Funeral Diva

Funeral Diva is the Winner of the Lambda Award for Lesbian Poetry! A poetic memoir about coming-of-age in the AIDS era, and its effects on life and art. "Sneed is an acclaimed reader of her own poetry, and the book has the feeling of live performance. . . . Its strength is in its abundance, its desire for language to stir body as well as mind."—Parul Sehgal, The New York Times Book Review "She is a writer for the future, in that she defies genre."—Hilton Als "This notable achievement, traveling from youth to adulthood, is a harrowing account of how Sneed transforms violence and pain into an artist's life."—Claudia Rankine, author of Citizen: An American Lyric "There's an eerie sense of timeliness to this book, which features prose and poetry by the writer and teacher Pamela Sneed and is largely — though not entirely — about mourning Black gay men killed too soon by a deadly virus."—Tomi Obaro, Buzzfeed "OH MY GOODNESS, it was amazing. I was in tears by the end. What starts off as beautiful memoir evolves into incredibly moving poetry, painful and sweet and lovely."—Marie Cloutier, Greenlight Bookstore, Brooklyn, NY "Balancing and mixing, with rhyme and reason, love and anger, good and bad, memory and the created present, all to tell the story of a life, a memoir unrestrained, devoid of artificial forms. Honest. Free."—Anjanette Delgado, New York Journal of Books In this collection of personal essays and poetry, acclaimed poet and performer Pamela Sneed details her coming of age in New York City during the late 1980s. Funeral Diva captures the impact of AIDS on Black Queer life, and highlights the enduring bonds between the living, the dying, and the dead. Sneed’s poems not only converse with lovers past and present, but also with her literary forebears—like James Baldwin, Toni Morrison, Audre Lorde—whose aesthetic and thematic investments she renews for a contemporary American landscape. Offering critical focus on matters from police brutality to LGBTQ+ rights, Funeral Diva confronts today's most pressing issues with acerbic wit and audacity. The collection closes with Sneed's reflections on the two pandemics of her time, AIDS and COVID-19, and the disproportionate impact of each on African American communities. "Riveting, personal, open-hearted, risky and wise."—Sarah Schulman, author of Conflict Is Not Abuse " . . . a tour de force about the collision between a coalescing 1980s 'Black lesbian and gay literary and poetic movement' in New York and the onslaught of AIDS."—Donna Seaman, Booklist "Pamela Sneed's Funeral Diva is deft, defiant, and devastating."—Tommy Pico, author of Feed "Funeral Diva is urgent and necessary reading to live by. This is writing at its finest. Keep this book close to your heart and soul."—Karen Finley, author of Shock Treatment "Reminiscent of Audre Lorde’s Zami, Pamela Sneed’s memoir is, in itself, a healing balm, affirming in its truths and honesty. I cannot remember ever reading a book that illustrates the impact of the AIDS epidemic on our community more poignantly than Funeral Diva."—Nicole Dennis-Benn, author of Patsy "Pamela Sneed takes enormous risks in this book. She tells the truth with fierce concentration and an abiding sense of purpose.”—Dorothy Allison, author of Bastard Out of Carolina

"Ms. Finley hasn't lost the power to disturb."—Ben Brantley, The New York Times No other performing artist has captured the psychological complexity of this decade as Karen Finley has. In her inimitable style, she has embodied some of the most troubling figures to cast a long shadow on the public imagination, and has envisioned a kind of catharsis within each drama: Liza Minnelli responds to the September 11 attacks; Terri Schiavo explains why Americans love a woman in a coma; Martha Stewart dumps George W. Bush during their tryst on the eve of the Republican National Convention; Silda Spitzer tells the former governor why “I’m sorry” just isn’t enough; and the ghost of Jackie O cries, “Please stop looking at me!" The Reality Shows is a revelation of a decade by one of our greatest interpreters of popular and political culture.

Aditi Machado's lush poetic investigation of transnational and trans-lingual modes which received the 2019 James Laughlin Award from the Academy of American Poets.

