In From the Tricontinental to the Global South Anne Garland Mahler traces the history and intellectual legacy of the understudied global justice movement called the Tricontinental—an alliance of liberation struggles from eighty-two countries, founded in Havana in 1966. Focusing on racial violence and inequality, the Tricontinental's critique of global capitalist exploitation has influenced historical radical thought, contemporary social movements such as the World Social Forum and Black Lives Matter, and a Global South political imaginary. The movement's discourse, which circulated in four languages, also found its way into radical artistic practices, like Cuban revolutionary film and Nuyorican literature. While recent social movements have revived Tricontinentalism's ideologies and aesthetics, they have largely abandoned its roots in black internationalism and its contribution to a global struggle for racial justice. In response to this fractured appropriation of Tricontinentalism, Mahler ultimately argues that a renewed engagement with black internationalist thought could be vital to the future of transnational political resistance.
In From the Tricontinental to the Global South Anne Garland Mahler traces the history and intellectual legacy of the understudied global justice movement called the Tricontinental—an alliance of liberation struggles from eighty-two countries, founded in Havana in 1966. Focusing on racial violence and inequality, the Tricontinental's critique of global capitalist exploitation has influenced historical radical thought, contemporary social movements such as the World Social Forum and Black Lives Matter, and a Global South political imaginary. The movement's discourse, which circulated in four languages, also found its way into radical artistic practices, like Cuban revolutionary film and Nuyorican literature. While recent social movements have revived Tricontinentalism's ideologies and aesthetics, they have largely abandoned its roots in black internationalism and its contribution to a global struggle for racial justice. In response to this fractured appropriation of Tricontinentalism, Mahler ultimately argues that a renewed engagement with black internationalist thought could be vital to the future of transnational political resistance.
It’s as old as time: the breakup letter. The kiss-off. The Dear John. The big adios. Simple in its premise, stunningly perfect in its effect. From Anne Boleyn to Sex and the City writer/producer Cindy Chupack, from women both well-known and unknown, imaginary and real, the letters here span the centuries and the emotions—providing a stirring, utterly gratifying glimpse at the power, wit, and fury of a woman’s voice. In a never-before-published letter, Anaïs Nin gives her lover, C. L. Baldwin, a piece of her mind. Charlotte Brontë, in formal fashion, refuses the marriage proposal of Henry Nussey. In a previously unpublished letter, Sylvia Plath writes to her childhood friend and brief lover, Phillip McCurdy, expressing her wish to maintain a platonic relationship. And “Susie Q.” lets “Johnny Smack-O” know that she’s onto his philandering. The brilliance of the mad missives, caustic communiqués, downhearted dispatches, sweet send-offs, and every other sort of good-bye that fills these pages will surely resonate with anyone who has ever loved, lost, left, languished, or laughed a hearty last laugh.
Now in paperback, the scandalous international sensation: brash, candid, and utterly hilarious, Luciano Pavarotti’s longtime manager tells all. The name “Luciano Pavarotti” is as central to the world of opera as high C’s and dueling sopranos. Pavarotti has had, quite inarguably, the most successful career in the history of the operatic profession, having gone from a once-reserved but brilliant tenor to a media-stupefying superstar. In The King and I, Herbert Breslin, Pavarotti’s publicist, manager, and friend for thirty-six years, reveals, in a fashion that is witty and bitingly frank, the truth about that white-hot career in all its delicious grandeur. Full of jaw-dropping anecdotes about the most famous divas and disputes of the past three decades, The King and I even features an afterword by the famed tenor himself. A one-of-a-kind read, The King and I is the ultimate backstage book about the greatest opera star ever.
The Renaissance of Etching is a groundbreaking study of the origins of the etched print. Initially used as a method for decorating armor, etching was reimagined as a printmaking technique at the end of the fifteenth century in Germany and spread rapidly across Europe. Unlike engraving and woodcut, which required great skill and years of training, the comparative ease of etching allowed a wide variety of artists to exploit the expanding market for prints. The early pioneers of the medium include some of the greatest artists of the Renaissance, such as Albrecht Dürer, Parmigianino, and Pieter Bruegel the Elder, who paved the way for future printmakers like Rembrandt, Goya, and many others in their wake. Remarkably, contemporary artists still use etching in much the same way as their predecessors did five hundred years ago. Richly illustrated and including a wealth of new information, The Renaissance of Etching explores how artists in Germany, the Netherlands, Italy, and France developed the new medium of etching, and how it became one of the most versatile and enduring forms of printmaking. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana}
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