Clearance

On April 15, 2018, seven prisoners were slaughtered and twenty-two seriously injured during a prison riot in South Carolina. This incident, prison conditions and mass incarceration were the inspiration for this book, Letters to Our Sons, which represents five years of research. Authors Dawn Simmons and Heru Mossiah Maat collaborated with over 80 prisoners from behind the steel fences of maximum security prisons in South Carolina and throughout the United States. These prisoners have "stepped up" in an effort to bring awareness to the mass incarceration of our youth in the United States of America. From their personal and collective experience, they use powerful heart-wrenching candid narratives to highlight that prison is a place of mental destruction, violence, poor living conditions and poor quality food. These incarcerated men also acknowledge that more adult males and teenage boys enter the prison system than those who enter college as well as lament that young men enter the prison system by the truck loads as if there were no other options. In response, these prisoners who are convicted burglars, drug dealers, rapists and murderers from diverse backgrounds hope to make a positive difference by telling their story.

Dawn Simmons and Heru Mossiah Maat have written a must read, tell all book. Letters to Our Sons describes the circumstances that have led many men to prison, the prison living conditions, and the frustration and dehumanization, which breeds violence within prison walls. For further insights about the current prison system, criminal justice activists, former and current correctional staff, and police officers provided their narratives, opinions and advice especially about hope for the future. Through infographics, research and essays, the book will educate readers about the truths of prison life.

In Letters to Our Sons, over 80 prisoners found the strength and courage to reveal their true wisdom and vulnerability in order to change the direction of future criminal justice and prison legislation. Most importantly, they hope to intervene in our children's lives before it is too late.

Frans de Waal has spent four decades at the forefront of animal research. Following up on the best-selling Are We Smart Enough to Know How Smart Animals Are?, which investigated animal intelligence, Mama's Last Hug delivers a fascinating exploration of the rich emotional lives of animals.

Mama's Last Hug begins with the death of Mama, a chimpanzee matriarch who formed a deep bond with biologist Jan van Hooff. When Mama was dying, van Hooff took the unusual step of visiting her in her night cage for a last hug. Their goodbyes were filmed and went viral. Millions of people were deeply moved by the way Mama embraced the professor, welcoming him with a big smile while reassuring him by patting his neck, in a gesture often considered typically human but that is in fact common to all primates. This story and others like it form the core of de Waal's argument, showing that humans are not the only species with the capacity for love, hate, fear, shame, guilt, joy, disgust, and empathy.

De Waal discusses facial expressions, the emotions behind human politics, the illusion of free will, animal sentience, and, of course, Mama's life and death. The message is one of continuity between us and other species, such as the radical proposal that emotions are like organs: we don't have a single organ that other animals don't have, and the same is true for our emotions. Mama's Last Hug opens our hearts and minds to the many ways in which humans and other animals are connected, transforming how we view the living world around us.

Poetry. Fiction. Drama. Literary Nonfiction. California Interest. Asian & Asian American Studies. Women's Studies. LGBTQIA Studieds. Art. Film. Music. MINERVA THE MISCARRIAGE OF THE BRAIN collects a decade of work from artist, musician, and author of ON HELL, Johanna Hedva. In plays, performances, an encyclopedia, essays, autohagiography, hypnagogic, and hypnapompic poems-in texts whose bodies drift and delight in form-Minerva tunnels into mysticism, madness, motherhood, and magic. Minerva gets dirty with the mess of gender and genius. She does the labor of sleep and dreams. She odysseys through Los Angeles, shapeshifting in stygian night and waking up to wail in the light. With illustrations by Isabelle Albuquerque.

Purchase or thrash: 'genius.' Relocate an 'Ancient Greek text' to 'contemporary Los Angeles.' Does a geographical cure excrete ghosts, 'visions of strange bodies poised and moving, ' or does it produce a 'deep, reverberating sound?' Johanna Hedva's MINERVA begins in this place and we go there, which is to say a reader does. Or might: float/trust this process of alchemical, pelvic, infinite, sub-maternal, and ceramic change.-Bhanu Kapil

Reverberations of this book outlast everything else in our ears, 'what felt like a skinned, feral cat breaching from my chest.' Definitely MINERVA, goddess of genius and poems! Celestial messenger Johanna Hedva gives up gold after the cult following of their book ON HELL. A (god)dess-sized reconstruction of the world we only thought we knew! Welcome home, poets!-CAConrad

Blood is spilled: the writer, the reader, the family, and the lovers are all brutally disemboweled. Abandonment, undeath, catharsis, and genius are all held to trial. Theatre, ritual, and memoir are cleaved open by sex, race, and the (mortal) body. MINERVA, as in all their writing, sets Hedva's astounding, somatic wisdom against an urgent, anarchistic wound. Let yourself belong to it.-Patrick Staff

Can an artist's personal history of their performances be a history of performance art? MINERVA THE MISCARRIAGE OF THE BRAIN traces both a decade of Johanna Hedva's performed works and the edges of that genre's history: bringing the intimate, fearful, feminine, traumatized, queer, and real-life-lived to look and admire and poke at the assumptions about what performance art has been: genius, unreachable, masculine, and hermetic. Hedva is both a wonderful writer in the school of Helene Cixous, Marina Tsvetaeva, and Clarice Lispector: and like them, a creator of spaces we didnâ (TM)t know that we're allowed.-Alexandra Grant

This text is a trouble-maker. Well, that's not quite right. The trouble was already there, we were just trying to hang a tapestry over it, maybe shove it into the dirt of our potted plant. Hedva has that knack, though, for revealing, for turning something we'd rather keep silent into a beautiful wail.-Jessa Crispin

A book about viscera and black ash; 'Blood and guts... soul and tears.' Dark matter and sea foam blessed by 'the tentacles of sea plants when they move...' This is the literature of THE VOID. I will treasure MINERVA as I do the most revelatory writings of Artaud.-Lara Mimosa Montes

I have this fantasy that upon our deaths, we each are replaced with a museum. And that in the museum, is a record, in relics, of what we made, tried to make, failed to make, and what made us. Johanna Hedvas MINERVA affirms and animates this fantasy, overlapping rapturous corporeality with the posthumous archive. It is the nomination of a life's work of laying bare negative space by way of the nebulization of the body into a museum. (MINERVA, by the way, is the goddess of everything.)-Brandon Shimoda