Kameny. Long is the author or editor of numerous books on nonviolent protest, civil rights, politics, and religion.
SUP: You’ve published books on Jackie Robinson, Thurgood Marshall, Martin Luther, and other historic figures. What drew you to civil rights activist Franklin Kameny and how important did you feel it was to tell the world his story?
Michael Long: I first came across Kameny when researching connections between the modern civil rights movement and the early LGBTQ rights movement. That research led me to the collection of his papers at the Library of Congress, where I found a treasure trove of his unpublished letters.
I’ve read thousands and thousands of letters in my life—Robinson’s, Marshall’s, Bayard Rustin’s—and I dare say I’ve enjoyed none more than Kameny’s.
I was captivated not just because of their rich historical quality, but especially because of their style. His letters are strident and loud. Clear and logical. Demanding and urgent. Full of capitalized words and exclamation points. Like his brash personality, they’re brutally honest and transparent. Kameny bled all over the page.
Given my long-term interest in the letters of historical figures, you can understand why I was hooked.
I was also attracted to the project because at that time there was no other single book devoted to Kameny. Historians had largely ignored him, even though he was one of the most influential leaders of the early LGBTQ movement. So telling his story was important for correcting his ongoing erasure from much of history.
SUP: How does your book and the 150 letters included give voice to his drive for equality?
Michael Long: The letters track Kameny’s transition from a relatively closeted gay man to an activist picketing the White House and marching through New York City.
Kameny was fired from his federal job as an astronomer during the height of the Lavender Scare, when the federal government deemed LGBTQ individuals as significant threats to national security. Typically, gay men and lesbians fired during at this point retreated into the private sector without publicly protesting their dismissals. But Kameny was far from typical.
Not long after he begged for the return of his job—and I mean begged—he began demanding equality for all “homosexuals” in the federal government and throughout the public square. It’s really a breathtaking transition. The letters show how the government unintentionally radicalized him and pushed him to become a hard-driving pioneer in the early homophile movement.
Perhaps what’s best about Gay Is Good is that it offers Kameny’s unfiltered voice. The letters reveal his feelings in all their intensity—his despondency after losing his job, his fury at the government’s treatment of “homosexuals,” his arrogance when dealing with anyone who wants to treat LGBTQ individuals as second-class citizens, his relentless passion for gay rights everywhere, and his pride about making the government treat LGBTQ individuals with respect, dignity, and equality.
SUP: Why do you feel Franklin Kameny isn’t as well-known as Harvey Milk when it comes to LGBTQ history?
Michael Long: Kameny had a much greater impact on the national LGBTQ movement than Milk did, especially in shaping federal policy, declassifying homosexuality as a mental disorder, and organizing marches for gay rights at the White House and other public institutions long before the Stonewall Uprising of 1969. But Kameny could be abrasive, and he possessed none of Milk’s political charm and willingness to compromise. He alienated a lot of people.
Milk was also seemed more adept at building a constituency of younger people in the growing LGBTQ movement, the ones who would become its future leaders. Compared to Milk, Kameny appeared staid and conventional. Plus, after Milk was assassinated in 1978, his life took on a near-mythological quality.
SUP: What unique contribution does Gay is Good make to LGBTQ history?
Michael Long: Gay Is Good gives Kameny his rightful place in LGBTQ history, and it makes a compelling case that his name deserves to be uttered in the same breath as Milk’s. Indeed, our book clearly shows that it’s utterly impossible to tell the story of the early LGBTQ rights movement without placing Kameny at its center.
By the way, one of the interesting things about the early LGBTQ rights movement in the United States is that it’s so diffuse. Unlike the black civil rights movement, the LGBTQ rights movement never had a Martin Luther King, Jr. figure—a single leader who represented the general movement. But this does not mean that the LGBTQ rights movement lacked individuals whose ambition was to become its national leader. In fact, Gay Is Good shows that Kameny struggled mightily to become the single leader. He failed at that, but he certainly gave it his all.
SUP: Are there a few specific letters or writings that really stood out to you when working on the book?
