For anyone who has ever yearned to master a new language, Fifty Sounds is a visionary personal account and an indispensable resource for learning to think beyond your mother tongue. “The language learning I want to talk about is sensory bombardment. It is a possession, a bedevilment, a physical takeover,” writes Polly Barton in her eloquent treatise on this profoundly humbling and gratifying act. Shortly before graduating with a degree in philosophy from the University of Cambridge, Barton on a whim accepted an English-teaching position in Japan. With the characteristic ambivalence of a twenty-one-year-old whose summer—and life—stretched out almost infinitely before her, she moved to a remote island in the Sea of Japan, unaware that this journey would come to define not only her career but her very understanding of her own identity. Divided into fifty onomatopoeic Japanese phrases, Fifty Sounds recounts Barton’s path to becoming a literary translator fluent in an incredibly difficult vernacular. From “min-min,” the sound of air screaming, to “jin-jin,” the sound of being touched for the first time, Barton analyzes these and countless other foreign sounds and phrases as a means of reflecting on various cultural attitudes, including the nuances of conformity and the challenges of being an outsider in what many consider a hermetically sealed society. In a tour-de-force of lyrical, playful prose, Barton recalls the stifling humidity that first greeted her on the island along with the incessant hum of peculiar new noises. As Barton taught English to inquisitive middle school children, she studied the basics of Japanese in an inverse way, beginning with simple nouns and phrases, such as “cat,” “dog,” and “Hello, my name is.” But when it came to surrounding herself in the culture, simply mastering the basics wasn’t enough. Japanese, Barton learned, has three scripts: the phonetic katakana and hiragana (collectively known as kana) and kanji (characters of Chinese origin). Despite her months-long immersion in the language, a word would occasionally produce a sinking feeling and send her sifting through her dictionaries to find the exact meaning. But this is precisely how Barton has come to define language learning: “It is the always-bruised but ever-renewing desire to draw close: to a person, a territory, a culture, an idea, an indefinable feeling.” Engaging and penetrating, Fifty Sounds chronicles everything from Barton’s most hilarious misinterpretations to her new friends and lovers in Tokyo —and even the influence of Ludwig Wittgenstein’s transformative philosophy. A classic in the making in the tradition of Anne Carson and Rachel Cusk, Fifty Sounds is a celebration of the empowering act of learning to communicate in any new language.

The Poet Laureate's clear and entertaining account of how poetry works. "Poetry is a vocal, which is to say a bodily, art," Robert Pinsky declares in The Sounds of Poetry. "The medium of poetry is the human body: the column of air inside the chest, shaped into signifying sounds in the larynx and the mouth. In this sense, poetry is as physical or bodily an art as dancing." As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the "technology" of poetry--its sounds--to create works of art that are "performed" in us when we read them aloud. He devotes brief, informative chapters to accent and duration, syntax and line, like and unlike sounds, blank and free verse. He cites examples from the work of fifty different poets--from Shakespeare, Donne, and Herbert to W. C. Williams, Frost, Elizabeth Bishop, C. K. Williams, Louise Glück, and Frank Bidart. This ideal introductory volume belongs in the library of every poet and student of poetry.

In The Sound of Exclusion, Christopher Chávez critically examines National Public Radio's professional norms and practices that situate white listeners at the center while relegating Latinx listeners to the periphery. By interrogating industry practices, we might begin to reimagine NPR as a public good that serves the broad and diverse spectrum of the American public.

Named a 2018 Notable Work of Nonfiction by The Washington Post NOW A NEW YORK TIMES BESTSELLER • Winner, The 2018 Southern Book Prize NAMED A BEST/MOST ANTICIPATED BOOK OF 2018 BY: Chicago Tribune • Time • Publisher's Weekly A stunning follow up to New York Times bestseller Tears We Cannot Stop The Washington Post: "Passionately written." Chris Matthews, MSNBC: "A beautifully written book." Shaun King: “I kid you not–I think it’s the most important book I’ve read all year...” Harry Belafonte: “Dyson has finally written the book I always wanted to read...a tour de force.” Joy-Ann Reid: A work of searing prose and seminal brilliance... Dyson takes that once in a lifetime conversation between black excellence and pain and the white heroic narrative, and drives it right into the heart of our current politics and culture, leaving the reader reeling and reckoning." Robin D. G. Kelley: “Dyson masterfully refracts our present racial conflagration... he reminds us that Black artists and intellectuals bear an awesome responsibility to speak truth to power." President Barack Obama: "Everybody who speaks after Michael Eric Dyson pales in comparison.” In 2015 BLM activist Julius Jones confronted Presidential candidate Hillary Clinton with an urgent query: “What in your heart has changed that’s going to change the direction of this country?” “I don’t believe you just change hearts,” she protested. “I believe you change laws.” The fraught conflict between conscience and politics – between morality and power – in addressing race hardly began with Clinton. An electrifying and traumatic encounter in the sixties crystallized these furious disputes. In 1963 Attorney General Robert Kennedy sought out James Baldwin to explain the rage that threatened to engulf black America. Baldwin brought along some friends, including playwright Lorraine Hansberry, psychologist Kenneth Clark, and a valiant activist, Jerome Smith. It was Smith’s relentless, unfiltered fury that set Kennedy on his heels, reducing him to sullen silence. Kennedy walked away from the nearly three-hour meeting angry – that the black folk assembled didn’t understand politics, and that they weren’t as easy to talk to as Martin Luther King. But especially that they were more interested in witness than policy. But Kennedy’s anger quickly gave way to empathy, especially for Smith. “I guess if I were in his shoes...I might feel differently about this country.” Kennedy set about changing policy – the meeting having transformed his thinking in fundamental ways. There was more: every big argument about race that persists to this day got a hearing in that room. Smith declaring that he’d never fight for his country given its racist tendencies, and Kennedy being appalled at such lack of patriotism, tracks the disdain for black dissent in our own time. His belief that black folk were ungrateful for the Kennedys’ efforts to make things better shows up in our day as the charge that black folk wallow in the politics of ingratitude and victimhood. The contributions of black queer folk to racial progress still cause a stir. BLM has been accused of harboring a covert queer agenda. The immigrant experience, like that of Kennedy – versus the racial experience of Baldwin – is a cudgel to excoriate black folk for lacking hustle and ingenuity. The questioning of whether folk who are interracially partnered can authentically communicate black interests persists. And we grapple still with the responsibility of black intellectuals and artists to bring about social change. What Truth Sounds Like exists at the tense intersection of the conflict between politics and prophecy – of whether we embrace political resolution or moral redemption to fix our fractured racial landscape. The future of race and democracy hang in the balance.

At long last, the secrets of Tower of Power drummer David Garibaldi's groundbreaking funk/jazz fusion drumming techniques are presented in this innovative book. Whether you play rock, heavy metal, jazz or funk, you'll learn how to incorporate Garibaldi's contemporary "linear" styles and musical concepts into your playing as you develop your own unique drumset vocabulary. Funk/Jazz techniques are highlighted in chapters on development of the "Two Sound Level" concept, Four-Bar Patterns, Groove Playing and Funk Drumming, followed by a series of challenging exercises which include 15 Groove Studies and 17 Permutation Studies. These techniques are combined with modern musical ideas that will help you build a solid foundation and add finesse to your bag of tricks.

This introduction to the sounds of Japanese is designed for English-speaking students with no prior knowledge of the language, and includes an audio CD which demonstrates the sounds and pronunciation described. An invaluable resource for students of Japanese wishing to improve their pronunciation, as well as those studying Japanese linguistics.