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This landmark Latinx poetry collection offers "a wondrous journey through the passions, the ideas, and the diversity of a people redefining what it means to be American" (Héctor Tobar, Pulitzer Prize winner) Includes more than 180 poets, spanning from the 17th century to today, and presents those poems written in Spanish in the original and in English translation For nearly five centuries, the rich tapestry of Latino poetry has been woven from a wealth of languages and cultures--a "tremendous continental mixturao," in the words of the poet Tato Laviera. Now, in an unprecedented anthology edited by the poet and critic Rigoberto González, Library of America brings together more than 180 poets whose poems bear witness to the beauty and power of this vital and expanding tradition: its profound engagement with pasts both mythical and historical, its reckoning with the complexities of language, land, and identity, and its vision of a nation enriched by the stories of immigrants, exiles, refugees, and their descendants. There are a brilliant array of contemporary voices here as well, spinning out the tapestry of Latino poetry in daring new directions. Taking the measure of this current renaissance, the anthology culminates with the most comprehensive survey of twenty-first century Latino poetry yet published. Featured poets include: José MartíJulia de BurgosSandra CisnerosPedro PietriJuan Felipe HerreraJaime ManriqueJavier ZamoraAracelis GirmayNatalie DiazU.S. Poet Laureate Ada Limón, and2023 Pulitzer Prize winner Brandon Som.This groundbreaking collection captures as never before the richness, diversity, and power of the Latino poetic imagination.
"The premise of Ronald Fair's short, parable-like novel, Many Thousand Gone: An American Fable (1965), is that in a rural corner of Mississippi--the fictional Jacobs County--slavery did not end in 1865 but continued uninterrupted into the 1960s through the brutal tactics of the local sheriff's office and the willing complicity of surrounding counties. Black outsiders are not allowed into Jacobs County while Black inhabitants attempting to escape are hunted down and killed. All the Black women in the county have been made sexually available to any white man for generations, resulting in the mixed blood of nearly all the enslaved population.When the last all-Black child, "the Black Prince," is born, he is secreted out of the county by his great-grandmother and a family friend, and eventually makes his way north to join his father. Years later, when the Black Prince becomes a celebrated writer in Chicago, his growing fame puts an unwanted spotlight on Jacobs County, emboldening the enslaved population, exposing the white supremacists' false sense of superiority, and setting in motion a series of events that will change everything. Will the white population change with the times? Or will they willingly see the destruction of Jacobsville--the county's principal town--before sharing power with the Black population?"--Provided by publisher.
In the 1960s a number of gifted writers--some at the peak of their careers, others newcomers--reimagined American crime fiction through formal experimentation and the exploration of audacious new subjects and themes. This is the second of two volumes gathering the best of their work, nine novels of astonishing variety and inventiveness that pulse with the energies of that turbulent, transformative decade. In Margaret Millar's The Fiend (1964) a nine-year-old girl disappears and a local sex offender comes under suspicion. So begins a suspenseful investigation of an apparently tranquil California suburb that will expose a hidden tangle of fear and animosity, jealousy and desperation. Ed McBain (a pen name of Evan Hunter) pioneered the multi-protagonist police procedural in his long-running series of 87th Precinct novels, set in a parallel Manhattan called Isola. Doll (1965) opens at a pitch of extreme violence and careens with breakneck speed through a tale that mixes murder, drugs, the modeling business, and psychotherapy with the everyday professionalism of McBain's harried cops. The racial paranoia of a drunken police detective in Run Man Run (1966) leads to a double murder and the relentless pursuit of the young Black college student who witnessed it. In Chester Himes's breathless narrative, New York City is a place with no safe havens for a fugitive whom no one wants to believe. In Patricia Highsmith's The Tremor of Forgery (1969) a man whose personality is disintegrating is writing a book called The Tremor of Forgery about a man whose personality is disintegrating, "like a mountain collapsing from within." Stranded unexpectedly in Tunisia, Howard Ingham struggles to hold on to himself in a strange locale, while a slightly damaged typewriter may be the only trace of a killing committed almost by accident.
In the 1960s a number of gifted writers--some at the peak of their careers, others newcomers--reimagined American crime fiction through formal experimentation and the exploration of audacious new subjects and themes. This is the first of two volumes gathering the best of their work, nine novels of astonishing variety and inventiveness that pulse with the energies of that turbulent, transformative decade. In The Murderers (1961) by Fredric Brown, an out-of-work actor, hanging out with Beat drifters on the fringes of Hollywood, concocts a murder scheme that devolves into nightmare. This late work by a master in many genres is one of his darkest and most ingenious. Dan J. Marlowe's The Name of the Game Is Death (1962) channels the inner life of a violent criminal who freely acknowledges the truth of a prison psychiatrist's diagnosis: "Your values are not civilized values." Written with unnerving emotional authenticity, the story hurtles toward an annihilating climax. Charles Williams drew on his experience in the merchant marine for his thriller Dead Calm (1963). A newlywed couple alone on a small yacht find themselves at the mercy of the mysterious survivor they have rescued from a sinking ship, in a suspenseful story that chillingly evokes the perils of the open ocean. In the beautifully told and sharply observant The Expendable Man (1963), Dorothy B. Hughes's final masterpiece of suspense, a young man in the American Southwest runs afoul of racial assumptions after he picks up a hitchhiker who is soon found dead. In twenty-four brilliantly constructed novels, Richard Stark (a pen name of Donald Westlake) charted the career of Parker, a hard-nosed professional thief, with rigorous clarity. The Score (1964), a stand-out in the series, finds Parker and his criminal associates hatching a plot to rob simultaneously all the jewelry stores, payroll offices, and banks in a Larsonremote Western mining town, only to come up against the human limits of even the most intricate planning.
Library of America presents the definitive novel of the Jazz Age in an authoritative new text--along with a quartet of brilliant stories that explore variations on the theme of desperate longing for an unattainable someone or something --
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