The revolution will be led by Black women who are just tired enough to do it ourselves Welcome to the revolution! In her second collection, Jillian Hanesworth explores the idea of revolutionary change through a personal and community lens. The internal revolution details some of her most personal thoughts, insecurities, pains, and triumphs, while the external revolution displays her work and love for her community by speaking truth to power, calling for change, recounting history, and empowering people to walk in their own light. This book also features a transcribed conversation with Dr. Cornel West about using the arts to build political power. The revolution starts now.

If asked to list the greatest innovators of modern American poetry, few of us would think to include Jay-Z or Eminem in their number. And yet hip hop is the source of some of the most exciting developments in verse today. The media uproar in response to its controversial lyrical content has obscured hip hop's revolution of poetic craft and experience: Only in rap music can the beat of a song render poetic meter audible, allowing an MC's wordplay to move a club-full of eager listeners. Examining rap history's most memorable lyricists and their inimitable techniques, literary scholar Adam Bradley argues that we must understand rap as poetry or miss the vanguard of poetry today. Book of Rhymes explores America's least understood poets, unpacking their surprisingly complex craft, and according rap poetry the respect it deserves.

How rhyme became entangled with debates about the nature of liberty in sixteenth- and seventeenth-century English poetry In his 1668 preface to Paradise Lost, John Milton rejected the use of rhyme, portraying himself as a revolutionary freeing English verse from “the troublesome and modern bondage of Riming.” Despite his claim to be a pioneer, Milton was not initiating a new line of thought—English poets had been debating about rhyme and its connections to liberty, freedom, and constraint since Queen Elizabeth’s reign. The Fetters of Rhyme traces this dynamic history of rhyme from the 1590s through the 1670s. Rebecca Rush uncovers the surprising associations early modern readers attached to rhyming forms like couplets and sonnets, and she shows how reading poetic form from a historical perspective yields fresh insights into verse’s complexities. Rush explores how early modern poets imagined rhyme as a band or fetter, comparing it to the bonds linking individuals to political, social, and religious communities. She considers how Edmund Spenser’s sonnet rhymes stood as emblems of voluntary confinement, how John Donne’s revival of the Chaucerian couplet signaled sexual and political radicalism, and how Ben Jonson’s verse charted a middle way between licentious Elizabethan couplet poets and slavish sonneteers. Rush then looks at why the royalist poets embraced the prerational charms of rhyme, and how Milton spent his career reckoning with rhyme’s allures. Examining a poetic feature that sits between sound and sense, liberty and measure, The Fetters of Rhyme elucidates early modern efforts to negotiate these forces in verse making and reading.

A Revolution in Rhyme: Poetic Co-option under the Islamic Republic offers, for the first time, an original, timely examination of the pivotal role poetry plays in policy, power and political legitimacy in modern-day Iran. Through a compelling chronological and thematic framework, Shams presents fresh insights into the emerging lexicon of coercion and unrest in the modern Persian canon. Analysis of the lives and work of ten key poets traces the evolution of the Islamic Republic, from the 1979 Revolution, through to the Iran-Iraq War, the death of a leader and the rise of internal conflicts. Ancient forms jostle against didactic ideologies, exposing the complex relationship between poetry, patronage and literary production in authoritarian regimes, shedding light on a crucial area of discourse that has been hitherto overlooked.

The history of Mexico is spoken in the voice of ordinary people. In rhymed verse and mariachi song, in letters of romance and whispered words in the cantina, the heart and soul of a nation is revealed in all its intimacy and authenticity. Mexico in Verse, edited by Stephen Neufeld and Michael Matthews, examines Mexican history through its poetry and music, the spoken and the written word. Focusing on modern Mexico, from 1840 to the 1980s, this volume examines the cultural venues in which people articulated their understanding of the social, political, and economic change they witnessed taking place during times of tremendous upheaval, such as the Mexican-American War, the Porfiriato, and the Mexican Revolution. The words of diverse peoples—people of the street, of the field, of the cantinas—reveal the development of the modern nation. Neufeld and Matthews have chosen sources so far unexplored by Mexicanist scholars in order to investigate the ways that individuals interpreted—whether resisting or reinforcing—official narratives about formative historical moments. The contributors offer new research that reveals how different social groups interpreted and understood the Mexican experience. The collected essays cover a wide range of topics: military life, railroad accidents, religious upheaval, children’s literature, alcohol consumption, and the 1985 earthquake. Each chapter provides a translated song or poem that encourages readers to participate in the interpretive practice of historical research and cultural scholarship. In this regard, Mexico in Verse serves both as a volume of collected essays and as a classroom-ready primary document reader.

