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Showing posts with label Torpignattara. Show all posts
Showing posts with label Torpignattara. Show all posts

Tuesday, July 2, 2019

Tracking down a muralist in Rome - Carlos Atoche plays with decay and regeneration.

It's not often one finds murales or wall art, right outside one's door - even better, viewed from one's apartment.  But here we are in Pigneto (a now rather hip, but still working-class neighborhood of Rome) looking from our balcony at a fine work using images of ancient Roman statues, and placing them under water. I also like the fish floating just above the "Carrozzeria - auto e moto" sign (car and scooter repair, down the block).
We're one of those balconies on the left. Our view of the murales
is really only of the left side, as seen in the top photo.
Always eager to explore our immediate surroundings, we tracked down the painter of the mural, which is on one of the very old buildings that are now dwarfed by housing blocks. We thought we had seen this theme of Roman statues, under water, around Rome and, indeed, we had.

A small plaque at right indicates that Atoche did this mural in 2016 as part of a project by a group of tour guides to raise
money for earthquake victims.




We saw a plaque naming Carlos Atoche as the author of work above, in Torpignattara, as we were giving ourselves a tour of murales - as they are called in Italian, using the Spanish word for "murals" - in that area.
"The Fall of the Gods," a 40 meter-long mural in Ostiense, which Atoche did in 2015 with Mexican muralist Luis Alberto Alvarez.

Explaining another of Atoche's works, this one in Ostiense (which we've seen many times, including when we lived there 2 years ago), StreetArtRoma - a superb App (the link is to the Web site, which is not as easy to maneuver as the app) - says "The fall of Gods, between busts of mythological giants and historical figures, is a symbolic representation of the decay of power; the glories of the past consumed by the passing of time. What remains is the unstoppable force of the universe, the energy of the oceans, the drive of life, the animals, the sky, the plants and the tides."  That's a bit high-falutin' as we might say, but not bad.

No doubt about the artist here. "atoche" appears at the top of this painting in
Portonaccio.


We like that Atoche tends to put his work on older, even abandoned buildings, perhaps emphasizing the theme of decay. At the same time, he's decorating the neighborhood - or is he gentrifying it? And is that good or bad? (I vote for "good.")

Not identified, but clearly Atoche.









StreetArtRoma also notes that Atoche is Roman by adoption, born in Lima in 1984 of an Argentinian mother and Peruvian father.















Atoche works out of this studio in Pigneto. 


Below, several other Atoche works, all in Pigneto.  Horses are among his favorite subjects. 




We're glad he's decided to enliven our environs. Here's his Web site. 
This is RST's 792nd post.  Use the search engine at far upper left to explore Rome and environs. 

Dianne

Friday, August 3, 2018

The Catacombs in Torpignattara: Our Candidate for Best Catacombs in Rome




Rome has 500 catacombs.  About a dozen are regularly open to the public, and we've been to half of those.  One of us (guess who) claims re these almost 2000-year-old evocative burial grounds, "seen one, seen 'em all."  But our recent visit to the catacombs of Saints Marcellinus and Peter (Santi Marcellino e Pietro) proved him wrong.


Easily reached by the "trenino" (little train) that runs from Stazione Termini (more directions at the end of this post), these lightly visited catacombs have a wealth of newly restored frescoes dating from about the 4th century on.  The story of the frescoes' restoration includes funding by Azerbaijan (you tell me!).

President of the Pontifical Council for Culture
and of the Pontifical Commission for
Sacred Archaeology, Cardinal Gianfranco Ravasi,
 hosts Dr. Mehriban Aliyeva, President of the
 Azerbaijani Heydar Alieyev Foundation in 2014
celebrating the Foundation's funding of the
laser technology restoration of the catacombs, 



New laser technology was used to remove the black gummy coating (from age, mold, candle smoke) and graffiti on the paintings.  The before and after photos are remarkable.


We were not allowed to take photos inside so these pictures (except at the end of the post) are not ours.
2006 excavations of 1,000 skeletons.















There are almost 90 decorated rooms in these 4.5 kilmoeters (3 miles) of burial niches on three levels well below ground.  We saw a dozen or more.  Over 20,000 bodies were once in this "cemetery," 1,000 of which were found only in 2006, with their togas still on.

