Alexandra Chasin’s remarkable stories employ forms as diverse as cryptograms (in "ELENA=AGAIN") and sentence diagrams (in "Toward a Grammar of Guilt") to display her interest in fiction as al form constituted by print on the page, every bit as much as poetry. In "They Come From Mars," the words are arrayed on the page like troops, embodying the xenophobic image of invading armies of immigrant and illegal aliens that animates the narrative. One story incorporates personal ads ("Lynette, Your Uniqueness"), another is organized alphabetically ("2 Alphabets"), while another leaves sentences unfinished ("Composer and I"). A number of stories take metafictional turns, calling attention to the process of writing itself. The last piece in the collection plays with genre distinctions, including an index of first lines and a general index. Set in New York, New England, Paris, and Morocco, these tales are narrated by men and women, old and young, gay, straight, and bisexual; one narrator is not a person at all, but a work of art. Each of these deft, playful, and sometimes anarchic fictions is different from the others, yet all are the unmistakable offspring of the same wildly inventive imagination.
Assassin of Youth" is a lyrical, digressive, funny, and ultimately riveting quasi-biography of a little known man: Harry J. Anslinger, the first commissioner of the Federal Bureau of Narcotics. The J. Edgar Hoover of pot busts, Anslinger played a major role in the creation of America s prohibitionist drug policy and the racist and ineffective carceral state that resulted. But Anslinger himself was dull, ordinary, a square. How then does Alexandra Chasin write his biography? Her treatment of Anslinger, his times, and the mentalities that arose and prevailed around and through him is part cultural history, part lyrical meditation, and only part biography. Each of her short chapters is anchored in a historical document a piece of legislation, a court decision, snatches of popular literature and the chapters engage with the voices, presumptions, insights, and blind spots of those documents to illuminate Anslinger and his world. "Assassin of Youth" is as riotous and loose a history of drug laws as can be imagined and yet, it is rooted in very close attention to language and context. Today, even as marijuana is slowly being legalized, we have not yet fully reckoned with the haze of influences and mentalities that have enabled our long embrace of severe punishments for drug possession and use. Alexandra Chasin here shows us the deep, twisted roots of our love and hatred of drugs of all sorts.
Alexandra Chasin’s remarkable stories employ forms as diverse as cryptograms (in "ELENA=AGAIN") and sentence diagrams (in "Toward a Grammar of Guilt") to display her interest in fiction as al form constituted by print on the page, every bit as much as poetry. In "They Come From Mars," the words are arrayed on the page like troops, embodying the xenophobic image of invading armies of immigrant and illegal aliens that animates the narrative. One story incorporates personal ads ("Lynette, Your Uniqueness"), another is organized alphabetically ("2 Alphabets"), while another leaves sentences unfinished ("Composer and I"). A number of stories take metafictional turns, calling attention to the process of writing itself. The last piece in the collection plays with genre distinctions, including an index of first lines and a general index. Set in New York, New England, Paris, and Morocco, these tales are narrated by men and women, old and young, gay, straight, and bisexual; one narrator is not a person at all, but a work of art. Each of these deft, playful, and sometimes anarchic fictions is different from the others, yet all are the unmistakable offspring of the same wildly inventive imagination.
Minty stood with her feet planted firmly on the ground while beads of sweat rolled down her face. She was bracing herself for the inevitable. So as she stood there frightened yet defiant, she began to think how she didn't ask for this life. It was passed down to her like some birthright, and as much as she hated it, there was nothing she could do about it, or at least that's what everyone kept telling her. But for some unknown reason, Minty had refused to accept the fact that her life, her fate, was sealed and could never be undone. From the moment she was snatched from her mother's womb, Minty's life was shrouded in darkness and pain. It was a life she didn't deserve. As Minty lay on her mother's bed bleeding profusely from the brutal beating she endured earlier, a cool breeze blew in through the open door and encircled her bruised and battered body; a change was set in motion. Minty will embark on a journey that few survive, a journey that guarantees her death should she fail. But to not try would also be her death.
Workin' Man Blues is possibly the most brilliantly astute and thorough examination ever written about country music in California and the impact it has had in our lives and on our culture. I'm extremely flattered to be even mentioned in such august company."—Dwight Yoakam, Singer, Songwriter "With all the pathos of a Rose Maddox ballad and more edges than a Merle Haggard song, Haslam has spun together the stories of the artists who have made California part of country music and country music part of California."—James Gregory, author of American Exodus: The Dust Bowl Migration and Okie Culture in California "This book clears new ground in both the history of music and American ethnicity. As gorgeously detailed as any shirt worn by a Rhinestone Cowboy, there's no other book like it."—Kevin Starr, State Librarian of California
Advances in Psychology Research' presents original research results on the leading edge of psychology research. Each article has been carefully selected in an attempt to present substantial psychology advances across a broad spectrum.
Assassin of Youth" is a lyrical, digressive, funny, and ultimately riveting quasi-biography of a little known man: Harry J. Anslinger, the first commissioner of the Federal Bureau of Narcotics. The J. Edgar Hoover of pot busts, Anslinger played a major role in the creation of America s prohibitionist drug policy and the racist and ineffective carceral state that resulted. But Anslinger himself was dull, ordinary, a square. How then does Alexandra Chasin write his biography? Her treatment of Anslinger, his times, and the mentalities that arose and prevailed around and through him is part cultural history, part lyrical meditation, and only part biography. Each of her short chapters is anchored in a historical document a piece of legislation, a court decision, snatches of popular literature and the chapters engage with the voices, presumptions, insights, and blind spots of those documents to illuminate Anslinger and his world. "Assassin of Youth" is as riotous and loose a history of drug laws as can be imagined and yet, it is rooted in very close attention to language and context. Today, even as marijuana is slowly being legalized, we have not yet fully reckoned with the haze of influences and mentalities that have enabled our long embrace of severe punishments for drug possession and use. Alexandra Chasin here shows us the deep, twisted roots of our love and hatred of drugs of all sorts.
Examines the relationship between the recent marketing aimed at the gay community and the movement that struggles to achieve equal rights for gay men and lesbians.
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