Michael Long: One of my favorite excerpts comes from a letter he wrote to his mother in 1972:
“Some thirty years ago, I told you that if society and I differ on anything, I will give society a second chance to convince me. If it fails, then I am right and society is wrong, and if society gets in my way, it will be society which will change, not I. That was so alien to your life that you responded with disdain. It has been a guiding principle in my life. Society was wrong. I am making society change.“
Another favorite writing comes from his petition to the Supreme Court. Given the year he wrote this—1961—it’s quite the radical sentence:
“Petitioner asserts, flatly, unequivocally, and absolutely uncompromisingly, that homosexuality, whether by mere inclination or by overt act, is not only not immoral, but that, for those choosing voluntarily to engage in homosexual acts, such acts are moral in a real and positive sense, and are good, right, and desirable, socially and personally.“
Still another comes from a 1965 letter he wrote to the Daughters of Bilitis (DOB), who had expressed reservations about picketing for “homosexual rights”:
“[W]e were informed that DOB would picket only when the action was backed by the larger community.
First, this is arrant nonsense! When one has reached the stage where picketing is backed by the larger community, such picketing is no longer necessary. The entire force and thrust of picketing is a protest on issues not yet supported or backed by the larger community, in order to bring issues to the fore, and to help elicit that support.
Second, this is in keeping with a mentality which has pervaded this movement from its beginning—homosexuals must never do anything for themselves; they must never come out into the open. They must work through and behind others. They must never present their own case—let others do so for them. We have outgrown this “closet queen” type of approach, and it is well that we have.“
SUP: Are there any misconceptions about Franklin Kameny that you’d like readers to know about?
Michael Long: I’m less concerned about misconceptions than I am about the lack of basic knowledge about Kameny’s life and legacy. I implore the readers here to dig in and learn about the person I consider to be the most important pioneer of the early LGBTQ rights movement.
SUP: If a movie was made about Franklin Kameny, what actor do you feel would best portray Kameny’s powerful voice?
Michael Long: Billy Eichner would be an excellent choice!
Waleed Mahdi discusses his forthcoming book, Arab American in Film: From Hollywood and Egyptian Stereotypes to Self-Representation, and talks about the politics of portraying Arab Americans in the cinema.
SUP: Your work, Arab Americans in Film, compares Arab American portrayals in both the movie making hubs of Hollywood and Egypt. Why these two culture centers? And what is gained by surveying these film landscapes side by side?
WM: Indeed, these are important movie-making hubs. For decades, Hollywood filmmakers have produced works that model good citizenship and normalize what it means to be American in ways that alienate Arab and Muslim Americans along with indigenous Americans, Latino/a Americans, Asian Americans, Jewish Americans, and African Americans, among other minorities. When it comes to subverting Hollywood in the Arab world, the most important media culture to examine is that of Egypt, home to the largest, most popular, and most prolific Arabic film industry. Egypt is the most populous country in the Arab world and boasts a critical history in developing anticolonial and postcolonial narratives of struggle for Arabic and Islamic identities.
Both industries have played major roles in mediating the collective imagination of the dominant forces in the two respective cultures. Comparing them reveals clues about East-West polarization in the cultural imaginations of “Self” and “Other” that exist in both US and Arab nationalist rhetoric. Despite major differences between the two cinematic industries in power, production, and circulation, I argue, the filmmakers in these filmic sites have subjected their imagery of Arab Americans to binaristic portrayals through glorification of Americanness and vilification of Arabness in Hollywood and vice versa in Egyptian cinema, leaving no imagination of Arab Americans as complex communities defined by a multitude of identities and experiences.
SUP: Today’s media environment is a crowded one. From traditional forms like broadcast television and music, to new social media platforms and streaming services, audiences don’t have to look far for cultural productions. Why did you choose film as the means for your comparative analysis? What does film uniquely offer as a site of inquiry?
WM: It is true that our age is saturated with content, especially with the quality improvement of television series and emergence of social media as well as subscription-based platforms. Film remains an important medium with multi-layered importance in popular culture, especially in countries like the United States and Egypt, as it serves a venue for both entertainment and education.
Films are intriguing because they mold visual imagery into codes that reflect and shape both a nation’s collective memory and national identity in an entertaining way. They tend to be accessible to audiences regardless of their language competency, educational status, or cultural background. They often serve as educational tools in a world increasingly centered around, if not mobilized by, mediated images and messages. They also have the power to function as tools for visibility, podiums for authenticity, and mirrors of reality.
And when adding the enriching effects of genres, it becomes obvious that the medium of film is a vehicle of thoughts and emotions that is often packaged as mere entertainment, but that carries the power to connect with audiences in personal terms, voice social commentary, mobilize public sentiments, and patrol the boundaries of national and cultural realms of belonging.
