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Essays
From one of America's most beloved authors, a posthumous collection of newly discovered short stories and previously published essays and magazine pieces, offering a fresh perspective on the remarkable literary mind of Harper Lee.
Harper Lee remains a landmark figure in the American canon - thanks to Scout, Jem, Atticus, and the other indelible characters in her Pulitzer-winning debut, To Kill a Mockingbird; as well as for the darker, late-'50s version of small-town Alabama that emerged in Go Set a Watchman, her only other novel, published in 2015 after its rediscovery. Less remembered, until now, however, is Harper Lee the dogged young writer, who crafted stories in hopes of magazine publication; Lee the lively New Yorker, Alabamian, and friend to Truman Capote; and the Lee who peppered the pages of McCall's and Vogue with thoughtful essays in the latter part of the twentieth century.
The Land of Sweet Forever combines Lee's early short fiction and later nonfiction in a volume offering an unprecedented look at the development of her inimitable voice. Covering territory from the Alabama schoolyards of Lee's youth to the luncheonettes and movie houses of midcentury Manhattan, The Land of Sweet Forever invites still-vital conversations about politics, equality, travel, love, fiction, art, the American South, and what it means to lead an engaged and creative life.
This collection comes with an introduction by Casey Cep, Harper Lee's appointed biographer, which provides illuminating background for our reading of these stories and connects them both to Lee's life and to her two novels.
In Tropical Apocalypse, Martin Munro argues that since the earliest days of European colonization, Caribbean--and especially Haitian--history has been shaped by apocalyptic events so that the region has, in effect, been living for centuries in an end time without end. By engaging with the contemporary apocalyptic turn in Caribbean studies and lived reality, he not only provides important historical contextualization for a general understanding of apocalypse in the region but also offers an account of the state of Haitian society and culture in the decades before the 2010 earthquake. Inherently interdisciplinary, his work ranges widely through Caribbean and Haitian thought, historiography, political discourse, literature, film, religion, and ecocriticism in its exploration of whether culture in these various forms can shape the future of a country.
The author begins by situating the question of the Caribbean apocalypse in relation to broader, global narratives of the apocalyptic present, notably Slavoj iek's Living in the End Times. Tracing the evolution of apocalyptic thought in Caribbean literature from Negritude up to the present, he notes the changes from the early work of Aimé Césaire; through an anti-apocalyptic period in which writers such as Frantz Fanon, Antonio Benítez-Rojo, Édouard Glissant, and Michael Dash have placed more emphasis on lived experience and the interrelatedness of cultures and societies; to a contemporary stage in which versions of the apocalyptic reappear in the work of David Scott and Mark Anderson.
Taken from the iconic line uttered by Peter Fonda's Captain America from the 1969, counter culture film Easy Rider, We Blew It tracks a myriad of incidents, events and people to determine exactly how America and the World arrived at its currency dysfunctional dystopia. Using the year 1969 as its jumping off point, the book takes a look at events not normally thought to have had far-reaching influences on the Modern World. Pop culture references are sprinkled throughout to accent the often irreverent tone, We Blew It just might be the most inaccurate yet brutally truthful historic analysis of the culture we all live in and aided and abetted in its creation.
