This volume is a translation of Choi Seung-ja's 1991 anthology titled Portrait of a Suburbanite. Published in the series of "100 Prominent Korean Poets" by Mirae Press, the poems in this volume were selected from four of Choi's previous works titled, Love of This Age (1981), Merry Diary (1984), House of Memory (1989), and the subsequently published My Tomb, Green (1993). Speaking with a fierce sense of equality and independence, Choi Seung-ja's poetry battled ossified forms of language not only on the political but also the personal front. Like her male colleagues, Choi parodied and critiqued the idol of the father, but even further, she insightfully explored irreverent content to reveal the gendered constraints of the lyric form. In particular, Choi exposed the idolatrous power of the lover, the basis of exploitation and injustice at the most intimate level. On top of their political disempowerment as citizens, the private and domestic alienation of women as daughters, lovers, and wives form a deep stratum of repression. When Choi's women personae broke this long silence of compliance nurtured by the traditional lyric and voiced themselves as exploited and traumatized, yet fearless and tenacious human beings, the shock of this transgression shook the nation. In turn it demonstrate how long and how powerfully the gender constrictions had been imposed on Korean women.

This volume is a translation of Choi Seung-ja's 1991 anthology titled Portrait of a Suburbanite. Published in the series of "100 Prominent Korean Poets" by Mirae Press, the poems in this volume were selected from four of Choi's previous works titled, Love of This Age (1981), Merry Diary (1984), House of Memory (1989), and the subsequently published My Tomb, Green (1993). Speaking with a fierce sense of equality and independence, Choi Seung-ja's poetry battled ossified forms of language not only on the political but also the personal front. Like her male colleagues, Choi parodied and critiqued the idol of the father, but even further, she insightfully explored irreverent content to reveal the gendered constraints of the lyric form. In particular, Choi exposed the idolatrous power of the lover, the basis of exploitation and injustice at the most intimate level. On top of their political disempowerment as citizens, the private and domestic alienation of women as daughters, lovers, and wives form a deep stratum of repression. When Choi's women personae broke this long silence of compliance nurtured by the traditional lyric and voiced themselves as exploited and traumatized, yet fearless and tenacious human beings, the shock of this transgression shook the nation. In turn it demonstrate how long and how powerfully the gender constrictions had been imposed on Korean women.

Compton, California, is often associated in the public mind with urban America's toughest problems, including economic disinvestment, gang violence, and failing public schools. Before it became synonymous with inner-city decay, however, Compton's affordability, proximity to manufacturing jobs, and location ten miles outside downtown Los Angeles made it attractive to aspiring suburbanites seeking single-family homes and quality schools. As Compton faced challenges in the twentieth century, and as the majority population shifted from white to African American and then to Latino, the battle for control over the school district became symbolic of Compton's economic, social, and political crises. Death of a Suburban Dream explores the history of Compton from its founding in the late nineteenth century to the present, taking on three critical issues—the history of race and educational equity, the relationship between schools and place, and the complicated intersection of schooling and municipal economies—as they shaped a Los Angeles suburb experiencing economic and demographic transformation. Emily E. Straus carefully traces the roots of antagonism between two historically disenfranchised populations, blacks and Latinos, as these groups resisted municipal power sharing within a context of scarcity. Using archival research and oral histories, this complex narrative reveals how increasingly racialized poverty and violence made Compton, like other inner-ring suburbs, resemble a troubled urban center. Ultimately, the book argues that Compton's school crisis is not, at heart, a crisis of education; it is a long-term crisis of development. Avoiding simplistic dichotomies between urban and suburban, Death of a Suburban Dream broadens our understanding of the dynamics connecting residents and institutions of the suburbs, as well as the changing ethnic and political landscape in metropolitan America.

Kierkegaard claimed that the gods created man because they were bored, and Baudelaire predicted that the "delicate monster" of boredom would one day swallow up the whole world in an immense yawn. Between these two statements lies the undefined expanse of ennui, whose manifestations in European literature form the fascinating subject of this book. Reinhard Kuhn's aim is to define the demon of noontide, to learn how writers through the ages have treated it, and to discover what it indicates about the nature of the creative act. Originally published in 1976. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Illustrates how boredom formed an important category of critique against the constraints of women's lives in British modernist literature.