And the process of inclusion and exclusion that goes into all aspects of film making presents itself as a rich site for analysis of constraints and monopolies of power. Therefore, I should emphasize the instrumentality of film imagery especially in relation to this book’s critical site of inquiry, i.e., identity and representation.
SUP: How have your experiences influenced and inspired the task of writing this book?
WM: One of the key contributions of the book is to illustrate how Arab Americans’ struggle for belonging and citizenship is not exclusively a product of US Orientalist and racialized histories. I rather imagine this struggle as one against existing polarizations in the cultural imaginations in both US and Arab state nationalist narratives. This argument is inspired by my personal experience as an Arab American of Yemeni background constantly wrestling with American, Arab, Muslim, and Yemeni narratives of belonging and citizenship.
In my travels, I have encountered conflicting public attitudes and government policies preconfigured to define me and confine my identity within a specific national, ethnic, or even religious frame. During trips to Malaysia, Turkey, Lebanon, Egypt, Qatar, United Arab Emirates, Morocco, and Yemen over the past few years, people would often question me about US foreign policy towards Arabs and Muslims. Uniting such questions, in most cases, was not so much interest in my scholarship but rather a desire to read my responses through the prism of allegiance. My interlocutors sought to package me as either an American or a Yemeni—identities implicitly presumed to be incompatible.
In the meantime, my return story to the US in the aftermath of every overseas trip has involved an additional layer of security, whether before boarding in Tokyo, London, Dubai, Doha, and Amman, or when landing at Chicago’s O’Hare airport. The “SSSS” designation on my boarding passes, which stands for Secondary Security Screening Selection, speaks of an institutional anxiety around my ethnic background and conflates it with a potential act of terrorism.
Since I consider myself as a film buff, I have watched hundreds of films that perpetuate the sense of alienation that I have experienced in travels and while growing up in both Arabic and American cultures. This sense of alienation strips Arab Americans like me of our capability of occupying our own third space, one that does not have to be completely rooted in either Arabic or American cultures, and one that does not present Arab Americans as either aliens to our American culture or traitors to our Arabic heritage. And that’s why the book adds emerging Arab Americans films, limiting as they may be, as an important site for projecting a sense of Arab American authenticity that is about how Arab American individuals define themselves rather than how others define them.
SUP: The American dream is one subject that Egyptian cinema constantly returns to in its portrayals of the Arab American experience. In certain segments of US society there is an increasing disillusionment surrounding the idea of the American dream. Do you see a similar cynicism toward the American dream in more recent Egyptian films?
WM: Egyptian filmmakers have always attached a sense of disillusionment to the American dream and presented it as unrealizable and unrewarding, urging their audience to seek out their own dreams in Egypt. As early as the film Amricany min Ṭanṭa (An American from Tanta, 1954) and as late as Talq Senaʿi (Induced Labor, 2018), Egyptian films have done so as part of a nationalist critique of the public fascination with the American culture. And as I argue in the book, this sentiment is driven less by a hatred of the US than by a sense of insecurity, loss, and anxiety regarding Egypt’s relative appeal as a place to live in and build a future. This is especially the case since many Egyptians would express a desire to live in the US, where hard work, social mobility, and justice are relatively cherished. Some Egyptian corporations have even capitalized on this fascination with the American dream via consumerist trends that primarily market US commodities, pop culture products, and shopping malls.
That’s why Egyptian films not only articulate disillusionment in the American dream but also imagine and advance an alternative Egyptian dream, one predicated on deterring Egyptians from leaving their homeland. This alternative dream will be made in Egypt, one in which migrating in search of social mobility, individual success, and even personal ambition is considered a selfish measure divorced from a commitment to one’s own Egyptian community. It is also worth noting that this simultaneous critique of and construction of alternatives to the American dream not only is limited to the films’ portrayals of Egyptian immigrants but also is deeply critical of the Egyptian elite’s promotion of consumerism and neoliberal economics as a global fulfillment of the American dream in Egypt.
