Author: Linda Hogan File Type: epub Dark. Sweet. offers readers the sweep of LindaHogans workenvironmental and spiritual concerns, her Chickasaw heritagein spare, elemental, visionary language.From Those Who Thunder*Those who thunder have dark hair and red throw rugs. They burn paper in bathroom sinks. Their voices refuse to suffer and their silences know the way straight to the heart its bus route number eight.*Linda Hogan is the recipient of the 2007 Mountains and Plains Booksellers Spirit of the West Literary Achievement Award. She is also a recipient of the 2016 PEN New England Henry David Thoreau Prize. Her poetry has received an American Book Award, Colorado Book Award, and a National Book Critics Circle nomination.**ReviewSplit This Rock Recommended Poetry Books of 2014 Praise for Linda Hogan Her poetry is deeply engaged with nature and personal experience I loved its lyricism and its emotional engagement.*Rosemary and Reading Glasses* Linda Hogan is essential, a mighty and bedrock voice in American letters. Any book by her is cause for celebration, but this volume should cause outbreaks of dancing. Brilliant. Luis Urrea Linda Hogans poetry has always been a medicine of sort . . . These poems in particular cross over to speak for us in the shining world. They bring back words for healing, the distilled truth of all these stories that are killing us with tears and laughter. Joy Harjo Linda Hogans vision is breathtaking the embryonic fingers of a fetal whale, the imperial walk of a raven, the torn-cloth dresses of her Chickasaw ancestors, are distilled in these pages into a critique of human survival. The Book of Medicine feels like a gift from the earths entire past to the present moment. Barbara Kingsolver A 400-page collection celebrating women, spirituality, justice, and peace.*Santa Barbara Independent* Despite the pain, loss, and frustration that percolate through her poetry, whats so remarkable about Dark. Sweet. is the palpable optimism and unceasing call to change. This is a poet deeply in love with humanity and the natural world, who projects a hopeful vision of the future. . . *Cleaver Magazine* Linda Hogans often prayer-like poems evoke liminality, speaking from blurred boundaries of animal and human, self and other, but it is the constant interpenetration of the sacred and mundane, which poet-theorist Jennifer Gosetti-Ferencei calls the ecstatic quotidian, that sets Linda Hogans work on a plane of its own. World Literature Today Hogans poetry is most compelling in its refusal refusing to tell you what you expect, what you want to hear. Her speakers refuse to play to cultural tropes.The Volta About the Author A major American writer and the recipient of the 2007 Mountains and Plains Booksellers Spirit of the West Literary Achievement Award, Linda Hogan is a Chickasaw poet, novelist, essayist, playwright, teacher, and activist who has spent most of her life in Oklahoma and Colorado. Her fiction has garnered many honors, including a Pulitzer Prize nomination and her poetry collections have received the American Book Award, Colorado Book Award, and a National Book Critics Circle nomination. A volunteer and consultant for wildlife rehabilitation and endangered species programs, Hogan has also published essays with the Nature Conservancy and Sierra Club.

Author: Anthony Iles File Type: pdf Middlesex PhD Thesis This study attempts to deliver an intellectual history of the journal Inventory and its place within theories of knowledge, publishing, artistic practice, ethnography, politics and critical theory. The initial movement of the thesis, Chapter 1, establishes Inventorys formal structure as a journal. Chapter 2 establishes the presuppositions and models for the use of a journal or magazine as a platform for heterodox cultural practice and inquiry. The study then follows Inventorys proposition of a method derived from the fusion of the heterogeneous sociology of Georges Bataille and his circle in Chapter 3 and the speculative aesthetic theory, and anthropological materialism, of Walter Benjamin in Chapter 4. In Chapters 3 and 4 Inventorys constellation of methods surrealism as a mode of research and publishing, rather than as a visual art meets ethnography, the study of the culture of all humankind on a common plane of praxis. This partisan reappropriation of surrealist and ethnographic method is shown to generate a complex para-academic publishing and research project, one which has a relation to, but ultimately exceeds, contemporary theories of either the artist as anthropologist (Joseph Kosuth), ethnographic surrealism (James Clifford) or the artist as ethnographer (Hal Foster). Chapter 5 discusses the journals presentation as writing or literature and the relation between the whole and its parts developed philosophically in the previous chapters in terms of the form of the journal itself as a constellation and the writing it cohered around and presented. This chapter therefore also discusses the development of mental or perceptual spaces of resistance to the restructuring of space discusses in the preceding chapter through experimental writing and publishing (artist projects, found texts, visionary or prophetic texts). The study subsequently situates the intellectual and cultural productions of Inventory journal within the dynamic social, political and cultural context of London in the 1990s and 2000s. This contextualisation is achieved by engagement, in Chapter 6, with a specific site of dissemination for Inventory, Info Centre (1999-2000), through it the journal associated with parallel cultural and political practices of self-publishing and self-organisation by artists, writers and activists in the late-1990s and 2000s. I argue that these practices sought to challenge existing forms of organisation, knowledge production, cultural and social totality during a period of capitalist restructuring of work, social reproduction, the urban environment and the institutions of art. The opposition to this restructuring and its re-colonisation of space in London is conceived both in terms of the production of critical commentaries on the production of space in the city (urban sociology, psychogeography) contesting established cultural histories (e.g. of surrealism, the Situationist International andconceptual art) creation of small autonomous institutions and development of mental or perceptual spaces of resistance through experimental writing and publishing. I argue that Inventory itself takes on a self-institutional form in this situation, and as journal provides a space and singular spaces (in terms of individual contributions) for independent critical thinking (artist projects, urban sociology,found texts, visionary or prophetic texts). Chapter 7 presents the journals contribution to critical accounts of practices and legacies of urbanism (housing, city planning, spatial practices and government) in London in the post-war period and during the period of the journals publication (1995-2005). The journals identification of, and opposition to, forces restructuring London spatially during this period is conceived in terms of the production of critical commentaries on the production of space in the city (urban sociology and psychogeography). The Conclusion evaluates the aims of the study and reevaluates Inventory journal on the basis of the critical traditions surveyed in the prior chapters and in terms of problems arising from the path the journal followed and gaps between its projected programme or method and the achievements it attained.