James F. Vickery once compared his life and poetry to a hitchhiker in a west Texas hailstorm - you can’t outrun it, you can’t hide from it, and you can’t make it stop. Even in the madness there is so much beauty, and so much calm. These are his poems.

In Archive of Tongues Moon Charania explores feminine dispossession and the brown diaspora through a reflection on the life of her mother. Drawing on her mother’s memories and stories of migration, violence, sexuality, queerness, domesticity, and the intimate economies of everyday life, Charania conceptualizes her mother’s tongue as an object of theory and an archive of brown intimate life. By presenting a mode of storytelling that is sensual and melancholic, piercing and sharp, Charania recovers otherwise silenced modes of brown mothers’ survival, disobedience, and meaning making that are often only lived out in invisible, intimate spaces, and too often disappear into them. In narrating her mother’s tongue as both metaphor for and material reservoir of other ways of knowing, Charania gestures to the afflictions, limits, and failures of feminist, queer, and postcolonial scholarly interrogations and the consequences of closing the archive of the brown mother.

Sisterhood is forever…whether you like it or not. Prep meets Girls in White Dresses in Genevieve Sly Crane’s deliciously addictive, voyeuristic exploration of female friendship and coming of age that will appeal to anyone who has ever been curious about what happens in a sorority house. Twinsets and pearls, secrets and kinship, rituals that hold sisters together in a sacred bond of everlasting trust. Certain chaste images spring to mind when one thinks of sororities. But make no mistake: these women are not braiding each other’s hair and having pillow fights—not by a long shot. What Genevieve Sly Crane has conjured in these pages is a blunt, in-your-face look behind the closed doors of a house full of contemporary women—and there are no holds barred. These women have issues: self-inflicted, family inflicted, sister-to-sister inflicted—and it is all on the page. At the center of this swirl is Margot: the sister who died in the house, and each chapter is told from the points of view of the women who orbit her death and have their own reactions to it. With a keen sense of character and elegant, observant prose, Crane details the undercurrents of tension in a world where perfection comes at a cost and the best things in life are painful—if not impossible—to acquire: Beauty. A mother’s love. And friendship…or at least the appearance of it. Woven throughout are glimmers of the classical myths that undercut the lives of women in Greek life. After all, the Greek goddesses did cause their fair share of destruction….

“Die Räuber” war das erste Drama des deutschen Dichters Friedrich Schiller. Das Stück wurde 1781 veröffentlicht und am 13. Januar 1782 in Mannheim uraufgeführt. Es entstand gegen Ende der deutschen Sturm und Drang-Bewegung und wird von vielen Kritikern als sehr einflussreich für die Entwicklung des europäischen Melodrams angesehen. Die Handlung dreht sich um den Konflikt zwischen zwei adligen Brüdern, Karl und Franz Moor. Der charismatische, aber rebellische Student Karl wird von seinem Vater sehr geliebt. Der jüngere Bruder Franz, der als kalter, berechnender Bösewicht auftritt, plant, Karl das Erbe zu entreißen. Im Laufe des Stücks erweisen sich sowohl Franz’ Motive als auch die Unschuld und der Heldenmut von Karl als äußerst komplex. Diese Print-Ausgabe bietet auf gegenüberliegenden Seiten den deutschen Originaltext und die englische Übersetzung von Alexander Fraser Tytler, sodass ein Mitlesen in der jeweils anderen Sprache ohne Umblättern möglich ist. Die Räuber, which Schiller had been obliged to publish at his own expense, appeared in 1781 and made an impression on his contemporaries hardly less deep than Goethe's Götz von Berlichingen, eight years before. The strength of this remarkable tragedy lay, not in its inflated tone or exaggerated characterization — the restricted horizon of Schiller's school-life had given him little opportunity of knowing men and women — but in the sure dramatic instinct with which it is constructed and the directness with which it gives voice to the most pregnant ideas of the time. In this respect, Schiller's Räuber is one of the most vital German dramas of the 18th century. In January 1782 it was performed in the Court and National Theatre of Mannheim, Schiller himself having stolen secretly away from Stuttgart in order to be present. This blilingual edition offers both languages on opposited pages.