1968 is symbolic in Italy of a whole decade of struggles by students, women, workers, intellectuals, and technicians. This extraordinary book, first published in Italy in 1988 as Autoritratto di gruppo, documents the intricate web of individual and communal experiences in the political movements of the 60s. Luisa Passerini, internationally known for her work in memory, oral history, and their intersections with social movements, sets out to rescue the "forgotten memory" of her generation and to give it literary status. Framed and illuminated by sessions of psychoanalysis, this absorbing narrative weaves episodes of Passerini's autobiography-including her involvement in the 1968 uprisings-oral histories of other participants, and Passerini's sociological observations. "Passerini's book captures something that is, arguably, closer to lived history than anything we are accustomed to reading," writes Joan Wallach Scott in her foreword. It raises critical questions about how we reconstruct the past and vividly illustrates the forces that shaped a generation. As Passerini movingly shows, there was in those rebellions something that went further than rancor and taking sides: the idea of a new world and new human relationships. These hopes are given back to us through the Autobiography's contradictions and silences, in a recounting of events, emotions, and discoveries of the self and of others that constitute our recent history.

Observing that poetry is a natural part of our pastimes and rituals, Muriel Rukeyser explores the vital force of poetry and the arts in American culture. She opposes elitist attitudes and addresses Americans’ fear of feeling, which contribute to a devaluation of poetry and the arts in the U.S. Multicultural and interdisciplinary, this collection of essays makes an irrefutable case for the centrality of poetry in American life.

The wondrous subtlety of David Ignatow's art is brought to bear on the timeless themes of love and death. Intimate remembrances evince a rich life: Hebrew lessons, war, first love, friendships with Stanley Kunitz and others, his wife's death. One poem comments on another, often with wit and irony; no statement is ever final. In this way, Ignatow shows that we exist most fully in the fluidity of our perceptions and in our inability to attain a single state of mind or definition of things. I Have A Name is a vital engagement with life and an unflinching stare at death, concluding that love transcendent is a reality, embracing all, the living and the dead.

When artist, illustrator, writer, and adventurer Rockwell Kent first published N by E in a limited edition in 1930, his account of a voyage on a 33-foot cutter from New York Harbor to the rugged shores of Greenland quickly became a collectors' item. Little wonder, for readers are immediately drawn to Kent's vivid descriptions of the experience; we share "the feeling of wind and wet and cold, of lifting seas and steep descents, of rolling over as the wind gusts hit," and the sound "of wind in the shrouds, of hard spray flung on a drum-tight canvas, of rushing water at the scuppers, of the gale shearing a tormented sea." When the ship sinks in a storm-swept fjord within 50 miles of its destination, the story turns to the stranding and subsequent rescue of the three-man crew, salvage of the vessel, and life among native Greenlanders. Magnificently illustrated by Kent's wood-block prints and narrated in his poetic and highly entertaining style, this tale of the perils of killer nor'easters, treacherous icebergs, and impenetrable fog -- and the joys of sperm whales breaching or dawn unmasking a longed-for landfall -- is a rare treat for old salts and landlubbers alike.

In August 1918 Rockwell Kent and his 9-year-old son settled into a primitive cabin on an island near Seward, Alaska. Kent, who during the next three decades became America's premier graphic artist, printmaker, and illustrator, was seeking time, peace, and solitude to work on his art and strengthen ties with his son. This reissue of the journal chronicling their 7-month odyssey describes what Kent called "an adventure of the spirit. " He soon discovers how deeply he is "stirred by simple happenings in a quiet world" as man and boy face both the mundane and the magnificent: satisfaction in simple chores like woodchopping or baking; the appalling gloom of long and lonely winter nights; hours of silence while each works at his drawings; crystalline moonlight glancing off a frozen lake; killer whales cavorting in their bay. Richly illustrated by Kent's drawings, the journal vividly re-creates that sense of great height and space -- both external and internal -- at the same time that it celebrates a wilderness now nearly lost to us.

In essays by eleven of America's foremost writers, critics, and filmmakers, Beyond Document explores the full spectrum of nonfiction film and its creative possibilities. In addition to Charles Warren's broad introductory history of the genre, the book takes a close look at ethnographic films, cinema-verité, memoir and autobiography, docudramas, essay films, and newsreels, from classics like Night and Fog and Nanook of the North to more recent important work like Film about a Woman Who. .

