A professor of poetry uses a deck of playing cards to measure the time until her lover returns from Afghanistan. Congolese soldiers find their loneliness reflected in the lyrics of rumba songs. Survivors of the siege of Sarajevo discuss which book they would have never burned for fuel. A Romanian political prisoner writes her memoir in her head, a book no one will ever read. These are the arts of survival in times of crisis.Rumba Under Fire proposes we think differently about what it means for the arts and liberal arts to be "in crisis." In prose and poetry, the contributors to Rumba Under Fire explore what it means to do art in hard times. How do people teach, create, study, and rehearse in situations of political crisis? Can art and intellectual work really function as resistance to power? What relationship do scholars, journalists, or even memoirists have to the crises they describe and explain? How do works created in crisis, especially at the extremes of human endurance, fit into our theories of knowledge and creativity?The contributors are literary scholars, anthropologists, and poets, covering a broad geographic range - from Turkey to the United States, from Bosnia to the Congo. Rumba Under Fire includes essays, poetry and interviews by Tim Albrecht, Carla Baricz, Greg Brownderville, William Coker, Andrew Crabtree, Cara De Silva, Irina Dumitrescu, Denis Ferhatovic, Susannah Hollister, Prashant Keshavmurthy, Sharon Portnoff, Anand Taneja, and Judith Verweijen.

A professor of poetry uses a deck of playing cards to measure the time until her lover returns from Afghanistan. Congolese soldiers find their loneliness reflected in the lyrics of rumba songs. Survivors of the siege of Sarajevo discuss which book they would have never burned for fuel. A Romanian political prisoner writes her memoir in her head, a book no one will ever read. These are the arts of survival in times of crisis. Rumba Under Fire proposes we think differently about what it means for the arts and liberal arts to be “in crisis.” In prose and poetry, the contributors to Rumba Under Fire explore what it means to do art in hard times. How do people teach, create, study, and rehearse in situations of political crisis? Can art and intellectual work really function as resistance to power? What relationship do scholars, journalists, or even memoirists have to the crises they describe and explain? How do works created in crisis, especially at the extremes of human endurance, fit into our theories of knowledge and creativity?

Mobutu Sese Seko, who ruled Zaire (now the Democratic Republic of Congo) from 1965 until 1997, was fond of saying “happy are those who sing and dance,” and his regime energetically promoted the notion of culture as a national resource. During this period Zairian popular dance music (often referred to as la rumba zaïroise) became a sort of musica franca in many parts of sub-Saharan Africa. But how did this privileged form of cultural expression, one primarily known for a sound of sweetness and joy, flourish under one of the continent’s most brutal authoritarian regimes? In Rumba Rules, the first ethnography of popular music in the Democratic Republic of Congo, Bob W. White examines not only the economic and political conditions that brought this powerful music industry to its knees, but also the ways that popular musicians sought to remain socially relevant in a time of increasing insecurity. Drawing partly on his experiences as a member of a local dance band in the country’s capital city Kinshasa, White offers extraordinarily vivid accounts of the live music scene, including the relatively recent phenomenon of libanga, which involves shouting the names of wealthy or powerful people during performances in exchange for financial support or protection. With dynamic descriptions of how bands practiced, performed, and splintered, White highlights how the ways that power was sought and understood in Kinshasa’s popular music scene mirrored the charismatic authoritarianism of Mobutu’s rule. In Rumba Rules, Congolese speak candidly about political leadership, social mobility, and what it meant to be a bon chef (good leader) in Mobutu’s Zaire.

There had always been music along the banks of the Congo River-lutes and drums, the myriad instruments handed down from ancestors. But when Joseph Kabasele and his African Jazz went chop for chop with O.K. Jazz and Bantous de la Capitale, music in Africa would never be the same. A sultry rumba washed in relentless waves across new nations springing up below the Sahara. The Western press would dub the sound soukous or rumba rock; most of Africa called in Congo music. Born in Kinshasa and Brazzaville at the end of World War II, Congon music matured as Africans fought to consolidate their hard-won independence. In addition to great musicians-Franco, Essous, Abeti, Tabu Ley, and youth bands like Zaiko Langa Langa-the cast of characters includes the conniving King Leopold II, the martyred Patrice Lumumba, corrupt dictator Mobutu Sese Seko, military strongman Denis Sassou Nguesso, heavyweight boxing champs George Foreman and Muhammad Ali, along with a Belgian baron and a clutch of enterprising Greek expatriates who pioneered the Congolese recording industry. Rumba on the River presents a snapshot of an era when the currents of tradition and modernization collided along the banks of the Congo. It is the story of twin capitals engulfed in political struggle and the vibrant new music that flowered amidst the ferment. For more information on the book, visit its other online home at rumbaontheriver.com-an impressive resource.

