In Jessica Tanck’s debut collection, narrative and lyric converge to confront the marks left by violence, loss, and longing. Winter Here troubles the boundaries between home and the outside world, between reverence and terror, asking whether and where safety can be found in the wake of a mother’s suicide. Both intimate and expansive, this collection revels in pleasure as much as it contends with pain. Whether studying the way a violinist is bruised in the act of playing, invoking the crush of ice around a ship’s hull during a silence, or conjuring a crown of light surrounding strangers speaking in tongues, these poems are unflinching, imaginative, and relentless in their searching. By moving between the explicit and the oblique, pairing scorching imagery with razor-edged thought, Tanck evokes a history that haunts every word and place.
In Jessica Tanck’s debut collection, narrative and lyric converge to confront the marks left by violence, loss, and longing. Winter Here troubles the boundaries between home and the outside world, between reverence and terror, asking whether and where safety can be found in the wake of a mother’s suicide. Both intimate and expansive, this collection revels in pleasure as much as it contends with pain. Whether studying the way a violinist is bruised in the act of playing, invoking the crush of ice around a ship’s hull during a silence, or conjuring a crown of light surrounding strangers speaking in tongues, these poems are unflinching, imaginative, and relentless in their searching. By moving between the explicit and the oblique, pairing scorching imagery with razor-edged thought, Tanck evokes a history that haunts every word and place.
In the first history of laywomen and the church in colonial Mexico, Jessica L. Delgado shows how laywomen participated in and shaped religious culture in significant ways by engaging creatively with gendered theology about women, sin, and guilt in their interactions with church sacraments, institutions, and authorities. Taking a thematic approach, using stories of individuals, institutions, and ideas, Delgado illuminates the diverse experiences of urban and rural women of Indigenous, Spanish, and African descent. By centering the choices these women made in their devotional lives and in their relationships to the aspects of the church they regularly encountered, this study expands and challenges our understandings of the church's role in colonial society, the role of religion in gendered and racialized power, and the role of ordinary women in the making of colonial religious culture.
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