Focusing on youth cultures that revolve around dance clubs and raves in Great Britain and the U.S., Sarah Thornton highlights the values of authenticity and hipness and explores the complex hierarchies that emerge within the domain of popular culture. She portrays club cultures as "taste cultures" brought together by micro-media like flyers and listings, transformed into self-conscious "subcultures" by such niche media as the music and style press, and sometimes recast as "movements" with the aid of such mass media as tabloid newspaper front pages. She also traces changes in the recording medium from a marginal entertainment in the 50s to the clubs and raves of the 90s.Drawing on the work of Pierre Bourdieu, Thornton coins the term "subcultural capital" to make sense of distinctions made by "cool" youth, noting particularly their disparagement of the "mainstream" against which they measure their alternative cultural worth. Well supported with case studies, readable, and innovative, Club Cultures will become a key text in cultural and media studies and in the sociology of culture.

Edge Effect is Sandra McPherson's most original work to date. Constructed in two parts, the collection embraces secretly related worlds: the poetics of natural history and artistic discoveries of self-taught folk artists. Throughout, waves from one poem mark the shores of others. In natural history, an edge effect occurs where two communities, such as land and sea, overlap, that zone becoming more diversified than each of them. McPherson explores this effect in nature and art, questioning our notions of inside and outside, center and margin. Profound and moving, she recasts the very premises of formal understanding in poetry, accommodating at once the arts of nature and the nature of art.

Leslie Scalapino is widely regarded as one of the best avant-garde writers in America today. This extraordinary new book is essay-fiction-poetry, an experiment in form, "a serial novel for publication in the newspaper" that collapses the distinction between documentary and fiction. Loosely set in Los Angeles, the book scrutinizes our image-making, producing extreme and vivid images-hyena, Muscle Beach in Venice, the Supreme Court, subway rides-in order for them to be real. Countering contemporary trends toward interiority, Scalapino's work constitutes a unique effort to "be" objectively in the world. The writing is an action, a dynamic push to make intimacy in the public realm. She does not distinguish between poetry and "real events": her writing is analogous to Buddhist notions of dreaming one is a butterfly, and becoming aware that actually being the butterfly is as real as dreaming it.

When it first appeared in 1976, this groundbreaking exploration of the influences of capitalism on the profession of English touched a nerve among educators and inspired Library Journal to declare, "This book should be read by all thoughtful Americans." Now, 20 years later, in a substantial new introduction that recontextualizes the book, Richard Ohmann addresses the critical furor over its initial publication, evaluates his own arguments in the aftermath of the Cold War, and locates the profession of English in the thick of the hotly contested culture wars. A remarkably prescient book whose claims have withstood two decades of fierce debate, English in America is widely considered to be as relevant today as ever. Wise, witty, and urbane, it has much to teach all students of English.

This bilingual anthology brings together a representative selection from more than a half century of this distinguished Brazilian poet's lifetime work. Along with previously translated poems are many others in English for the first time. The remarkable group of poets and translators includes Elizabeth Bishop, Alastair Reid, Galway Kinnell, Louis Simpson, and W. S. Merwin.

Alcools, first published in 1913 and one of the few indispensable books of twentieth- century poetry, provides a key to the century's history and consciousness. Champion of "cubism", Guillaume Apollinaire (1880-1918) fashions in verse the sonic equivalent of what Picasso accomplishes in his cubist works: simultaneity. Apollinaire has been so influential that without him there would have been no New York School of poetry and no Beat Movement. This new translation reveals his complex, beautiful, and wholly contemporary poetry. Printed with the original French on facing pages, this is the only version of this seminal work of French Modernism currently available in the United States.

Disfortune is not in the mainstream of American poetic speech, nor is it easily placed into any of the well-known poetic speech-camps that have arisen on its margins. Terse, haunting lyrics expose the irreducible contradictions of living, wherein "the talking-singing, the whole talking-/singing ball of yarn, begins to unravel." Deceptively casual in tone, these poems offer startling confrontations with "the unoriginal/oblivion," with "the contrived delicacy/of what is emptied and kept. " Joe Wenderoth sees "fortune" as the mute history of events proceeding toward the ultimate security; his poems arise from "disfortune," from the need "Just to sing the song that's kept you/quiet/all this time." This book is a rare occurrence, marking not only a new intimacy with the world, but also a remembering of the determined motion of intimacy itself.

First published in 1934 and revised in 1962, this book gathers journalist and historian Joel Augustus Rogers' columns from the syndicated newspaper feature titled Your History. Patterned after the look of Ripley's popular Believe It or Not the multiple vignettes in each episode recount short items from Rogers's research. The feature began in the Pittsburgh Courier in November 1934 and ran through the 1960s.