An elaborately decorated room of likely a wealthy family.
These frescoes apparently document women participating in church rites, though we didn't see enough to draw that conclusion.  They include a painting of Jesus healing a "bleeding woman," the topic of which is of interest in church history.
Jesus healing the bleeding woman.


The frescoes are, of course, highly symbolic, and our tour guide (who spoke excellent English to the three of us on the tour that day) seemed to enjoy elaborating on the symbolism, which we attempted to interpret as well.

The new laser technology has been used on paintings in the more visited Catacombs of Domitila off the via Appia Antica, but those newly-restored paintings are not part of the tour as of 2018.

The mausoleum of St. Helena, undergoing restoration.
You enter the Catacombs of Marcellinus and Peter from the courtyard of the mausoleum of Helena, Constantine's mother, which is in the process of being restored.  When it is, this complex likely will attract more visitors.

One of the more informative aspects of the complex is the mausoleum's use of amphorae in its walls.  Amphorae, old vessels used to carry olive oil and other liquids, were thrown away once they were empty.  These old, often broken, ceramics then were sometimes used in the building of walls to lighten the load, because they were empty.  The wall, which basically was a tower, deteriorated over time, so that it now shows the amphorae inside.  A colloquial word in Italian for amphorae or jugs, is "pignatta."  The tower was known as the "tower of the jugs" or "Torpignattara," and so the neighborhood is named today.  That was a new one, even for our Roman friends.
The orange remains of the amphorae in the mausoleum's 'tower' from which Torpignattara gets its name.

Tours of the catacombs are available 5 times/day, every day except Thursday (much online information about the catacombs is woefully out of date), in English and Italian, and also via mp3 players in German, Spanish, and French. The regular price is 8 Euros, children under 7 free, reduced for children 7-18 and some others.  The Web site is sparse but clear and in English as well as Italian.  You can book via email (in English) online, and not much in advance.  We did it the day before we went.

Take the trenino or tram at the far end of via Giolitti next to Termini towards Centocelle, to the Berardi stop.  It's a short ride - about 10-15 minutes.  The catacombs are directly across the street.  A walk back towards the center along via Casalina will give you a feel for the heavily ethnic neighborhood of Torpignattara - and places to eat and drink.  You can catch the trenino back to Termini every few blocks.

Dianne
And thanks to our friend Brian who told us about the recent restorations.




Thursday, August 25, 2016

The Walls of Rome: 4 Hours in the Life of a Poster

Not all posters dealing with immigration are negative.  This one, found
in the immigrant-heavy (mostly Bangladeshi) suburb of Torpignattara, is critical of the
local government for its failure to make documents available to immigrants.
It's no secret that many Italians are concerned about immigration; under EU rules, the country where an immigrant first makes land must make provision for that immigrant.  There is no plan for dividing up immigrants equally.  This is a particular problem for Italy, which has a long and vulnerable coastline and is a short (but often deadly) boat ride from troubled Tunisia. As elsewhere in Europe, there are those in Italy who identify immigration with terrorism--and, those who don't.

These issues were brought home forcefully on the day we "landed" in Monteverde Vecchio, an upper-middle-class neighborhood on the hill above what is commonly thought of as Trastevere.  Here's the poster we found:

Stop Terrorism, Stop Immigration..  Not sure what "Fdl" is.
 There is an anti-immigration Facebook group known as Patria e Liberta
Four hours later, when we passed that way again, the poster looked like this:


  In the weeks that followed, we found other posters dealing with immigration:

This political poster was part of the 2016 mayoral election.  "Let's Stop
the Alien Invasion
CasaPound's poster, in Casal Bertone: Defend Rome/Enough Immigration, Enough "Welcoming"












Thursday, July 30, 2015

Murales Italian Style: Rome's Street Art Brought to You by Wunderkammern

Russian artist Alexey Luka painting his  multi-story work in Torpignattara, thanks to Wunderkammern and the Russian Embassy. See the finished work, below.
By Spanish artist Escif, "The Right Ear."
Just a great painting, building-high, on the proper
side of the building too.
Wandering the streets of the near-in 'suburb' of Torpignattara, as we have many times, we are constantly delighted by the street art that seems to mysteriously appear where one least expects it.  Most of this street art consists of large works sponsored by the trendy, yet earnest Wunderkammern Gallery, located in the heart of Torpignattara.