As for American-based experiences, the American dream has always been a socio-political construct meant to uphold the American nationalist project, often entrenched in white privilege, institutional racism, and discrimination against people of color. The surveyed Arab American films in the book both celebrate and critique the limitations of the American dream. The films present Arab immigrant characters seeking to fulfill their own aspirations in the US but not without providing insightful critiques of the American dream notion as a celebratory site of inclusion in the American society. The lead Arab immigrant characters in films like American East (2007), Amreeka (2009), and The Citizen (2012) have various strives to fulfill material desires (e.g., houses, jobs, cars, etc.) and seek belonging to the United States, but they are forced to navigate both a racialized system and a post-9/11 reality that constantly challenge their American cultural citizenship. The characters enjoy happy endings with their dreams fulfilled or reconciled but the films are filled with situations and images that question the very idea of dreaming in a country that itself questions the presence of Arab immigrants.
The fact that many Arab American filmmakers and actors have struggled for decades to make their voices heard in Hollywood, an industry reluctant to embrace diverse Arab and Muslim perspectives, is a testimony to many of the critiques that the films themselves communicate.
SUP: In a post 9/11 world, there is an issue of typecasting Arab American talent. But, film making is a multilayered operation. From funding producers, to script writers, and even on marketing teams, what area of film making do you see as most in need of Arab American self-representation?
WM: 9/11, the growth of Arab and Arab American independent film festivals, particularly in the US, has provided Arab American filmmakers with a valuable alternative to casting and narrating their communities, with some limited success in distribution. And the prospect of providing support for Arab Americans seems promising with the competitive rise of such content-streaming services as Netflix, Amazon, and Hulu. Yet, Hollywood presents an institutionalized challenge for truly diverse narratives and experiences. Most Arab and Arab American actors, for example, have struggled against a casting practice that feeds on their vulnerability. Their roles are usually subsidiary and deeply entrenched in a racial hierarchy—despite evidence suggesting consumer demand for more diversity in lead roles.
It is certainly hard to prioritize any aspect of film making because production, writing, acting, filming, and marketing are all parts of a crucial process in film making. But I see the most urgent and past due change within Hollywood is to mainstream images of Arab Americans’ experiences beyond stereotypical lenses of national security and foreign policy. While some Arab American actors like Emmy Award winners Tony Shalhoub and Rami Malek have achieved prominence in Hollywood and transcended being cast in stereotypical ethnic roles, I am not convinced that success for such actors should only be limited to the desire of the privilege of being non-racialized in the industry.
I am for once hopeful that Hollywood’s production companies will experience a shift from their institutionalized lack of appetite to entertain non-mainstream perspectives, particularly ones that feature critical voices and ethnic community narratives. But this will not be possible without truly embracing the notion of multiculturalism. Until then, Hollywood’s positive portrayals of Arab Americans are merely sympathetic and function no more than tokens for inclusion in films that primarily entertain white perspectives.
In celebration of International Women’s Day, we asked our acquisitions editor Peggy Solic to share a few of her favorite SU Press women’s studies titles. Her selections show the essential role women have played in societies around the world, inspiring females to continue working towards equality between genders.
Gladiators in Suits: Race, Gender, and the Politics of Representation in Scandal edited by Simone Adams, Kimberly R. Moffitt, and Ronald L. Jackson II.
While I haven’t yet watched Scandal, this volume has inspired me to add it to my must-watch list! It brings together scholars who take a critical look at the complex interplay of race, gender, sexuality, and representation on the show, and audience reaction both to the show in general and to specific episodes.
by Tara M. McCarthy
This is a fascinating look at Irish American women active in both labor and Irish nationalist movements, as well as the women’s suffrage movement. Between 1880 and 1920, these women had a transnational perspective – advocating for labor reform and regulation, critiquing industrial capitalism, and pursuing cross-class alliances in suffrage organizations, as well as advocating for Irish nationalism.
by Nina Shengold
This beautiful book follows Nina Shengold’s year-long challenge to walk along the Ashokan Reservoir in Kingston, NY every single day (not nearly every day, but every single day). Leaving her phone at home enables Nina to keenly observe both the natural world (encountering bald eagles, bears, and deer) and other human beings who walk alongside her. Nina’s determination to engage with the natural world around her has inspired me to spend more time outside, take up a running habit, and pay closer attention to the world around me.
by Sertaç Sehlikoglu
This is a brilliant book that follows a diverse group of women in Istanbul and looks at what exercise means in their lives – how their relationship to it influences their self-conceptions, how that relationship to exercise is influenced by cultural messaging, but also how it empowers them to resist it, and how their engagement with exercise is interconnected with their identities as women, mothers, daughters, friends, and Istanbulites. I can’t wait to see it in print!
by Madeline Otis Campbell
This is an important study that looks at the lives of twelve men and women who worked as interpreters for the US army in Iraq. These men and women had to negotiate lives in both Iraq and the US, on and off base, and were often caught in situations made complex by the US military, immigration policies, and life as refugees, as well as gendered expectations and obligations, love of family, and economic needs.
