Poetry. Asian & Asian American Studies. LGBTQIA Studies. A new collection six years after Nicholas Wong won the Lambda Literary Award for Gay Poetry, BESIEGE ME opens with a timely mocking tone that confronts the tension between China and Hong Kong. Poems in the book speak queerly of urban existences crushed by political and economic powers--"What cities & bodies deny a sometime-crisis, / not knowing they're a series of which?" Behind the portrayals of the speaker, his parents, his home city, and domestic migrant workers there, the collection boldly outlines the vulnerability of entrapment and its masochistic pleasures. BESIEGE ME seeks for a redefinition of transcultural poetics with its linguistic playfulness.

"This is much more than a survival story. It is the story of how the scars of a woman can be and are passed through generations. It is about being a woman, a mother, and a daughter."—Gabriela Almeida, Continente "An infinite work."—O Estadão de São Paulo A groundbreaking use of storytelling to bear witness to the Holocaust features three generations of women's own voices—Liwia's diary written upon liberation from Auschwitz; daughter Noemi Jaffe exploring the power of memory, survival, and bearing witness; and granddaughter Leda, Noemi's daughter, on the significance of the Holocaust and Jewish identity seventy years after the war.

Noemi Marin analyzes famous writers from the area as critical intellectuals and exiles in order to explore the role of rhetoric and identity in writers' own experiences during the long history of communism. Along with examinations of discursive relationships among power, culture and resistance in works by George Konrad, Andrei Codrescu, and Siavenka Drakulic before and after the fall of communism, Marin proposes specific dimensions for a rhetoric of exile pertinent to communist Eastern and Central Europe. After the Fall shows how critical works on identity, culture, and communist history by the writers studied aid in reconstituting a rhetoric of dissidence, identity, and legitimation in the public discourse of a changing Europe. The book offers a unique perspective on the complex contexts of political transition, in which competing public discourse on freedom and democracy intersect with totalitarian regimes, unsettled societies, and issues of resistance.

A hilarious, quirky picture book about the power of imagination and learning to enjoy your own company, for fans of Carson Ellis and Jon Klassen. Caterpillar is SO bored. But everyone knows the best cure for boredom: a marvelous, super-long, super-fun, unforgettable party! He already has everything he needs: apple juice, confetti, decorations, party hats and star stickers to stick on your face. Everything is perfect, except for one missing ingredient: FRIENDS. Unfortunately, none of Caterpillar's friends are available. Caterpillar is SO sad. But then he comes up with an ingenious solution: using a marker, he creates six new friends . . . on himself! After introducing themselves and shaking each others' hands (or feet), it's time for the party to begin. They dance, they play, they put on costumes and even eat seven feet of pizza. It's a marvelous time! But what happens when the party is over? Will Caterpillar's new friends leave him? Find out in this delightfully quirky picture book.

In Volume Three of this four-volume series, we examine the rhetorical development that occurred during the first two terms of Vladimir Putin’s tenure as president of the Russian Federation. Initially, Putin appeared to follow in the path set by his predecessor, Boris Yeltsin, vowing that Russia was, at heart, a European nation and would be a westward facing democracy going forward. He even mentioned partnering with the EU and NATO. Eight years later, at the 2007 Munich Security Conference, Putin excoriated the West for, in his words, attempting to create a “unipolar world” in which NATO expansion threatened Russia’s security, the United States acted as the world’s sole “hegemon,” and Europe simply followed orders, relinquishing any sense of agency in its own affairs.

Originally released as a bilingual collection in 1989 by Stephen Kessler's Alcatraz Editions, Juan Felipe Herrera wrote the poems of AKRÍLICA starting in 1977, occasioned by the energy and dialogue that he encountered upon meeting writer and co-conspirator Francisco X. Alarcón (1954-2016). Through a new interview included here and through his own Visual Introduction, archival photographs from his travels across the Americas, and new art created in conversation with the collection, Herrera offers a rich set of references, inspirations, and influences that shaped AKRÍLICA while sharing his take on this singular book's place in his development as a poet and multimedia artist. This new edition and new translation of AKRÍLICA arrives now to expand the political and artistic possibilities that form our current horizon. This project is not one of inclusion or recovery. This is a project of retrieval. We steal AKRÍLICA away from literary institutions, away from the discipline of literature as such, and away from traditions of experimental poetics that should hope to claim it. Oriented toward the liveliness of the imagination, committed to fundamentally changing itself in order to meet the moment, AKRÍLICA belongs somewhere else; it belongs in the hands of those finding one another in a gathering that has yet to take place. Edited by Anthony Cody, Carmen Giménez, & Farid Matuk Poetry. Latinx Studies.

This book proposes a hermeneutic, phenomenological, and sociocultural route, illuminating new methodological approaches to study humorous actions through Vygotsky's proposal, which has been little explored and worked on from the developmental psychology approach, specifically the rules management Higher psychological process. Reading this text clarifies how humor is a mechanism for development and, at the same time, it is a source of creativity and novelty that emerges from the intersubjective matrix to the Cultural Psychology of development and Semiotic cultural constructivism.