The professionally executed 'murales', as the Italians call large wall paintings, stand in contrast to the neighborhood's historical reputation as an impoverished hotbed of crime and, now, the media claims, degraded by an influx of immigrants, Bangladeshi in particular.  
At opening for 2501 (aka Jacopo Ceccarelli) in Wunderkammern's
Torpignattara gallery.

Torpignattara indeed is changing, and rapidly.  An industrial and working-class neighborhood once filled with immigrants from Italy's Southern and Central areas, Torpignattara's population started to decline in the 1980s due to poor housing and high crime rates - until the Bangladeshi (now numbering 5,000) and other immigrants moved in. 

The area has the lowest percentage of college graduates of any in Rome, and the exodus of Italians preceded the influx of international immigrants.  But residents remain unrealistically nostalgic about the "old" Torpignattara, before part of it became "Banglatown." Sociologists describe it as a "re-urbanization," rather than a "gentrification."  There is less crime now than before the Bangladeshi moved in. One could even say it is being cleaned up by the immigrants.  It is an area that continues to be separated socially into different districts.  We found the Bangladeshi merchants concentrated in one section. Another section is the rapidly gentrifying - in the true sense of the word:  Pigneto.  

So how to explain these gorgeous paintings?  They are almost all the result of the intervention by Wunderkammern, which 7 years ago located its gallery here, moving from the charming medieval town of Spello, just south of Assisi in Umbria.  

Change seems to go with the territory for Wunderkammern.  The German word refers to the Victorian "cabinet of wonders," and Wunderkammern is such a cabinet, but one going well beyond its "cabinet doors."  It's a first- rate gallery with artists' works that sell into the 6-figures of Euros.  So it could be located in the center, it could ignore the streets outside its doors. In fact, it does the opposite.
Jef Aerosol's "Tom," near Wunderkammern's gallery space.

As Co-Director Giuseppe Pizzuti told us, "We usually ask artists that we work with and that we invite for a show to Rome to leave a sign of their staying and to realize an outdoor work." Wunderkammern selects the sites.  Pizzuti continues, "Usually we are inspired by outdoor spaces that we see while riding the streets of our neighborhood. Whenever we find a wall that is inspiring for us, we try to obtain an authorization from the people living in that building."  I asked him how receptive the building owners are to the request.  "At the beginning it was not always so easy," Pizzuti said.  "Right now people are calling us to 'offer' their walls to us to have our artists work on them." 
Found this one just walking around Torpignattara,
By Parisian artist Ludo, untitled.  

Of course the 'murales' in Torpignattara can be viewed simply as part of a world-wide trend.  Berlin, London, Los Angeles - all cities famous for their street art.  Torpignattara's 'murales' differ from the concentration of murales in the neighborhoods of San Basilio and Tor Marancia, where large blocks of 8-10 story public housing buildings have created vast 'canvasses' for multiple works close together.  Hitness did 6 of these facades in San Basilio and Tor Marancia's housing project features about a dozen works from international artists, all done in 2015.  By contrast, Torpignattara's walls are varied.  There's no single big block of public housing featuring facades like those in San Basilio and Tor Marancia.  As the neighborhood is described in the book Global Rome, the housing is of varied ages and types, from farmhouses dating from the "agro Romano" to some multi-story block housing.  As a result, the works are more surprising and mysterious to the walker.  And they come in all different sizes.

A C215  (French) work next to the bar across from
Wunderkammern's gallery.
Agostino Iacurci, Clear Sky on the Pink House
One can see Wunderkammern's intervention as changing part of the fabric of this community, most recently under some siege from racists who would limit the percentage of children in the schools whose heritage is non-Italian - even if those children were born in Italy and speak only Italian.


Luka's finished work (at dusk; so the colors aren't true in this photo).
When we were here, there were Rom around having collected detritus and
headed back to, we assume, their camps in cars and with their kids' bikes.