The Middle East Journal included Political Muslims: Understanding Youth Resistance in a Global Context, edited by Tahir Abbas and Sadek Hamid, in the Winter 2019 volume. Their accolades included, “The agency and diversity of young Muslims are demonstrated, which not only helps us to better understand Muslim youth within Western societies but better informs engagement with those around the globe, including the Middle East.”
Making Peace with Referendums: Cyprus and Northern Ireland, written by Joana Amaral, was recently praised by the Nationalism and Ethnic Politics journal. The book was described as “an extremely welcome addition to the field” that is “likely to remain relevant so long as there are agreements put for public approval.”
The Asian Review of Books called Gaia, Queen of Ants “so impressive is the novel that one need not be familiar with other Uzbek works or culture, or even other Central Asian writing, to recognize its high quality. Any patience the novel may demand from the reader is an effort well-rewarded.”
Author Talks and Interviews
- Author Charles Kastner took a quick trip to New York City to visit New York Road Runner’s RUN CENTER for an interview on ‘Gotta Run with Will!’. He spoke with Melanie Eversley about his latest book, Race Across America: Eddie Gardner and the Great Bunion Derbies. This engaging interview discusses the history of black runners and the struggles they persevered through during these transcontinental races.
- Elizabeth Mannion, co-editor of Guilt Rules All, is participating in a Celtic Noir at the Tenth Annual St. Augustine Celtic Music and Heritage Festival on March 14th. A Celtic Noir is a celebration of Irish mystery and crime writers, including ‘Question & Answer’ opportunities, a panel discussion, and book signings with the authors.
- Author Chuck D’Imperio was recently interviewed by the Ithaca Times. He and Andrew Sullivan discussed the fascinating historic homes he located throughout Upstate New York in his latest book Open House: 35 Historic Upstate New York Homes.
- Joshua Stacher, author of Watermelon Democracy, recently discussed his latest book on OpenDemocracy.
Tablet reviewed Moishe Rozenbaumas’ autobiography, The Odyssey of an Apple Thief, calling it “a remarkably compelling read.” This review praises Rozenbaumas’ ability to objectively reflect on many decades of his life, stating “Rozenbaumas is eager to reflect on his life, good and bad, rather than gloss over the difficult and unflattering moments.”
In 1983, President Ronald Reagan signed a bill designating the third Monday of January as a Federal holiday honoring the life and achievements of Martin Luther King Jr. Although many of his supporters had been honoring his life annually since the assassination of King in 1969, it was almost 30 years before the holiday became nationally recognized. In honor of Martin Luther King Jr. Day, we highlight two Syracuse University Press books that reflect the long, trying battle for racial inequality in the United States.
Leveling the Playing Field by David Marc is the story of nine former Syracuse University football players, mistakenly coined as the ‘Syracuse 8’, who protested racial inequality on the SU Football team in 1969-70. The narrative and in-depth interviews provide a thorough account of the battles these nine young men experienced that led to their demands for equality. In boycotting the team practice, these players risked ruining their chance of a career in football, but as news of the protests grew, institutional changes slowly took hold that eventually paved the way for future African American athletes across the country.
Beyond Home Plate by David Long collects the many articles written by Major League Baseball Hall of Famer, and the first African American MLB player, Jackie Robinson. Following his retirement from the MLB, Robinson continued in his pursuit of social progress through his work as a writer. Contributing a regular column to the New York Post and New York Amsterdam News, Robinson provided rich social commentary while simultaneously exploring his own life and experiences. As a pioneer for African Americans in athletics, Robinson’s articles on life after baseball began a civil rights movement as he began to shed light on the racism he had experienced throughout his time in the MLB
Author Sean Kirst discusses today’s theme
Eight years ago or so, when I began working with editors at the Syracuse University Press on “The Soul of Central New York,” the entire goal – and the success of the book – hinged on the notion of community.