If the Walls Could Speak focuses on the lives of women in prison in postwar communist Poland and how they took on different roles and personalities to protect themselves and create a semblance of normality, despite abuses and prison confinement, and reveals how life in a Stalinist prison adds to our understanding of coercion and resistance under totalitarian regimes.

A Horse with Holes in It, Greg Alan Brownderville’s third collection of poetry, employs inventive phrasing and vivid imagery to construct a particular life marked by religion, confused by desire, dulled by alcohol, and darkened by death. But Brownderville also skillfully uses humor to soften the disquieting images that haunt these stanzas. Strange stories wind through these poems: Two method actors live as lovers in a wartorn city and take the stage in an empty playhouse. A poet confesses to killing thousands of Arkansas blackbirds via folk magic. A preteen boy, deeply involved in an underground religion, is pressured into marrying a dangerous demon. Brownderville’s poems examine a soulscape wrecked almost beyond recognition and dig deeply through the ruins.

What do we do when we read? Reading can be an act of consumption or an act of creation. Our "work reading" overlaps with our "pleasure reading," and yet these two modes of reading engage with different parts of the self. It is sometimes passive, sometimes active, and can even be an embodied form. The contributors to this volume share their own histories of reading in order to reveal the shared pleasure that lies in this most solitary of acts - which is also, paradoxically, the act of most complete plenitude. Many of the contributors engage in academic writing, and several publish in other genres, including poetry and fiction; some contributors maintain an active online presence. All are engaged with reading's capacity to stimulate and excite as well as to frustrate and confuse. The synergies and tensions of online reading and print reading animate these thirteen contributions, generating a sense of shared community. Together, the authors open their libraries to us. This is how we read. Table of Contents // Suzanne Conklin Akbari / "Introduction: Practicing Reading, Reading Practice"Irina Dumitrescu / "Reading Lessons"Anna Wilson / "I Like Knowing What is Going to Happen"Suzanne Conklin Akbari / "Read It Out Loud"Jessica Hammer / "From When We Read"Lochin Brouillard / "De Vita Lochini, or Commentary on a Life of Reading"Chris Piuma / "How I Read"Stephanie Bahr / "How I Read, a History; or 'San Francisco Banking Contains No Trans Fats'"Alexandra Atiya / "Text to Speech"Jonathan Hsy / "Phantom Sounds"Kirsty Schut / "On Not Being a Voracious Reader"Kaitlin Heller / "Sleeping Under the Mountain"Jennifer Jordan / "Reading to Forget, Reading to Remember"Brantley Bryant / "Best Practice Tips and Strategies for Academic Reading to Maximize Your Time and Productivity"Kaitlin Heller / "Afterword: The Parlor Scene" KAITLIN HELLER is a postdoctoral fellow at Syracuse University and a former assistant editor at Del Rey Books. Between teaching courses on folklore and medievalism, Heller designs games, watches Midsomer Murders, and does the bidding of one large cat. SUZANNE CONKLIN AKBARI is Director of the Centre for Medieval Studies at the University of Toronto, but would rather be working on her new project on medieval ideas of periodization, "The Shape of Time," and/or lying on the beach in North Truro. Her books include "Seeing Through the Veil: Optical Theory and Medieval Allegory" (Toronto, 2004), "Idols in the East: European Representations of Islam and the Orient, 1100-1450" (Cornell, 2009), and four collections of essays, including "How We Write: Thirteen Ways of Looking at a Blank Page" (punctum, 2015). She is also a co-editor of the Norton Anthology of World Literature (4th ed.), and a master of structured procrastination.