Besides a trip to Wunderkammern, which we highly recommend, one can check out the street art with the new app, streetartroma. We don't recommend the city's tourist map, yes, of street art; it's close to unintelligible.

We do recommend Jessica Stewart's book: Street Art Stories ROMA.

Wunderkammern: 124 via Gabrio Serbelloni.  From Termini, the 105 bus or the tram on via G. Giolitti. tel. Tel: +39 - 0645435662
Cell: +39 - 3498112973 
email:  wunderkammern@wunderkammern.net
A stupendous piece by Nicola Verlato, born in Verona, now from Los Angeles.
It portrays Pierpaolo Pasolini's death.  That's Petrarch and Ezra Pound below (we
needed the explanation from the streetartroma app).  This does not appear to have
been sponsored by Wunderkammern, but clearly the location and its existence
owe much to the gallery.
Generally open Wednesdays to Saturdays 5 - 8 p.m., when there is an exhibit, or by appointment. .  Check the Web site.  Current exhibit is on until 25 July, 2015.

An added attraction is the osteria, Betto e Mary, a few blocks
from Wunderkammern.  One of the cheapest, and most authentic, Roman
trattorie - complete with any kind of animal innards cooked any way
you want them.  This is just one of their several large spaces.
via dei Savorgnam, 99. +39 06 6477 1096.



Saturday, May 2, 2015

Jef Aerosol: Pioneer Street Artist

One of the artist's signature works--a lovely example of "The Sitting Kid."  This one is on the back patio of  Wunderkammern  gallery, Torpignattara.  

Torpignattara
Jef Aerosol is the pen (one should say "aerosol") name of Jean-Francois Perry, one of our favorite urban street artists, now with a significant body of Rome work.  Sometimes referred to as the "French Banksy," Aerosol often paints celebrities--Presley, Ghandi, Dylan, and others--but we were attracted to another side of his work, the presentations of ordinary people--kids, beggars, older folks--and the way he invests these people with attitudes and emotions.

Torpignattara
Born in 1957 in Nantes, France, Aerosol came to street art in the early 1980s, and is self-taught.  He recalls having been influenced by the "scene" in 1960s London, where he spent a month each year vacationing: Twiggy, the British musical scene, the fashions of Carnaby Street.  Also influential were 1970s underground rock bands.  He has always been much taken with eyes; "a death," he has said, "is a body whose gaze has been turned off."


"The Sitting Kid," Hollywood Blvd.
Aerosol's cutting and spraying work can be found on walls in many major cities, including Los Angeles (Hollywood is the site of  what is apparently the earliest version of his signature work, "The Sitting Kid"), Tokyo, Dublin, Chicago, Palermo and, since 2014, Rome, where his work was first presented at Torpignattara's Wunderkammern gallery--a favorite art space of ours--in May of that year.


A red arrow appears on most of his creations. 

Bill
Another "The Sitting Kid," Torpignattara.  Red butterflies, but no red arrow, apparently.  



Monday, April 13, 2015

Global Rome: Changing Faces of the Eternal City. Book Review.




Foro Italico, one site of the 1960
Olympic Games
Is Rome a global city?  That's one of the claims--it's right there in title, Global Rome--made in this edited collection of 17 essays, subtitled Changing Faces of the Eternal City.  As Bjorn Thomassen and Piero Vereni point out in the first of the essays, it's certainly not a global financial city, or a global industrial city, but it is, arguably, the most "imagined" city in the world.

And, as the editors, Thomassen and Isabella Clough Marinaro emphasize, it's global in its tourism, as a locus of international diplomacy and, especially, in its growing number of immigrants, who now make up about 1/8 of the city's population.

Moreover, as Simon Martin's essay makes clear, Rome has been, and to some extent remains, a global sporting city, hosting the 1960 Olympic Games and the 2009 World Swimming Championships (in contrast, Mark Dyal's essay on romanità argues that the term's application to soccer was part of a larger effort to hold on to an older, traditional Rome threatened by multiculturalism, modernization--and globalization).