At its heart, the book was a collection of columns I had written over what would turn into 27 years as a staff writer and columnist with The Syracuse Post-Standard. The idea was capturing – as a guy who first arrived here years ago from somewhere else – what I had sensed and hopefully shared over many years with readers about Syracuse and Central New York: It is a place of extraordinary physical beauty, heritage and shared experience that had – through decades of economic, environmental and cultural struggle – sometimes forgotten its own gentle but resounding claim to the extraordinary.
The idea of putting together such a a collection sounds simple. As I quickly learned, It was not. My early attempts contained too many columns, too many repetitive themes and too little of a focus. The first concept involved roughly 150 columns. In the end, in close partnership with editor Alison Maura Shay of the SU Press, she wisely convinced me to almost halve that number and create a narrative thread binding it together, with the first sentence connected to the last.
‘The Soul of Central New York’ offers accounts of some high-profile figures whose personal lives in some often intimate way had intersected with Syracuse or the region: Famed children’s author Eric Carle, then-Vice President Joseph Biden, anthropologist Jane Goodall, Onondaga Nation faithkeeper Oren Lyons, longtime Syracuse University basketball coach Jim Boeheim.
Yet they were simply part of the core notion of the book, which was illuminating how a network of seemingly everyday tales from a multitude of experiences – some involving the region’s defining and ongoing connection with the Onondagas – meshed together in a living definition of community.
Thus the fate of an elderly man who falls on a bitterly cold day on a downtown sidewalk, or the tale of a child raised amid struggle in a housing project whose chance encounter at a newsstand helps him ascend to a career as a bank executive, or the account of a woman born with cerebral palsy who formally turns out the lights of an institution that once overwhelmed her life …. these narratives became the spine, the foundation of the book.
All told, it took five years to put together, and the process demanded that I jettison some of my own early preconceptions and focus on making it tighter, smaller and, hopefully, significantly more effective. The outcome was a reaction that I don’t think any of us expected: It became the fastest-selling book in the history of the Syracuse University Press, and a book intended to make at least a small and lasting statement on a sense of place, of joined identity.
For that, I am grateful to the editors and staff at the SU Press. Through their patience, and their belief in the larger theme, we attempted to create a quiet reminder of how struggle, pain and love, the core forces in any solitary life, are also the elements that forge true community – and provide the strength to last.
Sean Kirst, author of ‘The Soul of Central New York,’ was the recipient of journalism’s 2009 Ernie Pyle Award for human interest writing; he is now a columnist with The Buffalo News.
“Speaking Up and Speaking Out”
Author Kelly Belanger discusses today’s theme
I’m in Philadelphia, Pennsylvania, this week for a conference on Community Writing, a relatively modest-sized gathering of about 350 professors and local community members who see speaking out and speaking up on social issues as part of their personal and professional callings.
I find my colleagues’ commitments and passion inspiring, yet I don’t usually think of myself as an activist. I identify first as a writing teacher and a writer. I have spoken out on inequalities for women in sports by using my academic research skills and persisting in my quest to piece together a little-known history. I discovered how and why courageous individuals decided to speak out in the 1970s movement for gender equality in athletics. This movement took off in the 1970s when Congress, through Title IX, made sex discrimination illegal in federally funded schools.
Like some of the women I wrote about at Michigan State University, Temple, Brown, Texas my personality type is best described as introverted. Like Rollin Haffer at Temple, Marianne Mankowski at MSU, or Peggy Layne at Vanderbilt, I don’t typically seek public attention, and I prize harmonious relationships with friends, colleagues, and family. I value studying a problem from many angles, often waiting for others to speak and take the lead before offering my perspective.
But writing Invisible Seasons Title IX and the Fight for Equity in College Sports reminded me that social change movements require a symphony of voices, perspectives, and divergent rhetorical styles. Speaking up and speaking out is a responsibility. It’s a necessity. It has consequences and demands courage. When each of us, with our different styles and strategies, steps up to play our part, changes for the good of us all can begin.
Kelly Belanger, author of Invisible Seasons: Title IX and the Fight for Equity in College Sports is a professor of English and director of the university writing program at Valparaiso University.