Twentysomething and restless, Skye flits between cities and stagnant relationships until she meets Scottie, a disarming and disheveled British traveler, and Pieces, an enigmatic artist living in New York. The three recognize each other as kindred spirits—Black, punk, whimsical, revolutionary—and fall in together, leading Skye on an unlikely adventure across the Atlantic. They live a glorious, subterranean existence in 1990s London: making multimedia art, throwing drug-fueled parties, and eking out a living by busking in Tube stations, until their existence is jeopardized by the rise of CCTV and policing. In fluid and unrelenting prose, Jamika Ajalon's debut novel explores youth, poetry, and what it means to come terms with queerness. Skye Papers is an imaginative, episodic group portrait of a transatlantic art scene spearheaded by people of color—and of the fraught, dystopian reality of increasing state surveillance.

Death matters and the matters of death are initially, and to a large extent, the decaying flesh of the corpse. Cremation as a ritual practice is the fastest and most optimal way of dissolving the corpse’s flesh, either by annihilation or purification, or a combination. Still, cremation was not the final rite, and the archaeological record testifies that the dead represented a means to other ends – the flesh, and not the least the bones – have been incorporated in a wide range of other ritual contexts. While human sacrifices and cannibalism as ritual phenomena are much discussed in anthropology, archaeology has an advantage, since the actual bone material leaves traces of ritual practices that are unseen and unheard of in the contemporary world. As such, this book fleshes out a broader and more coherent understanding of prehistoric religions and funeral practices in Scandinavia by focusing on cremation, corpses and cannibalism.

“A startlingly frank look at the life of one of our generation’s most prominent operatic stars.”—Associated Press In Call Me Debbie, internationally renowned opera singer Deborah Voigt describes her journey to become one of the world’s most celebrated artists and also discusses her private battles with addictions to food and alcohol, and a myriad of other self-destructive tendencies that nearly destroyed her. Voigt reveals here the troubling sequence of addictive behavior that led to her being fired from a London opera production for being too large to fit into the “little black dress” demanded by the role, and her subsequent gastric bypass surgery and its dramatic aftermath. She speaks openly of the “cross-addiction” that led to severe alcoholism, frightening all-night blackouts, and suicide attempts. Here, too, is the story of how she achieved complete sobriety, thanks to a twelve-step program and a recommitment to her Christian faith. Highlighting hilarious anecdotes and juicy gossip about what really goes on backstage, Voigt talks candidly about the impresarios, singers, and conductors with whom she’s worked and offers fascinating insight into the roles she has played and the characters she loves. Complete with eight pages of color photographs, Call Me Debbie is an inspirational story that offers a unique look into the life of an incredible artist.

While Cernuda's verse is vivid testimony to various aspects of his biographical itinerary, it is in his prose poems that he traces more explicitly an outline of his life's journey. Reviewing this work, Octavio Paz wrote: "In these memories and landscapes, in these notes toward the history of his sensibility, there is great objectivity; the poet doesn't set out to fantasize, or to lie to himself or anyone else. He attempts only to illuminate, with an almost impersonal light, something very personal: a few moments in his life. But is it truly ours, this life we live?" Luis Cernuda (1902–1963) was one of the leading poets of Spain's Generation of 1927, which included Federico Garcia Lorca, Rafael Alberti and Jorge Guillen.

In 2015, the beautiful jazz funeral in New Orleans for composer Allen Toussaint coincided with a debate over removing four Confederate monuments. Mayor Mitch Landrieu led the ceremony, attended by living legends of jazz, music aficionados, politicians, and everyday people. The scene captured the history and culture of the city in microcosm--a city legendary for its noisy, complicated, tradition-rich splendor. In City of a Million Dreams, Jason Berry delivers a character-driven history of New Orleans at its tricentennial. Chronicling cycles of invention, struggle, death, and rebirth, Berry reveals the city's survival as a triumph of diversity, its map-of-the-world neighborhoods marked by resilience despite hurricanes, epidemics, fires, and floods. Berry orchestrates a parade of vibrant personalities, from the founder Bienville, a warrior emblazoned with snake tattoos; to Governor William C. C. Claiborne, General Andrew Jackson, and Pere Antoine, an influential priest and secret agent of the Inquisition; Sister Gertrude Morgan, a street evangelist and visionary artist of the 1960s; and Michael White, the famous clarinetist who remade his life after losing everything in Hurricane Katrina. The textured profiles of this extraordinary cast furnish a dramatic narrative of the beloved city, famous the world over for mysterious rituals as people dance when they bury their dead.