As a stranger in the land I grew up in, I’ve always considered myself a world citizen and have never sought a settled life. My first book,Insomnia: A Cultural History, detailed the often enriching experience of being estranged from those sleeping in the night-time. I researched and wrote Astrayout of a sense of frustration. Creative estrangement or the unfamiliar typically precedes—and sometimes helps create—norms, yet it is often judged by them, and humans, too, judge other humans this way. Yet, historically, wandering or being a stranger isthe human norm, and in the warming world we have made it will be key to all our futures.
Dante the pilgrim’s journey through the afterlife has always inspired me with its inventiveness and topicality.
Dante’s hometown, Florence, is here, but altered: he meets politicians and historical figures and discovers the previously unseen outcomes of their choices. Because no human—except Dante!—has ever returned alive from the afterlife, the poem must undo our preconceptions.
As he travels, Dante learns that the experiences he is having alter the information his senses and mind receive.
In this he is like we twenty-first-century humans, whose technologically morphing world estranges us, often unconsciously, from ways of seeing and doing things we knew before.
I love the C. H. Sisson translation and also repeatedly go back to Ciaran Carson’s translation of Book One,The Inferno, for its vibrant musicality and verve.
Described variously as the greatest poem of the European Middle Ages and, because of the author's evangelical purpose, the `fifth Gospel', the Divine Comedy is central to the culture of the west. The poem is a spiritual autobiography in the form of a journey - the poet travels from the dark circles of the Inferno, up the mountain of Purgatory, where Virgil, his guide leaves him to encounter Beatrice in the Earthly Paradise. Dante conceived the poem as the new epic of Christendom, and he creates a world in which reason and faith have transformed moral and social chaos into…
This gripping, symphonic novel about coming of age in pre-Civil Rights America, with its skillful weaving of narrative modes and perspectives, is an all-time favorite of mine.
Themes of longing and belonging, failed authority, violence, shame and despair, performance and hope return repeatedly, always slightly changed, as the nameless protagonist—Invisible Man—learns that he is a stranger to white America, who does not know how to seehim, only skin color through a racist lens.
Invisible Man learns to open spaces for things not yet present or recognized, like Black political organizing, by using Black and other art forms—jazz, spirituals, anonymous folktales, the journeys of trickster Odysseus—to inhabit time differently.
From the harrowing opening tale to the dramatic final riot, the book is a wild, inspiring ride.
NATIONAL BOOK AWARD WINNER • NATIONAL BESTSELLER • In this deeply compelling novel and epic milestone of American literature, a nameless narrator tells his story from the basement lair of the Invisible Man he imagines himself to be.
He describes growing up in a Black community in the South, attending a Negro college from which he is expelled, moving to New York and becoming the chief spokesman of the Harlem branch of "the Brotherhood," before retreating amid violence and confusion.
Originally published in 1952 as the first novel by a then unknown author, it remained on the bestseller list for…
LeeAnn Pickrell’s love affair with punctuation began in a tenth-grade English class.
Punctuated is a playful book of punctuation poems inspired by her years as an editor. Frustrated by the misuse of the semicolon, she wrote a poem to illustrate its correct use. From there she realized the other marks…
I’ll read anything Steinberg writes for his stellar reporting and subtle reflections on transmitting outsiders’ stories.
Nineteenth-century Americans dreamed up Liberia in West Africa and sent freed and free-born African Americans there, only to receive many back in the late twentieth and early twenty-first centuries as a result of civil wars.
In Staten Island, many settled in Park Hill Avenue. Tracking two men who fled Liberia’s wars or diminished prospects, the book finds they brought Liberia with them. Rufus Arkoi had to leave secretly, while Jacob Massaquoi had to fake identity to survive.
The men’s American experience heartbreakingly replays their Liberian pasts which vitalize yet drive them into conflict.
As revealing about America as it is about Liberia, this book compels and troubles the reader in thought-provoking ways.
On Park Hill Avenue in New York City, almost everyone is Liberian. Most people know one another; if not by name, then by face. And yet neighbours do not ask one another what they did in Liberia, for the question is considered an accusation. Many people here fled Liberia's brutal civil war, a conflict that claimed the lives of one in fourteen Liberians. The question of who is responsible is a bitter one.
Jacob Massaquoi arrived on Park Hill Avenue in 2002 limping heavily. Before he had been there a week, a hundred stories abounded about his injury. By this…
I often reread this marvelous book, the result of the author’s 1990s fieldwork with Hungarian Roms, for its relevance to all seeking to live aslant from mainstream culture’s obsession with economic growth and so-called success in those terms.
Stewart shows how the horse-trading Roms he lived among made the market a heroic arena where the movement of money is key, and where the luck Roms typically live by is given center-stage in consummate acts of bargaining.
Historically, the Rom are our only people living without a dream of homeland, and the centrality of interaction—with Gadje, non-Roms—to their lives, where unbelonging drives exchange, and exchanges become futures, is pertinent to all who will have to disinvest from belief in property, becoming traveling strangers in our increasingly unpredictable world.
Offers an intimate view of the Hungarian Gypsies who, despite persecution, hostility, and racism, have managed to retain their rich cultural and communal heritage.. The Time of the Gypsies is about the refusal of one group of Gypsiesthe Romto abandon their way of life and accept assimilation into the majority population. It is a story about the sources of cultural diversity in modern industrial society and about the fear and hatred that such social and cultural difference may give rise to. The core of the book, based on the authors eighteen months of observation of daily life in a Gypsy…
LeeAnn Pickrell’s love affair with punctuation began in a tenth-grade English class.
Punctuated is a playful book of punctuation poems inspired by her years as an editor. Frustrated by the misuse of the semicolon, she wrote a poem to illustrate its correct use. From there she realized the other marks…
This lively, well-researched book made a big impression on me when I first read it—and again since—because of its provocative claim that modernity, beginning in the late nineteenth century, ‘is about everyone becoming Jewish,’ that is, ‘urban, mobile, literate,’ mentally agile and ‘occupationally flexible,’ things Jews, historically shut out of many state roles, had no choice but to be.
Slezkine’s larger point in this engrossing narrative history, that Jews are exemplary moderns because they are Mercurians, descendants of Hermes or Mercury—professional strangers who serve and deliver goods to food-producing, settled Apollonians—is a profound one.
To be Mercurian is to be nomadic, and thus to practice our oldest lifeway, which also turns out to be the one most suited to the present and the new.
This masterwork of interpretative history begins with a bold declaration: "The Modern Age is the Jewish Age, and the twentieth century, in particular, is the Jewish Century." The assertion is, of course, metaphorical. But it drives home Yuri Slezkine's provocative thesis: Jews have adapted to the modern world so well that they have become models of what it means to be modern. While focusing on the drama of the Russian Jews, including emigres and their offspring, The Jewish Century is also an incredibly original account of the many faces of modernity-nationalism, socialism, capitalism, and liberalism. Rich in its insight, sweeping…
This book explores how, far from being limited to deviation from known pathways or desirable plans of action, wandering is an abundant source of meaning, as intimately involved in the history of our universe as it will be in the future of our planet. In ancient Australian Aboriginal cosmology, in works about the origins of democracy and surviving disasters in ancient Greece, in Eurasian steppe nomadic culture, in the lifeways of the Rom, in the movements of today’s refugees, and in our attempts to preserve spaces of untracked online freedom, wandering is the means by which creativity and skills of adaptation are preserved in the interests of ongoing life. Astray is an enthralling look at belonging, and at notions of alienation and hope.
