Sweeping from the eighteenth century to futurist fabulations, Black Bell harmonizes poetry with performance art practices in an investigation of fugitivity. Inspired by the nineteenth century image of an enslaved woman wearing iron horns and bells, Alison C. Rollins’s Black Bell continues an exploration of cataloging individual experience and collective memory. As Rollins sets out to resuscitate and embody the archive, we see a chorus of historical figures like Eliza Harris, Henry “Box” Brown, and Lear Green; readers can listen in as Phillis Wheatley takes a Turing test or venture through Dante’s Inferno remixed with Wu-Tang Clan’s 36 Chambers. Poems travel across time and space, between the eighteenth century and futuristic fabulations, vibrating with fugitive frequencies, sounds of survival, and nerve-wracking notes tuned toward love and liberation. Black Bell navigates what it means to be both invisible and spectacle, hidden and on display, allowing lyric language to become the material for fashioning wearable sculptures akin to Nick Cave’s “soundsuits.” Integrating performance art practices, metalwork, and sonic, Black Bell becomes multimedia meditation on freedom seeking, furthering the possibilities of both the page and the canvas of the poet’s body.
Library of Small Catastrophes, Alison Rollins’ ambitious debut collection, interrogates the body and nation as storehouses of countless tragedies. Drawing from Jorge Luis Borges’ fascination with the library, Rollins uses the concept of the archive to offer a lyric history of the ways in which we process loss. “Memory is about the future, not the past,” she writes, and rather than shying away from the anger, anxiety, and mourning of her narrators, Rollins’ poetry seeks to challenge the status quo, engaging in a diverse, boundary-defying dialogue with an ever-present reminder of the ways race, sexuality, spirituality, violence, and American culture collide.
Reading films, television dramas, reality shows, and virtual exhibits, among other popular texts, Engaging the Past examines the making and meaning of history for everyday viewers. Contemporary media can encourage complex interactions with the past that have far-reaching consequences for history and politics. Viewers experience these representations personally, cognitively, and bodily, but, as this book reveals, not just by identifying with the characters portrayed. Some of the works considered in this volume include the films Hotel Rwanda (2004), Good Night and Good Luck (2005), and Milk (2008); the television dramas Deadwood, Mad Men, and Rome; the reality shows Frontier House, Colonial House, and Texas Ranch House; and The Secret Annex Online, accessed through the Anne Frank House website, and the Kristallnacht exhibit, accessed through the Unites States Holocaust Museum website. These mass cultural texts cultivate what Alison Landsberg calls an "affective engagement" with the past, tying the viewer to an event or person and fostering a sense of intimacy that does more than transport the viewer back in time. Affect, she suggests, can also work to disorient the viewer, forcibly pushing him or her out of the narrative and back into his or her own body. By analyzing these specific popular history formats, Landsberg shows the unique way they provoke historical thinking and produce historical knowledge, prompting a reconsideration of what constitutes history and an understanding of how history works in the contemporary mediated public sphere.
In honor of the fifth anniversary of "Tropical Attire Encouraged (and Other Phrases That Scare Me)," Alison Rosen has penned five never-before-seen essays. Find out why she loves bathrobes, hates needles in her face (but will allow them on occasion) and has already made peace with the way her children are going to let her down when she inevitably finds out she only has 10 minutes to live. And remember when she said puppies were harder than babies? She'd like to walk that back. Alison Rosen, host of the immensely popular podcast "Alison Rosen Is Your New Best Friend," is ready to conquer the world of books in this collection of hilarious and unpredictable columns. Alison wants to be living a fabulous life filled with myriad social engagements. She just also wants to not shower, put on a bra or leave the house. Plus, she dislikes dancing, the Fourth of July and costume parties that involve skimpy attire. Basically, if it’s fun, count her out, which is too bad, since she so desperately wants you to think she’s fun. "Tropical Attire Encouraged” came to be on her birthday a few years ago, when her husband, Daniel Quantz, presented her with a hand-bound book of her columns from the first year she was syndicated. He worked late at his office to keep it a surprise. At the top of each one, he included a hand-drawn illustration. Daniel told her he made it because he wanted her to know he believed in her and felt she should be published in book form. Also because one year she gave him an over-the-cabinet-door organizer, and he wanted her to really know—like, on a visceral level—just how crappy her gift was in comparison. (He didn’t say this, but it was implied.)
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