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Gib eins zu: Ein amerikanisches Sammelalbum (Pitt Poetry Series) von Collins, Martha
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eBay-Artikelnr.:325852371389
Artikelmerkmale
- Artikelzustand
- ISBN
- 9780822964056
Über dieses Produkt
Product Identifiers
Publisher
University of Pittsburgh Press
ISBN-10
0822964058
ISBN-13
9780822964056
eBay Product ID (ePID)
219216175
Product Key Features
Book Title
Admit One: an American Scrapbook
Number of Pages
104 Pages
Language
English
Publication Year
2016
Topic
General, American / General
Genre
Poetry
Book Series
Pitt Poetry Ser.
Format
Trade Paperback
Dimensions
Item Height
1.3 in
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Trade
LCCN
2018-276885
Dewey Edition
23
Reviews
"Like any scrapbooker, Collins collects and assembles, and largely lets the scraps do the talking. But when she reveals to us the collector's hand, injecting the personal like handwritten notes in the margins, she reminds us that we are not merely witnesses to history. We are its participants, inheritors, and bloodline. This is what I want my students to feel, to have the historical brought to life and made personal. I may have been doing it wrong, but Collins' poetry offers a path in the right direction." --masspoetry.org, Praise for Martha Collins: "A dazzling poet whose poetry is poised at the juncture between the lyric and ethics, Martha Collins has addressed some of the most traumatic social issues of the twentieth century in supple and complex poems. Those who have followed Collins's books have long since realized that no subject is off limits for her piercing intellect." -- Writer's Chronicle, "In Admit One Collins traces the ideological constellation of scientific racism illustrating how it was used to justify not just racism, but also colonialism, xenophobia, and the sterilization of those deemed physically, mentally, or morally 'unfit.'" -- Literary Imagination, "Collins' brilliantly disturbing verse leaves us with the grim hope that imperial whiteness can give way to incendiary witness." --Radcliffe Magazine, "An unflinching look at the underpinnings of racism in the U.S., via key figures who used science to defend sterilization, exploitation, discrimination, segregation, and dehumanization of nonwhites, whites not deemed white enough, and anyone 'less' than those with 'superior' genes. Madison Grant, for example, fueled the Ku Klux Klan, initiated unfair immigration and 'racial integrity' legislation, and offered tinder to Adolf Hitler's evil fire. (Hitler called Grant's The Passing of the Great Race [1916] his bible.) With the 1904 St. Louis World's Fair as a framework, Collins attempts to understand her family's experience of and participation in those times. Her poems are lists, definitions, newspaper pages, historical time lines, and biographical facts. These diverse poetic forms highlight the beauty of diversity itself. But Collins never lets up on the driving themes of unethical treatment and collective culpability. In fact, 'Postscript Three' punctuates this powerful collection with the vitriol still spewed and sensationalized, keeping racism depressingly alive in a supposedly advanced century." -- Booklist , "A strikingly original collection that combines brilliant storytelling and compelling commentary on ethics and race. . . . Exquisitely spare, these works recount some of the sinister moments of American history, quietly pushing readers to learn from those episodes and consider our collective responsibility for them." -- Washington Post, "An unflinching look at the underpinnings of racism in the U.S. . . . Her poems are lists, definitions, newspaper pages, historical time lines, and biographical facts. These diverse poetic forms highlight the beauty of diversity itself. But Collins never lets up on the driving themes of unethical treatment and collective culpability." -- Booklist, "An unflinching look at the underpinnings of racism in the U.S., via key figures who used science to defend sterilization, exploitation, discrimination, segregation, and dehumanization of nonwhites . . . These diverse poetic forms highlight the beauty of diversity itself. But Collins never lets up on the driving themes of unethical treatment and collective culpability." -- Booklist, "A strikingly original collection that combines brilliant storytelling and compelling commentary on ethics and race. The interwoven poems begin with the speaker's grandparents entering the 1904 St. Louis World's Fair, where technological advances and artistic marvels were proudly displayed, as were examples of 'inferior' human beings, such as Ota Benga, a Congolese Pygmy who was later housed in the primate exhibit of the new Bronx Zoo. The poems follow his short, sad life and the rise of Madison Grant, a hunter friend of Theodore Roosevelt who created the zoo. Grant later became a key proponent of the eugenics movement. Collins, who has published seven previous books of poetry, doesn't sensationalize the material. Exquisitely spare, these works recount some of the sinister moments of American history, quietly pushing readers to learn from those episodes and consider our collective responsibility for them. As she writes in Admit One : "hate to have to concede/ as evidence into the record/ we have to guilt mistake own/ as a right openly into." --Washington Post, Past praise for Martha Collins: "A dazzling poet whose poetry is poised at the juncture between the lyric and ethics, Martha Collins has addressed some of the most traumatic social issues of the twentieth century in supple and complex poems. Those who have followed Collins's books have long since realized that no subject is off limits for her piercing intellect." -- Writer's Chronicle, "Like any scrapbooker, Collins collects and assembles, and largely lets the scraps do the talking. But when she reveals to us the collector's hand, injecting the personal like handwritten notes in the margins, she