N By E

A classic tale of seafaring, shipwreck, and survival, reprinted from Wesleyan University Press's 1978 facsimile of the original. When artist, illustrator, writer, and adventurer Rockwell Kent first published N by E in a limited edition in 1930, his account of a voyage on a 33-foot cutter from New York Harbor to the rugged shores of Greenland quickly became a collectors' item. Little wonder, for readers are immediately drawn to Kent's vivid descriptions of the experience; we share "the feeling of wind and wet and cold, of lifting seas and steep descents, of rolling over as the wind gusts hit," and the sound "of wind in the shrouds, of hard spray flung on a drum-tight canvas, of rushing water at the scuppers, of the gale shearing a tormented sea." When the ship sinks in a storm-swept fjord within 50 miles of its destination, the story turns to the stranding and subsequent rescue of the three-man crew, salvage of the vessel, and life among native Greenlanders. Magnificently illustrated by Kent's wood-block prints and narrated in his poetic and highly entertaining style, this tale of the perils of killer nor'easters, treacherous icebergs, and impenetrable fog—and the joys of sperm whales breaching or dawn unmasking a longed-for landfall—is a rare treat for old salts and landlubbers alike.

"L=A=N=G=U=A=G=E started as a bimonthy magazine of infrmation and commentary, a forum for discussion and interchange. Throughout, we have emphasized a spectrum of writing that places its attention primarily on language and ways of making meaning, that takes for granted neither vocabulary, grammar, process, shape, syntax, program or subject matter. All of these remain an issue. Focussing on this range of poetic exploration, and on related aesthetic and political concerns, we have tried to open things up beyond correspondence and conversation: to break down some unnecessary encapsulation of writers (person to person, & scene from scene), and to develop more fully the latticework of those involved in aesthetically related activity. ..."--Repossessing the word, P. IX.

For Jasminne Mendez, pericardial effusion and pericarditis are not just an abnormal accumulation of fluid and increased inflammation around the heart. It’s what happens “when you stifle the tears and pain of a miscarriage, infertility and chronic illness for so long that your heart does the crying for you until it begins to drown because its tears have nowhere to go.” Diagnosed with scleroderma at 22 and lupus just six years later, her life becomes a roller coaster of doctor visits, medical tests and procedures. Staring at EKG results that look like hieroglyphics, she realizes that she doesn’t want to understand them: “The language of a life lived with chronic illness is not something I want to adapt to. I cannot let this hostile vocabulary hijack my story.” The daughter of Dominican immigrants, Mendez fought for independence against her overly-protective parents, obtaining a full scholarship to college, a dream job after school and a master’s degree shortly thereafter. But the full-time job with medical insurance doesn’t satisfy her urge to write and perform, so she leaves it in search of creative fulfillment. In this stirring collection of personal essays and poetry, Mendez shares her story, writing about encounters with the medical establishment, experiences as an Afro Latina and longing for the life she expected but that eludes her.

Nobody wants Tulip in their gang. She skives off school, cheeks the teachers and makes herself unpopular with her classmates by telling awful lies. None of this matters to Natalie who finds Tulip exciting. At first she doesn't care that other people are upset and unnerved by Tulip's bizarre games, but as the games become increasingly sinister and dangerous, Natalie realises that Tulip is going too far. Much too far. Racing, in fact, to the novel's shocking ending.

DIVA collection of writings from the influential feminist art journal M/E/A/N/I/N/G, with a forward by Johanna Drucker./div