This Place I Know
A collection of life-affirming verses, inspired by the events of September 11, 2001, includes poems paired with artwork volunteered by such well-known picture book artists as G. Brian Karas, Keven Hawkes, and Giselle Potter.
We Know This Place
When Sunni Patterson asserts that We Know This Place, she means every word. Should we break it down further? WE, the poet's collective, live in the sovereign wisdom of KNOWing THIS PLACE: post-Katrina New Orleans, where the poet's activism converges with her joyous celebration and impelling interrogations of class, gender, race, and place. In this collection, Sunni Patterson renews the timeless work of poetry, summoning all who are ready to listen up.
I Know a Place
A child describes a place where all the rooms have warmth, comfort, and love, and it turns out to be home.
And Know this Place
A collection of the best from Hoosier poets from the days of James Whitcomb Riley and Jessamyn West to such contemporary masters of the craft as former Indiana Poet Laureate Norbert Krapf, Jared Carter, Etheridge Knight, and Mary Ellen Solt. As Kander and Greer not in the preface of "And Know this Place: Poetry of Indiana:" "Our central criterion for selection was quality of writing, and we chose those poems which cover the spectrum of experience in both place and time, in setting from city streets to wilderness tracks, covering the state from Goshen in the north to Floye's Knobs by the Ohio River, and from Gessie on the Illinois line to Cottage Grove a hundred and fifty miles east."
Know Your Place
White evangelicals have struggled to understand or enter into modern conversations on race and racism, because their inherited and imagined world has not prepared them for this moment. American Southerners, in particular, carry additional obstacles to such conversations, because their regional identity is woven together with the values and histories of white evangelicalism. In Know Your Place, Justin Phillips examines the three community loyalties (white, southern, and evangelical) that shaped his racial imagination. Phillips examines how each community creates blind spots that overlap with the others, insulating the individual from alternative narratives, making it difficult to conceive of a world different than the dominant white evangelical world of the South. When their world is challenged or rejected outright, it can feel like nothing short of the end of the world. Blending together personal experiences with ethics and pastoral sensibilities, Phillips traces for white, southern evangelicals a line running from the past through the present, to help his beloved communities see how their loyalties—their stories, histories, and beliefs—have harmed their neighbors. In order to truly love, repair, and reconcile brokenness, you first have to know your place.