reminds us that we are not merely witnesses to history. We are its participants, inheritors, and bloodline. This is what I want my students to feel, to have the historical brought to life and made personal. I may have been doing it wrong, but Collins' poetry offers a path in the right direction." -- masspoetry.org, "An unflinching look at the underpinnings of racism in the U.S., via key figures who used science to defend sterilization, exploitation, discrimination, segregation, and dehumanization of nonwhites, whites not deemed white enough, and anyone 'less' than those with 'superior' genes. With the 1904 St. Louis World's Fair as a framework, Collins attempts to understand her family's experience of and participation in those times. Her poems are lists, definitions, newspaper pages, historical time lines, and biographical facts. These diverse poetic forms highlight the beauty of diversity itself. But Collins never lets up on the driving themes of unethical treatment and collective culpability. In fact, 'Postscript Three' punctuates this powerful collection with the vitriol still spewed and sensationalized, keeping racism depressingly alive in a supposedly advanced century." --ALA Booklist, Praise for White Papers : "This tightly focused, strongly argued book-length sequence uncovers a personal, regional, cultural, and institutional history of whiteness and white privilege: its clipped quatrains, spare recollections, and embedded citations give the rare and valuable show of a white author reflecting on the meanings and the oddities of race." --Publishers Weekly , Praise for Martha Collins: "A dazzling poet whose poetry is poised at the juncture between the lyric and ethics, Martha Collins has addressed some of the most traumatic social issues of the twentieth century . . . in supple and complex poems. . . .[N]o subject is off limits for her piercing intellect." --Cynthia Hogue, AWP Chronicle, Praise for Martha Collins: "A dazzling poet whose poetry is poised at the juncture between the lyric and ethics, Martha Collins has addressed some of the most traumatic social issues of the twentieth century in supple and complex poems. Those who have followed Collins' books have long since realized that no subject is off limits for her piercing intellect." --Cynthia Hogue, AWP Chronicle, "Like any scrapbooker, Collins collects and assembles, and largely lets the scraps do the talking. But when she reveals to us the collector's hand, injecting the personal like handwritten notes in the margins, she reminds us that we are not merely witnesses to history. We are its participants, inheritors, and bloodline. This is what I want my students to feel, to have the historical brought to life and made personal. I may have been doing it wrong, but Collins' poetry offers a path in the right direction." --masspoetry.org , "Collins goes past the paralyzing silence of white guilt and into the active language of implication. One feels in her work the compulsion to discover, and to confront. Poetry is the vehicle of response for Collins, and we are the richer for having the results of her grappling. She locates our country's legacy of racism in her own familial connections, therefore speaking from a position more like witness than judge." -- Solstice Magazine, Praise for White Papers: "White Papers is a praise song for the truth. It bravely pulls back the covers of whiteness to offer us precious views of racial privilege. Martha Collins has laid bare the more complex dangers of America's central trauma in a book of innovative craft and startling honesty." --Afaa Michael Weaver , "Collins' brilliantly disturbing verse leaves us with the grim hope that imperial whiteness can give way to incendiary witness." -- Radcliffe Magazine, Praise for White Papers : "Collins continues the inquiry into race that shaped Blue Front (2006) in this startling and provocative collection, exploring the motif and myth of racial "whiteness." Within the stark chromatic scale of black, white, and gray, Collins evokes a dazzling spectrum of palpable emotions, racial tensions, and unraveling binaries." --Booklist , "Collins goes past the paralyzing silence of white guilt and into the active language of implication. One feels in her work the compulsion to discover, and to confront. Poetry is the vehicle of response for Collins, and we are the richer for having the results of her grappling. She locates our country's legacy of racism in her own familial connections, therefore speaking from a position more like witness than judge." --Solstice Magazine
Dewey Decimal
811/.54
Synopsis
Praise for Martha Collins: "A dazzling poet whose poetry is poised at the juncture between the lyric and ethics, Martha Collins has addressed some of the most traumatic social issues of the twentieth century . . . in supple and complex poems. . . .[N]o subject is off limits for her piercing intellect." --Cynthia Hogue, AWP Chronicle, Praise for Martha Collins: "A dazzling poet whose poetry is poised at the juncture between the lyric and ethics, Martha Collins has addressed some of the most traumatic social issues of the twentieth century . . . in supple and complex poems. . . . N]o subject is off limits for her piercing intellect." --Cynthia Hogue, AWP Chronicle, In Admit One: An American Scrapbook, Martha Collins relentlessly traces the history of scientific racism from the 1904 St. Louis World's Fair through the eugenics movement of the 1920s.
LC Classification Number
PS3553.O4752
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One Planet Books
99,2% positive Bewertungen•239 Tsd. Artikel verkauft
Angemeldet als gewerblicher Verkäufer
Verkäuferbewertungen (44'142)
- 3***k (167)- Bewertung vom Käufer.Letzter MonatBestätigter Kaufgreat condition and prompt delivery
- 3***k (167)- Bewertung vom Käufer.Letzter MonatBestätigter Kaufprompt delivery, excellent condition
- _***n (1819)- Bewertung vom Käufer.Letzter MonatBestätigter KaufGreat transaction! Item as described. Thank you!!