Poets and Prophets of the Resistance offers a ground-up history and fresh interpretation of the polarization and mobilization that brought El Salvador to the eve of civil war in 1980. Challenging the dominant narrative that university students and political dissidents primarily formed the Salvadoran guerrillas, Joaquín Chávez argues that El Salvador's socioeconomic and political crises of the 1970s fomented a groundswell of urban and peasant intellectuals who collaborated to spur larger revolutionary social movements. Drawing on new archival sources and in-depth interviews, Poets and Prophets of the Resistance contests the idea that urban militants and Roman Catholic priests influenced by Liberation Theology single-handedly organized and politicized peasant groups. Chávez shows instead how peasant intellectuals acted as political catalysts among their own communities first, particularly in the region of Chalatenango, laying the groundwork for the peasant movements that were to come. In this way, he contends, the Salvadoran insurgency emerged in a dialogue between urban and peasant intellectuals working together to create and execute a common revolutionary strategy--one that drew on cultures of resistance deeply rooted in the country's history, poetry, and religion. Focusing on this cross-pollination, this book introduces the idea that a "pedagogy of revolution" originated in this historical alliance between urban and peasant, making use of secular and Catholic pedagogies such as radio schools, literacy programs, and rural cooperatives. This pedagogy became more and more radicalized over time as it pushed back against the increasingly repressive structures of 1970s El Salvador. Teasing out the roles of little-known groups such as the politically active "La Masacuata" literary movement, the contributions of Catholic Action intellectuals to the New Left, and the overlooked efforts of peasant leaders, Poets and Prophets of the Resistance demonstrates how trans-class political and cultural interactions drove the revolutionary mobilizations that anticipated the Salvadoran civil war.

The Christian gospel, says Brueggemann, is too easily preached and heard. Too often technical reason and excessive religious certitude reduce the gospel to coercive, debilitating pietisms that mask the text's meaning and freeze the hearers heart. With skill and imagination, Brueggemann demonstrates how the preacher can engage in daring speech?differently voiced and therefore differently heard. This speech, as suggested by the Bible itself, is "poetic" speech, enabling the preacher to forge communion in the midst of alienation, bring healing out of guilt, and empower the hearer for "missional imagination." As an alternative to theological/homiletical discourse that is moralistic, pietistic or scholastic, Brueggemann proposes preaching that is artistic, poetic, and dramatic. The basis for the 1989 Lyman Beecher Lectures at Yale Divinity School, Finally Comes the Poet is a unique and transforming guide for powerful preaching.

Long before history began, when Ireland was ruled by poets and tribal chieftains, the prophet Sinnach was the most powerful druid in the ancient province of Mumu. But before he was a prophet, before he was a poet, he was a just boy--a boy whom everyone believed was a girl. Unable to suppress his true nature, Sinnach fled persecution and sought refuge in the wilderness. By his nature, his talents, and his oath to the goddess Ériu, Sinnach came to find his place in a world shaped by poetry, magic, and combat. Yet the attainment of great power is not without consequence. Sinnach is inadvertently entangled in the dangerous affairs of both men and Síd, the Faerie Folk. His perilous travels into the Otherworld, the conflicting passions of love, and the return of an old enemy threaten to endanger his identity, peace between the tribes, and peace between the worlds. Inspired by the great mythological epics of ancient Ireland, this is a new myth that tells very old truths about who we were, who we are, and who we might become.

Faith-rooted justice advocate Michelle Ferrigno Warren equips Christians to join Christ's restorative work in the world. From grassroots to grass tops, Warren invites us to understand our place in this moment and learn from the poets and prophets who call us to resist oppression and injustice.

At once the most lucrative, popular, and culturally oppositional musical force in the United States, hip hop demands the kind of interpretation Imani Perry provides here: criticism engaged with this vibrant musical form on its own terms. A scholar and a fan, Perry considers the art, politics, and culture of hip hop through an analysis of song lyrics, the words of the prophets of the hood. Recognizing prevailing characterizations of hip hop as a transnational musical form, Perry advances a powerful argument that hip hop is first and foremost black American music. At the same time, she contends that many studies have shortchanged the aesthetic value of rap by attributing its form and content primarily to socioeconomic factors. Her innovative analysis revels in the artistry of hip hop, revealing it as an art of innovation, not deprivation. Perry offers detailed readings of the lyrics of many hip hop artists, including Ice Cube, Public Enemy, De La Soul, krs-One, OutKast, Sean “Puffy” Combs, Tupac Shakur, Lil’ Kim, Biggie Smalls, Nas, Method Man, and Lauryn Hill. She focuses on the cultural foundations of the music and on the form and narrative features of the songs—the call and response, the reliance on the break, the use of metaphor, and the recurring figures of the trickster and the outlaw. Perry also provides complex considerations of hip hop’s association with crime, violence, and misogyny. She shows that while its message may be disconcerting, rap often expresses brilliant insights about existence in a society mired in difficult racial and gender politics. Hip hop, she suggests, airs a much wider, more troubling range of black experience than was projected during the civil rights era. It provides a unique public space where the sacred and the profane impulses within African American culture unite.

Avant Canada presents a rich collection of original essays and creative works on a representative array of avant-garde literary movements in Canada from the past fifty years. From the work of Leonard Cohen and bpNichol to that of Jordan Abel and Liz Howard, Avant Canada features twenty-eight of the best writers and critics in the field. The book proposes four dominant modes of avant-garde production: “Concrete Poetics,” which accentuates the visual and material aspects of language; “Language Writing,” which challenges the interconnection between words and things; “Identity Writing,” which interrogates the self and its sociopolitical position; and “Copyleft Poetics,” which undermines our habitual assumptions about the ownership of expression. A fifth section commemorates the importance of the Centennial in the 1960s at a time when avant-garde cultures in Canada began to emerge. Readers of this book will become familiar with some of the most challenging works of literature—and their creators—that this country has ever produced. From Concrete Poetry in the 1960s through to Indigenous Literature in the 2010s, Avant Canada offers the most sweeping study of the literary avant-garde in Canada to date.

“[A] monumental history . . . explaining . . . how Sparta’s early strategic role in the Greek world was inseparable from the uniqueness of its origins and values.” (David Hanson, The Hoover Institution, author of The Other Greeks) For centuries, ancient Sparta has been glorified in song, fiction, and popular art. Yet the true nature of a civilization described as a combination of democracy and oligarchy by Aristotle, considered an ideal of liberty in the ages of Machiavelli and Rousseau, and viewed as a forerunner of the modern totalitarian state by many twentieth-century scholars has long remained a mystery. In a bold new approach to historical study, noted historian Paul Rahe attempts to unravel the Spartan riddle by deploying the regime-oriented political science of the ancient Greeks, pioneered by Herodotus, Thucydides, Plato, Xenophon, and Polybius, in order to provide a more coherent picture of government, art, culture, and daily life in Lacedaemon than has previously appeared in print, and to explore the grand strategy the Spartans devised before the arrival of the Persians in the Aegean. “Persuasive.” —Thomas E. Ricks, New York Times Book Review “Rahe thinks and writes big. . . . The Spartan Regime breaks important new ground.” —Jacob Howland, Commentary “An important new history. . . . The story of this ancient clash of civilizations, masterfully told by Paul Rahe . . . provides a timely reminder about strategic challenges and choices confronting the United States.” —John Maurer, Claremont Review of Books “Rahe’s ability to reveal the human side beneath [an] austere exterior is one of many reasons to read this beautifully written, meticulously researched, and deeply engaging book.” —Waller R. Newell, Washington Free Beacon “A serious scholarly endeavor.” —Eric W. Robinson, American Historical Review