Pens and swords, words and blows: for Roger Bartra, the culture of ink and the culture of blood offer two contrasting approaches to the political transformations of our time. In this compilation of essays, Bartra thinks through these transformations by tracing the complex interplay between popular culture, nationalist ideology, civil society, and the state in contemporary Mexico. Written with verve over a period of twenty years, these essays—most translated into English here for the first time—suggest why Bartra has become one of Latin America’s leading public intellectuals. The essays cover a broad range of topics, from the canonical forms of Mexican culture to the meaning of postnational identity in a globalizing age, from the repercussions of the 1994 Zapatista uprising to the 2000 election of Vicente Fox and the end of the PRI’s seven-decade rule. Across this range of topics, Bartra imparts astute insights into a critical period of transition in Mexican history, stressing throughout the importance of democracy, the complexity of identity, and the vibrancy of the Left. In Blood, Ink, and Culture, he provides a stimulating inside look at political and intellectual life in the southern reaches of North America.

Few poets today, even very good ones, write lines, as Stanley Moss does, that are so exquisitely crafted you cannot help but remember them. "What is heaven but the history of color," begins the new long poem after which this book is named. "We know at ninety sometimes it aches to sing," begins another poem, for a woman upon her ninetieth birthday. In the hands of this master, "Ah who art in heaven," transmigrates to the quieting "ah, ah, baby." And here is Moss in an early poem: "I’ve always had a preference / for politics you could sing / on the stage of the Scala," ending that poem with words attributed to Lincoln: "I don’t know what the soul is, / but whatever it is, I know it can humble itself." A History of Color: New and Collected Poems by Stanley Moss is the first one-volume, complete edition of the poetry of this important living American poet. A History of Color proposes poetry that is made to be useful. Moss is our leading psalmist. Metaphors for wonder abound, his language one of sorrow and exaltation.

This book represents the first wide-scale presentation of a major Jewish mystic, the founder of the ecstatic Kabbalah. It includes a description of the techniques employed by his master, including the role of music. There is a discussion of the characteristics of his mystical experience and the erotic imagery by which it was expressed. Based on all the extant manuscript material of Abulafia, this book opens the way to a new understanding of Jewish mysticism. It points to the importance of the ecstatic Kabbalah for the later developments in mystical Judaism.

With nearly seventy-five new poems and over two hundred selected from his previous books, God Breaketh Not All Men’s Hearts Alike is the book of a lifetime in poetry, one that will lead to the author being recognized as among American’s best living poets. A work of intense illumination, these poems investigate meanings and subjects usually left in darkness. A dramatic excitement, a surprising beauty, a song draws us from poem to poem. It has been pointed out by Hayden Carruth that "in many voices, in lines rugged yet eloquent with various learnings, Moss sings us his disconcerting and extraordinarily moving songs of unbelievable belief."

"It is time to celebrate the singular beauty and power of Stanley Moss's poetry. He is a citizen of the world, both past and present, one who seems to have been everywhere and missed nothing. These are poems, out of the fullness of life, that impress me as being all at once deep, strange, loving, bountiful, and a joy to read.... The damp genius of mortality presides." - Stanley Kunitz

Red Ink of Blood is filled with entertaining poetry at its finest. A variety of them are graceful yet majority of them are hardcore, and there are even several love poems.