Everynight Life

The function of dance in Latin/o American culture is the focus of the essays collected in Everynight Life. The contributors interpret how Latin/o culture expresses itself through dance, approaching the material from the varying perspectives of literary, cultural, dance, performance, queer, and feminist studies. Viewing dance as privileged sites of identity formation and cultural resistance in Latin/o America, Everynight Life translates the motion of bodies into speech, and the gestures of dance into a provocative socio-political grammar. This anthology looks at many modes of dance--including salsa, merengue, cumbia, rumba, mambo, tango, samba, and norteño--as models for the interplay of cultural memory and regional conflict. Barbara Browning's essay on capoeira, for instance, demonstrates how dance has been used as a literal form of resistance, while José Piedra explores the meanings conveyed by women of color dancing the rumba. Pieces such as Gustavo Perez Fírmat's "I Came, I Saw, I Conga'd" and Jorge Salessi's "Medics, Crooks, and Tango Queens" illustrate the lively scope of this volume's subject matter. Contributors. Barbara Browning, Celeste Fraser Delgado, Jane C. Desmond, Mayra Santos Febres, Juan Carlos Quintero Herencia, Josh Kun, Ana M. López, José Esteban Muñoz, José Piedra, Gustavo Perez Fírmat, Augusto C. Puleo, David Román, Jorge Salessi, Alberto Sandoval

How do we ask for forgiveness, when there is no one left to forgive us? How do we cope with the forever loss of what we thought was most precious to us? A story, in which sixteen year old Jake learns that in order to heal, and be free from the burden of guilt he bore after the suicide of his girlfriend, he has to learn to forgive himself first.

First Published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

There is more to identity than identifying with one's culture or standing solidly against it. Jose Esteban Munoz looks at how those outside the racial and sexual mainstream negotiate majority culture -- not by aligning themselves with or against exclusionary works but rather by transforming these works for their own cultural purposes. Munoz calls this process "disidentification, " and through a study of its workings, he develops a new perspective on minority performance, survival, and activism. Disidentifications is also something of a performance in its own right, an attempt to fashion a queer world by working on, with, and against dominant ideology. Whether examining the process of identification in the work of filmmakers, performance artists, ethnographers, Cuban choteo, forms of gay male mass culture (such as pornography), museums, art photography, camp and drag, or television, Munoz persistently points to the intersecting and short-circuiting of identities and desires that result from misalignments with the cultural and ideological mainstream in contemporary urban America. Munoz calls attention to the world-making properties found in performances by queers of color -- in Carmelita Tropicana's "Camp/Choteo" style politics, Marga Gomez's performances of queer childhood, Vaginal Creme Davis's "Terrorist Drag, " Isaac Julien's critical melancholia, Jean-Michel Basquiat's disidentification with Andy Warhol and pop art, Felix Gonzalez-Torres's performances of "disidentity, " and the political performance of Pedro Zamora, with AIDS, within the otherwise artificial a person environment of the MTV serial The Real World.

Longlisted for the Theakston's Old Peculiar Crime Novel of the Year 2016. From the award-winning author of The Glasgow Trilogy, comes Every Night I Dream of Hell, a dark and thrilling Glaswegian crime drama. Nate Colgan: a violent man; 'smart muscle' for the Jamieson organization. Someone to be afraid of. But now, with its most powerful individuals either dead or behind bars, things within the Jamieson organization are beginning to shift. When Nate, long working on the fringes of the business, is reluctantly appointed its new 'security consultant', he can little imagine how things are about to unravel . . . It begins with an execution, a message; and soon the various factions within the organization are sent into chaos. But out of the confusion comes one clear fact: a new group has arrived in Glasgow, and in their quest for power they are prepared to ignite a war. But who is behind the group? And why has the calculating Zara Cope – the mother of Nate's child – suddenly appeared back in town? Meanwhile DI Fisher, buoyed by his recent successes in finally jailing some of the city's most notorious criminals, is prowling on the edges of these latest battles, looking for his chance to strike before all hell breaks loose . . . In Every Night I Dream of Hell Malcolm Mackay takes us deep into a world of violence, fear and double-crossing that grips until the final page has been turned.

Lucy has a special gift. Everything she touches turns to magical, sparkling loveliness.' Donna Hay Some days you want to cook; other days the goal is simply 'food in mouths'. Welcome to Every Night of the Week, a cookbook for people who don't like hard-and-fast recipes, by food and recipe writer, stylist and Instagram genie Lucy Tweed. MONDAY has potential. There are lists and ideas. The herbs are fresh and the fridge is full. TUESDAY the week has begun. Can we have efficient and beautifully delicious please? WEDNESDAY we wonder what day it is. Cook with a dash of laziness; it tastes great. THURS ... we're not even typing the full day anymore. What's in the freezer? What can we pimp? FRIDAY is family fun. 'Decorate' your own pizza, kids, or DIY san choy bau. Time to exhale. SATURDAY is the flex day, time to stretch the repertoire. Hmm, who's around for lunch? SUNDAY is for brunch and linner; two leisurely meals, eaten in absolute comfort. THAT EXTRA DAY YOU WISHED FOR is the secret day that will save your bacon Tues-Thurs. 'My signature dish is Lucy's recipe that she taught me in less than an hour. But don't tell anyone; I get a lot of compliments.' Wil Anderson