David Grundy – författare

Providing an unprecedented exploration of key moments in queer literary history, Never By Itself Alone changes our sense of both the American literary and political landscapes from the late 1940s through the 21st century. Grundy presents the first comprehensive history of post-war queer writing in Boston and San Francisco, intertwining analysis of lesbian, gay, and queer writing, and insisting on the link between activism and literature. The book centers a host of underrepresented writers, especially writers of color and those with gender non-conforming identities, and challenges the Stonewall exceptionalism of queer historiography. Starting with Robert Duncan's 1944 essay, 'The Homosexual in Society', one of the first significant public defenses of homosexuality in the US, Grundy takes the reader through pioneering works by queer voices of the era, including Adrian Stanford's Black and Queer, the first published book by an out, Black gay poet in the US; the Boston collective Fag Rag and their radical reconsideration of family, private property and the State; the Combahee River Collective, whose Black Feminist analysis drew together race, class, and sexuality; the anthology This Bridge Called My Back, in which women of color spoke truth to power, together; and New Narrative writing, which audaciously mixed Marxism, porn and gossip while uniting against the New Right. Linking these works to the context which produced them, Grundy uncovers the communities formed around activism and small press publishing during this era and elevates neglected voices to narrate a history that before now has never been told in its entirety.Drawing on extensive archival research, Never By Itself Alone is a rigorous and unmatched work of both literary criticism and queer scholarship which underscores the vital importance of radical accounts of race, class, and gender in any queer studies worthy of the name.

Providing an unprecedented exploration of key moments in queer literary history, Never By Itself Alone changes our sense of both the American literary and political landscapes from the late 1940s through the 21st century. Grundy presents the first comprehensive history of post-war queer writing in Boston and San Francisco, intertwining analysis of lesbian, gay, and queer writing, and insisting on the link between activism and literature. The book centers a host of underrepresented writers, especially writers of color and those with gender non-conforming identities, and challenges the Stonewall exceptionalism of queer historiography. Starting with Robert Duncan's 1944 essay, 'The Homosexual in Society', one of the first significant public defenses of homosexuality in the US, Grundy takes the reader through pioneering works by queer voices of the era, including Adrian Stanford's Black and Queer, the first published book by an out, Black gay poet in the US; the Boston collective Fag Rag and their radical reconsideration of family, private property and the State; the Combahee River Collective, whose Black Feminist analysis drew together race, class, and sexuality; the anthology This Bridge Called My Back, in which women of color spoke truth to power, together; and New Narrative writing, which audaciously mixed Marxism, porn and gossip while uniting against the New Right. Linking these works to the context which produced them, Grundy uncovers the communities formed around activism and small press publishing during this era and elevates neglected voices to narrate a history that before now has never been told in its entirety. Drawing on extensive archival research, Never By Itself Alone is a rigorous and unmatched work of both literary criticism and queer scholarship which underscores the vital importance of radical accounts of race, class, and gender in any queer studies worthy of the name.

Providing an unprecedented exploration of key moments in queer literary history, Never By Itself Alone changes our sense of both the American literary and political landscapes from the late 1940s through the 21st century. Grundy presents the first comprehensive history of post-war queer writing in Boston and San Francisco, intertwining analysis of lesbian, gay, and queer writing, and insisting on the link between activism and literature. The book centers a host of underrepresented writers, especially writers of color and those with gender non-conforming identities, and challenges the Stonewall exceptionalism of queer historiography. Starting with Robert Duncan's 1944 essay, 'The Homosexual in Society', one of the first significant public defenses of homosexuality in the US, Grundy takes the reader through pioneering works by queer voices of the era, including Adrian Stanford's Black and Queer, the first published book by an out, Black gay poet in the US; the Boston collective Fag Rag and their radical reconsideration of family, private property and the State; the Combahee River Collective, whose Black Feminist analysis drew together race, class, and sexuality; the anthology This Bridge Called My Back, in which women of color spoke truth to power, together; and New Narrative writing, which audaciously mixed Marxism, porn and gossip while uniting against the New Right. Linking these works to the context which produced them, Grundy uncovers the communities formed around activism and small press publishing during this era and elevates neglected voices to narrate a history that before now has never been told in its entirety. Drawing on extensive archival research, Never By Itself Alone is a rigorous and unmatched work of both literary criticism and queer scholarship which underscores the vital importance of radical accounts of race, class, and gender in any queer studies worthy of the name.