We are thrilled to announce the winner of the 2019 Veterans Writing Award is Dewaine Farria for his novel Revolutions of All Colors. Farria’s writing has appeared in the New York Times, CRAFT, Drunken Boat, Outpost Magazine, and on the Afropunk website. He is a frequent contributor to The Mantle. He holds an MA in International and Area Studies from the University of Oklahoma and an MFA in Creative Writing from the Vermont College of Fine Arts. As a U.S. Marine, Dewaine served in Jordan and Ukraine. Besides his stint in the military, Dewaine has spent most of his professional life working for the United Nations, with assignments in the Russian North Caucasus, Kenya, Somalia, and Occupied Palestine. He presently lives in the Philippines with his wife, daughter, two sons, two cats, and a dog.
Farria answered a few questions for us about his writing and what inspires him.
SUP: Has your military service influenced your writing? In what ways?
DF: The Marine Corps taught me how much of life revolves around consistency and habits. The discipline I developed in the Marine Corps helped shape my, “every morning, butt in the chair” approach to writing. Certainly, my time in the military also heavily influenced my thoughts on patriotism, masculinity, and violence—themes that frequently pop up in my work.
SUP: You’ve published both non-fiction and fiction in various print and online platforms. Do you see each as engaging with the reader in different ways?
DF: Good writing—whether it be poetry, fiction, or non-fiction—conveys truth. I consider myself a pretty forgiving reader. For a good story I’ll tolerate self-indulgent language, grammatical liberties, and slips in point of view. What I can’t abide is dishonesty; nothing disengages me from a piece of writing more quickly than the creeping desire to call “bullshit.” Convincing the reader to trust your narrator is the challenge and this is true regardless of genre or point of view—including for pieces with heavily journalistic elements (like this essay that I wrote for the New York Times last year).
SUP: What was the inspiration for this novel?
DF: My father inspired the novel. I built the book out of a short story called “Walking Point,” which contains a character loosely based on my dad. An early version of the story won second place in Line of Advance’s Colonel Darren L. Warren Writing Contest and can be found here.
SUP: Are you currently working on any writing projects?
DF: I’m about halfway done with a collection of short stories. Earlier this year, CRAFT published, “The Knife Intifada,” the first story from the collection. After I finish up these eight short stories, I plan to begin work on a collection of linked essays.
Short stories are the perfect way to discover an author’s work, great for when you don’t have the time or mojo to commit to a 400 page novel, and a brainy impulse purchase on your phone or e-reader. This month we encourage you to pick up a new story collection or share one with a friend, and we have a few suggestions to get you started.
“The stories here show a great breadth, empathy for and insight into his subjects. His ability to move elegantly through different styles is not just a welcome addition to the Irish short story tradition but also a vital one.” —Books Ireland
Richard Power (1928-1970), an accomplished novelist, short story writer, and playwright, explores the life of of an Irish mother and adolescent girl in The Rebels. This collection of short stories captures the daily lives of urban and rural dwellers in Ireland at the turn of the twentieth century. He tackles themes of coming of age, the tensions between modern and traditional life, and romantic love in his beautiful and vivid tales. This memorable collection, arranged by James MacKillop, gives new life to Richard Power’s voice and the fans of the Irish short story tradition.
“I like a little mystery and for people to walk away from a story thinking of various possibilities. In terms of this collection as a whole, I would love readers to feel like they’ve been somewhere else for a few hours; somewhere that has been a little though-provoking; a place of meditation.” —Sophia Hillan, Author
The Cocktail Hour includes moving tales on the themes of sibling love and how it develops over time. These short stories retell the journey’s of various individuals in different periods of their lives. It includes one young boy’s contemplation of the wars in Ireland and Germany and it’s effect on his imaginative mind. One woman’s playful New York adventure and how it becomes a confrontation with external reality. And lastly, a dramatic monologue from one of Jane Austen’s bitter relatives that is directed at Austen herself.
“Jewish Vilna is forever gone, but this translation of Vilna My Vilna does much to keep its pale memory alive. Helen Mintz renders Karpinowitz’s slangy, colloquial Yiddish into a lively and idiomatic English and graces both Karpinowitz’s stories, and even Jewish Vilna itself, with a second life.“
In this collection, Karpinowitz portrays, with compassion and intimacy, the dreams and struggles of the poor and disenfranchised Jews of his native city before the Holocaust. His stories provide an affectionate and vivid portrait of poor working women and men, like fishwives, cobblers, and barbers, and people who made their living outside the law, like thieves and prostitutes. This collection also includes two stories that function as intimate memoirs of Karpinowitz’s childhood growing up in his father’s Vilna Yiddish theater.