An illustrated compilation of traditional nursery rhymes, including "Little Bo-peep," "Monday's Child," and "Jack and Jill."

Part prophecy and part erotic fantasy, this classic tale of otherworldly depravity features New York itself—or a foreigner's nightmare of New York—as its true protagonist. Set in the towers and tunnels of the quintessential American city, Alain Robbe-Grillet's novel turns this urban space into a maze where politics bleeds into perversion, revolution into sadism, activist into criminal, vice into art—and back again. Following the logic of a movie half-glimpsed through a haze of drugs and alcohol, Project for a Revolution in New York is a Sadean reverie that bears an alarming resemblance to the New York, and the United States, that have actually come into being.

A collection of poems and rhymes about childhood activities, flowers, animals, and seasons.

In this striking new novel by the critically acclaimed author of Allegedly and Monday’s Not Coming, Tiffany D. Jackson tells the story of three Brooklyn teens who plot to turn their murdered friend into a major rap star by pretending he's still alive. Brooklyn, 1998. Biggie Smalls was right: Things done changed. But that doesn’t mean that Quadir and Jarrell are cool letting their best friend Steph’s music lie forgotten under his bed after he’s murdered—not when his rhymes could turn any Bed Stuy corner into a party. With the help of Steph’s younger sister Jasmine, they come up with a plan to promote Steph’s music under a new rap name: the Architect. Soon, everyone wants a piece of him. When his demo catches the attention of a hotheaded music label rep, the trio must prove Steph’s talent from beyond the grave. As the pressure of keeping their secret grows, Quadir, Jarrell, and Jasmine are forced to confront the truth about what happened to Steph. Only, each has something to hide. And with everything riding on Steph’s fame, they need to decide what they stand for or lose all that they’ve worked so hard to hold on to—including each other. "Jackson scores a bullseye with her passionate homage to Black city life in the late ’90s." (Publishers Weekly, "An Anti-Racist Children's and YA Reading List")

Nuclear power has been a contentious issue in Japan since the 1950s, and in the aftermath of the Fukushima nuclear power plant disaster, the conflict has only grown. Government agencies and the nuclear industry continue to push a nuclear agenda, while the mainstream media adheres to the official line that nuclear power is Japan's future. Public debate about nuclear energy is strongly discouraged. Nevertheless, antinuclear activism has swelled into one of the most popular and passionate movements in Japan, leading to a powerful wave of protest music. The Revolution Will Not Be Televised: Protest Music After Fukushima shows that music played a central role in expressing antinuclear sentiments and mobilizing political resistance in Japan. Combining musical analysis with ethnographic participation, author Noriko Manabe offers an innovative typology of the spaces central to the performance of protest music--cyberspace, demonstrations, festivals, and recordings. She argues that these four spaces encourage different modes of participation and methods of political messaging. The openness, mobile accessibility, and potential anonymity of cyberspace have allowed musicians to directly challenge the ethos of silence that permeated Japanese culture post-Fukushima. Moving from cyberspace to real space, Manabe shows how the performance and reception of music played at public demonstrations are shaped by the urban geographies of Japanese cities. While short on open public space, urban centers in Japan offer protesters a wide range of governmental and commercial spaces in which to demonstrate, with activist musicians tailoring their performances to the particular landscapes and soundscapes of each. Music festivals are a space apart from everyday life, encouraging musicians and audience members to freely engage in political expression through informative and immersive performances. Conversely, Japanese record companies and producers discourage major-label musicians from expressing political views in recordings, forcing antinuclear musicians to express dissent indirectly: through allegories, metaphors, and metonyms. The first book on Japan's antinuclear music, The Revolution Will Not Be Televised provides a compelling new perspective on the role of music in political movements.