Over the last few years there have been huge advances made in our understanding of the interactions between the brain and the gut – the enteric nervous system. This book is particularly relevant in the understanding, diagnosis and management of irritable bowel syndrome – the most common functional disorder of the bowel.

IBS has been diagnosed in 10-20% of adults in the US, and symptoms of IBS are responsible for more than 3 million visits to the physician in the US.

This book is aimed at specialist gastroenterologists but also should be of interest for trainees and fellows in gastroenterology, as well as PCPs and GPs with an interest in this subject.

The definitive guide to a major African American poet/>/>This volume promises to be the definitive guide to Calvin C. Hernton's unparalleled poetic career, re-introducing readers to a major voice in American poetry. Hernton was a cofounder of the Umbra Poets Workshop; a participant in the Black Arts Movement, R. D. Laing's Kingsley Hall, and the Antiuniversity of London; and a teacher at Oberlin College who counted amongst his friends bell hooks, Toni Morrison, and Odetta. As a pioneer in the field of Black Studies, Hernton developed a theoretical and practical pedagogy with lasting impact on generations of students. He may be best known as an anti-sexist sociologist, following in the footsteps of W.E.B. Du Bois, but Hernton viewed himself, above all, as a poet. This volume includes a generous selection of Hernton's previously published poems, from classics like the often anthologized "The Distant Drum" to the visionary epic The Coming of Chronos to the House of Nightsong, reprinted in full for the first time since 1964, alongside uncollected and unpublished material from the Calvin C. Hernton papers at Ohio University, a new critical introduction, and detailed notes, chronology, and bibliography./>/>[sample poem]/>/>The Distant Drum/>/>I am not a metaphor or symbol./>This you hear is not the wind in the trees./>Nor a cat being maimed in the street./>I am being maimed in the street/>It is I who weep, laugh, feel pain or joy./>Speak this because I exist./>This is my voice/>These words are my words, my mouth/>Speaks them, my hand writes./>I am a poet./>It is my fist you hear beating/>Against your ear.

A vital hub of poetry readings, performance, publications and radical politics in 1960s New York, the Umbra Workshop was a cornerstone of the African American avant-garde.Bringing together new archival research and detailed close readings of poetry, A Black Arts Poetry Machine is a groundbreaking study of this important but neglected group of poets. David Grundy explores the work of such poets as Amiri Baraka, Lorenzo Thomas and Calvin Hernton and how their innovative poetic forms engaged with radical political responses to state violence and urban insurrection. Through this examination, the book highlights the continuing relevance of the work of the Umbra Workshop today and is essential reading for anyone interested in 20th-century American poetry.

A vital hub of poetry readings, performance, publications and radical politics in 1960s New York, the Umbra Workshop was a cornerstone of the African American avant-garde.Bringing together new archival research and detailed close readings of poetry, A Black Arts Poetry Machine is a groundbreaking study of this important but neglected group of poets. David Grundy explores the work of such poets as Amiri Baraka, Lorenzo Thomas and Calvin Hernton and how their innovative poetic forms engaged with radical political responses to state violence and urban insurrection. Through this examination, the book highlights the continuing relevance of the work of the Umbra Workshop today and is essential reading for anyone interested in 20th-century American poetry.

A vital hub of poetry readings, performance, publications and radical politics in 1960s New York, the Umbra Workshop was a cornerstone of the African American avant-garde.Bringing together new archival research and detailed close readings of poetry, A Black Arts Poetry Machine is a groundbreaking study of this important but neglected group of poets. David Grundy explores the work of such poets as Amiri Baraka, Lorenzo Thomas and Calvin Hernton and how their innovative poetic forms engaged with radical political responses to state violence and urban insurrection. Through this examination, the book highlights the continuing relevance of the work of the Umbra Workshop today and is essential reading for anyone interested in 20th-century American poetry.

A vital hub of poetry readings, performance, publications and radical politics in 1960s New York, the Umbra Workshop was a cornerstone of the African American avant-garde.Bringing together new archival research and detailed close readings of poetry, A Black Arts Poetry Machine is a groundbreaking study of this important but neglected group of poets. David Grundy explores the work of such poets as Amiri Baraka, Lorenzo Thomas and Calvin Hernton and how their innovative poetic forms engaged with radical political responses to state violence and urban insurrection. Through this examination, the book highlights the continuing relevance of the work of the Umbra Workshop today and is essential reading for anyone interested in 20th-century American poetry.