“I am interested in the vulnerable moments people can encounter. My characters often find themselves facing ordinary or extraordinary obstacles. Some will be graceful in these challenges and others will blunder, hurt others and themselves in the process. Fiction must feel emotionally authentic even as the situations and characters are pulled from my imagination. I believe we expand our understanding of human behavior through stories.”
—Lisa C. Taylor, Author
In Lisa Taylor’s second collection of short stories, a woman locks a man in an airplane bathroom, two brothers rewrite their past, and strangers in an airport are thrown together through tragedy. Taylor explores the ideas of confinement and expansion with both humor and angst, as characters of all ages and backgrounds are continually forced to redefine who they are, and how they think.
“All the stories are about people whose past struggles to fit their present-a rich and universal subject. Because the setting is Israel, these struggles can escalate into matters of life and death. Sometimes, as the title hauntingly indicates, Ehrlich’s characters triumph by simply dying last.”
Both Hilarious and sad at the same time, Ehrlich’s collection of short stories, takes his characters on a tantalizing journey through their souls. His understated writing style transforms even the most heartbreaking plots into an uplifting and funny tale. Israel’s special unique history, landscapes, and conflicts add to the drama and passion of the collection. The themes discussed relate to gay life in Israel, loneliness, and the importance of community in time of sorrow and tragedy. Rather than a single translator, this collection was translated by various translators, bring out the diversity of voices in the stories.
“Zafzaf offers visions of Moroccan culture and its traditions in an easygoing style that is well-nigh incomparable.”—World Literature Today
Monarch of the Square is Mohammed Zafzaf’s first collection of work that has been translated into English. This anthology is a tribute to his influence on an entire generation of Moroccan storytellers.
Zafzaf’s stories portray all aspects of Moroccan life and shows the struggle to survive in such a challenging place that is constantly changing. His writing explores the various myths, beliefs, and traditions that operate within his culture, while questioning it all in an easy-going, conversational manner.
These six books and the rest of our short story collection is available for purchase online at our website.
April is the month when the world celebrates the importance of poetry in our lives. To join the celebration we’re highlighting five books of poetry from our press and our distribution partner, Sheep Meadow Press. We hope these selections will spark your interest, and encourage you to read a poem, share a poem, or write your own poem.
In the Alley of the Friend is a translation of the Persian book Dar Kuy-e Dust which is about the fourteenth century poet Hafez, who is often recognized as the most original Persian poet of all time. Scholars have studied his work for centuries, exploring his life and his deeply moving poetry of love, spirituality, and protest. Ghanoonparvar’s translation of scholar Shahrokh Meskoob’s analysis of Hafez’s work provides profound insight into the poets thoughts and spirit.
Sarah Plimpton’s The Noise of the Rain illustrates her collected poems with simplistic black on white and white on black drawings. Both an artist and poet, some have referred to her creations as being as quiet as the moments just before sleep, almost like preludes to dreams. Word choice and the way she arranges her poetry exudes a certain simple intensity. You can find her books in the The Museum of Fine Arts, The New York Public Library, and the Metropolitan Museum of Art.
Winters Come, Summers Gone is a collection of selected poems by the notable Howard Moss.
This book combines work from his first three published volumes with fourteen new poems. Moss was an American poet, critic, and the poetry editor of The New Yorker for nearly forty years. He wrote eleven books of poetry and even won the National Book award in 1972. Much of his poetry centers around the theme of love in its various forms.
Perhaps Bag is a collection of poems by acclaimed British poet Carol Rumens. Starting with her first set of poems in 1968 to her most recent and unpublished pieces from 2017, Rumens “retains her feminine voice but extends her sympathies beyond feminism” (Anne Stevenson). She has written fourteen books of poetry and currently serves as a Professor of Creative Writing at Bangor University, in Wales.
Perhaps one of the most distinguishable poets of all time, Paul Celan, described Schneepart as his “strongest and boldest” book. It’s a response to the Soviet invasion of Czechoslovakia, and is a collection of poetry haunted by images of violence and resistance in a dark European century. Snow Part is the first published English translation of Schneepart. Its seventy poems were published in 1971, a year after Celan’s death. Translator Ian Fairley includes twenty posthumous poems that are closely related to the themes found in Schneepart.
To learn more or purchase any of the books listed on this page, visit our website!