From award-winning author Jewell Parker Rhodes comes a powerful novel set fifteen years after the 9/11 attacks. When her fifth-grade teacher hints that a series of lessons about home and community will culminate with one big answer about two tall towers once visible outside their classroom window, Dèja can't help but feel confused. She sets off on a journey of discovery, with new friends Ben and Sabeen by her side. But just as she gets closer to answering big questions about who she is, what America means, and how communities can grow (and heal), she uncovers new questions, too. Like, why does Pop get so angry when she brings up anything about the towers? Award-winning author Jewell Parker Rhodes tells a powerful story about young people who weren't alive to witness this defining moment in history, but begin to realize how much it colors their every day.
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In Falling Towers, J. A. Richardson examines how The Waste Land, The Dunciad, and Speke Parott are built upon similar patterns of conflict and anxiety. In each of the poems the poet presents his society and himself as under threat. He tries to counter the threat with some kind of assertion of poetic authority but fails since he dramatizes this conflict in such a way as to reveal his own insecurity. The presence of the flood in the three poems provides an example of the pattern. The flood acts both as a metaphor of the problem the poet is confronting, and, through hints of impending catastrophe, as his imaginative way of dealing with it. But in predicting a deluge the poet also dramatizes the prophecy in such a way that it appears self-interested, personally motivated, and unreliable. The dramatization implies the poet's unacknowledged anxiety about his own authority. The similar casts of the imagination shared by these three poems can be traced back to the similar cultural conditions under which the poets wrote. Each stood in, and indeed stood for, a cultural tradition that was exhausted and dying. Skelton was arguably the last medieval poet, Pope the last Renaissance poet, and Eliot the last romantic. One important pattern of conflict that can be seen in all three poems is between age and youth. Each poet speaks with an aged voice. Skelton's parrot is a very old bird and the poet himself is not very far behind him; Pope is present behind The Dunciad in the character he publicly cultivated in the 1730s of the wise old philosopher; and Eliot's speaker in The Waste Land, who is probably much like Eliot himself, is implicitly aged. The speakers' worlds are dominated by youth, a motif that is quite marked in each of the poems. Confronted with a youthful world that they neither understand nor like, the poets try to assert their own authority, but the dramatic situations give them away. The old man railing against the excesses of youth appears less as sage and authoritative than as threatened, aggressive, envious, and uncertain. The second, more general pattern of conflict is that which exists between a world grown too confusingly crowded and a poet who insists upon limitation and selection. Profusion and crowds are important images of the corrupt world in all three poems, and the threat they represent is intimately embodied in the poems' many voices. Although Falling Towers concentrates on three poets and three poems, it aims not merely to analyze the poems but also to suggest something about their place in literary history. At its most ambitious, the book proposes an argument about the importance of a poet's position in the development of his or her tradition and about the pattern of English cultural change.
Bringing together the most popular genres of the 21st century, this book argues that Americans have entered a new era of narrative dominated by the fear—and wish fulfillment—of the breakdown of authority and terror itself. • Provides an interesting new framework in which to examine popular culture • Examines films, television shows, and primary texts such as novels for evidence of cultural anxiety and a preoccupation with terror • Offers insightful and original interpretations of primary texts • Suggests possible conclusions about cultural anxiety regarding breakdowns of tradition and authority
The terrorist attacks on the twin towers of the World Trade Center on September 11th, 2001 have had a profound impact on contemporary American literature and culture. With chapters written by leading scholars, 9/11: Topics in Contemporary North American Literature is a wide-ranging guide to literary responses to the attacks and its aftermath. The book covers the most widely studied texts, from Don DeLillo's Falling Man, Jonathan Safran Foer's Extremely Loud and Incredibly Close and Jonathan Franzen's Freedom to responses in contemporary American poetry and graphic narratives such as Art Spiegelman's In the Shadow of No Towers. Including annotated guides to further reading, this is an essential guide for students and readers of contemporary American literature.
Commentators and artists attempting to represent the events of September 11, 2001, struggle to create meaning in the face of such powerful experiences. This collection of essays offers critical insights into the discourses that shape the memory of 9/11 in the narrative genres of comics, literature, film, and theatre. It examines historical, political, cultural, and personal meanings of the disaster and its aftermath through critical discussions of Marvel and New Yorker comics, American and British novels, Hollywood films, and the plays of Anne Nelson.
A lavishly illustrated revision of a top-selling primer invites readers to develop healthier, more environmentally friendly, and self-sufficient living skills that are less reliant on technology, in a resource that shares step-by-step instructions for such capabilities as raising chickens, making cheese, and building a log cabin.
Includes hundreds of projects for sustainable living--such as dyeing wool, grafting trees, raising chickens, crafting furniture with hand tools, making preserves and cheese, building a log cabin and much more, in a book that also has tips for down-home fun, as well as 500 full-color illustrations. Original.
It is an honor to have been asked to write an introduction to The Noblest, which is a collection of some of the work of a small group of people from different walks of life who came together in a writing workshop I gave at the John Noble Maritime Museum a few years ago. Together, we shared our writings, we listened to each other, and we grew into a family of friends. As you read their thoughts, their ideas, their stories, you will come to glimpse them as I have been privileged to do. Their poems, stories, and memoirs speak for themselves. They have opened their hearts and souls in their writings. Initially, I did not want to detract from their accomplishments with my own writings, but they are a persistent group and they prevailed. Tread softly as you read our works and enter into our lives. We hope our writing speaks to you and that you find a friend or two in these pages and that the words conjure memories, stimulate imagination, take you to special places, and give you pause to think. May I start you on your journey with a poem of my own. The letters leak from pens and pencils Like twisted linguine from aged grinders Into word salads that whisper feelings Sometimes buried, sometimes throbbing, Sometimes happy, sometimes sobbing. Pictures form of people Living quiet lives in troubled times Laughing, crying, sighing, Dreaming, loving, praying, Probing, wondering, remembering. They are the seasons of the years, The colors of the rainbow. Their images cling and clang, Stir and penetrate, invigorate and celebrate. They sing like the sunrise That while much may be taken Much abides and flourishes. Read our words and listen to our hearts With reverence, kindness, gratefulness and awe And learn once more we are not alone And all of us including you - still have much so much more to give. Thank you, George R. Hopkins