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\"This volume examines how 'Saving Our Lives Hear Our Truths,' or SOLHOT, a radical youth intervention, provides a space for the creative performance and expression of Black girlhood and how this creativity informs other realizations about Black girlhood and womanhood.\"--Page 4 of cover.

Drawing on both personal experience and critical theory, Carole Boyce Davies illuminates the dynamic complexity of Caribbean culture and traces its migratory patterns throughout the Americas. Both a memoir and a scholarly study, Caribbean Spaces: Escapes from Twilight Zones explores the multivalent meanings of Caribbean space and community in a cross-cultural and transdisciplinary perspective. From her childhood in Trinidad and Tobago to life and work in communities and universities in Nigeria, Brazil, England, and the United States, Carole Boyce Davies portrays a rich and fluid set of personal experiences. She reflects on these movements to understand the interrelated dynamics of race, gender, and sexuality embedded in Caribbean spaces, as well as many Caribbean people's traumatic and transformative stories of displacement, migration, exile, and sometimes return. Ultimately, Boyce Davies reestablishes the connections between theory and practice, intellectual work and activism, and personal and private space.

In this multimedia essay, we explore doing digital wrongly as a music-making process rooted in Saving Our Lives Hear Our Truths (SOLHOT), a collective space of organizing with Black girls to celebrate Black girlhood. Using first-person narrative, reflection, and photography, our essay is arranged as a story of an incoherent collective that highlights a litany of listening practices and responses to our personal lives and participation in SOLHOT, and how music becomes an iteration of how we worked together. Guided by an investment in Black feminist and womanist theories and practices, we demonstrate the usefulness and nonuse of a sonic ritualized creative practice that allows us to critique ourselves, as well as structural conditions, in relation to doing collective work with Black girls, based on how sounds arrived to us and what we brought to it. Our essay is in critical conversation with various themes in this American Quarterly special issue, \"Toward a Critically Engaged Digital Practice: American Studies and the Digital Humanities,\" including collaborative research and inter/transdisciplinary, digital humanities as publicly engaged scholarship, and possibilities and limitations for digital humanities and American studies in colleges and universities, including pedagogy at the undergraduate and graduate levels. \"Doing Digital Wrongly\" is a narrative and analysis of praxis that contributes to and renews academic preoccupations with digital humanities, Black girlhood, and hip-hop studies. This multimedia essay also disrupts several assumptions of qualitative inquiry and allows us to reimagine the collective as not without you; to re-sound Black girlhood as not biologically determined; and to reverberate love for who was there, who is still there, those who left, those who ain't never leaving, and for those of the future who will come like they've always been a part. We show how we used doing digital wrongly to face heartbreak, and how we turned to music to reimagine new ways to be and do SOLHOT together. SOLHOT is made possible by do-it-ourselves ethics; we create what we need for the Black girlhood we make and our do-it-ourselves aesthetics, which includes making music as a band capable of redirecting sounds that allow us to save our lives, and hear our truths. Doing digital wrongly, in its initial iteration, made specific promises possible, including \"I love you in a space that says we shouldn't,\" \"We are artists without form and scholars without method,\" and \"We are misunderstood and determined to persist,\" which are fully described and analyzed in this essay. Doing digital wrongly changed the set design of traditional work with Black girls in community spaces, to feature listening, friendship, peer mediation, and community mediation. When we do digital wrongly, we show up and out for us, as a way to circulate frequencies that register Black girlhood priceless and something that ought to feel like you are implicated too.

In this Instructional Resource, Denmead and Brown consider how \"Ruffneck Constructivists,\" an exhibition curated by Kara Walker at the Institute for Contemporary Art (ICA), University of Pennsylvania, can disturb and provoke young creatives and art education more broadly. For this exhibition, Walker draws on the figure that MC Lyte portrays in her song \"Ruffneck,\" to consider architectural forms and meanings that contain all the \"angst and braggadocio and ego and rage that Black creatives have brought forth in other fields, particularly music, but also underground entrepreneurship, dance, 'thug life,' and spiritualism\" (Walker, 2014 , para. 1). The exhibit features 11 artists whose work across a variety of media--installation, video, sculpture, and painting--fits Walker's vision for defiant architecture made in the spirit of rude boys, b-girls, and ragamuffs.

In this article we show how an interpretative methodology of narrative analysis is beneficial for the study of public administration. We demonstrate the use and usefulness of a method for analyzing narratives that is based in concepts from classical rhetoric and semiotics. The method allows researchers to make more available the unstated, implicit understandings that underlie the stories people tell. We show how we have used this method to examine our data about change in city administrations. This article is a step-by-step demonstration of our method of narrative analysis and an illustration of how this method can be used.

The Global History of Black Girlhood boldly claims that Black girls are so important we should know their histories. Yet, how do we find the stories and materials we need to hear Black girls' voices and understand their lives? Corinne T. Field and LaKisha Michelle Simmons edit a collection of writings that explores the many ways scholars, artists, and activists think and write about Black girls' pasts. The contributors engage in interdisciplinary conversations that consider what it means to be a girl; the meaning of Blackness when seen from the perspectives of girls in different times and places; and the ways Black girls have imagined themselves as part of a global African diaspora. Thought-provoking and original, The Global History of Black Girlhood opens up new possibilities for understanding Black girls in the past while offering useful tools for present-day Black girls eager to explore the histories of those who came before them. Contributors: Janaé E. Bonsu, Ruth Nicole Brown, Tara Bynum, Casidy Campbell, Katherine Capshaw, Bev Palesa Ditsie, Sarah Duff, Cynthia Greenlee, Claudrena Harold, Anasa Hicks, Lindsey Jones, Phindile Kunene, Denise Oliver-Velez, Jennifer Palmer, Vanessa Plumly, Shani Roper, SA Smythe, Nastassja Swift, Dara Walker, Najya Williams, and Nazera Wright