In a new shop near Piazza Vittorio, an Asian
family eats lunch
Curiously, there isn't much in the book about tourism or diplomacy or the imagining of Rome, and Michael Herzfeld's contribution makes the point that despite its increasingly global population, Rome as an immigration center is also characterized by "extreme localism"; Romans resent the newcomers.  Still, treatments of immigration are the focus of at least six of the essays.  Pierluigi Cervelli looks at several groups of new arrivals and at what he calls their "spatial practices."  The Chinese have prospered by buying property in the Esqulino--the area surrounding Piazza Vittorio--where they predicted property values would rise over time.  Bangladeshi settled a bit further out, in the near suburb of Torpignattara.  Romanians and Albanians occupy areas even farther outside the center, near and beyond the GRA to the north.  And the Roma have survived by being "invisible" to the authorities, living in underpasses and along river banks--and moving often.

Cinema Impero closed in 1983, before
the Bangladeshi arrived in Tor Pignattara
We were particularly interested in the experience of the Bangladeshi in Torpignattara, because we "discovered" and wrote about the area a few years ago and have since returned several times to explore its art galleries and its substantial array of graffiti.  Alessandra Broccolini presents the community as a "frontier," where over two decades the Italian population has been partly displaced and forced to accommodate an influx of Bangladeshi---about 5,000, most living in what is known to older residents as the  Marranella--that has led some to call the place "Banglatown."  As of 2007 about 25% of shops were run by the newcomers.  Lest one assume that the new immigrants led to the decline of the area, Broccolini points out that the area was hardly prospering before the Bangladeshi arrived--the striking, modernist movie house, the Cinema Impero, closed in 1983.  After the population influx, the crime rate declined and the crime rate declined and the street lighting improved.



Carlo Pisacane elementary school--the site of conflict
between Italians and Bangladeshi
Herzfeld's "extreme localism" appeared in Torpignattara in the form of the "Piscane Affair," a series of events swirling around the Carlo Pisacane School, attended by Bangaldeshi, Chinese, and Egyptian students--together, 115 of 140 students in one survey. The change led school authorities to cap foreign enrollment at Pisacane at 30% of the total.  As author Piero Vereni notes, the assignation "foreign" applied even to children born in Rome and fluent in Italian.  The Pisacane affair, he concludes, was about what it meant to be "Italian."

Via Boccea, one of the areas where Roma "settled".


The Roma are doubtless Rome's most despised immigrant group.  Tourists protect their wallets when they approach, and to most Italians they seem incapable of the hard work and community-building that would bring them into the mainstream.  They come off somewhat differently in two essays in this collection.  Marco Solimene presents the Xoraxanè Roma, immigrants from Yugoslavia beginning in the 1960s, as a determined and responsible group, one that cultivated relationships with the Italians who offered services the Roma needed: bars, Internet points, tobacconists, and the Trastevere train station, which served as a meeting place.  Some settled in the via Boccea area to the northwest, others out via Nomentana to the north, and the largest number in Rome's southwest, in Trullo, Corviale, Tor di Valle, Muratella, and especially Magliana, with its concentration of scrap iron dealers to whom Roma scavengers could sell.

Trullo's self-managed community center, "Ricomincio
dal Faro," operated by squatters.  Once a movie house.
In our more innocent days, we explored the massive housing project at Corviale and, more recently, spent an afternoon in Trullo, watching trash cans burn and admiring what we learned--from this book--was a self-managed community center created by squatting (occupato) in an abandoned movie theater.

And, having lived in the Marconi district and across the river in San Paolo, we were eager to learn
Squatters still live tucked away on the grounds
of the now-defunct Testaccio slaughterhouse.  
more about the Roma who had been living nearby.  Ulderico Daniele and editor Marinaro tell two stories involving the Roma, both about evictions.  One features Roma living under Ponte Marconi and on vicolo Savini in Ostiense, both evicted and moved by the city to Pomezia, 25 km away and far from their closest community settlement.  Another group, evicted from an unauthorized camp in 2011, took refuge in the Basilica of San Paolo fuori le mura--and, for several days, refused to leave.  That group ended up at an authorized camp in via Salaria, on the other side of the city.

For Daniele and Marinaro, these episodes are typical of authorities' efforts to clear areas deemed valuable--such as vicolo Savini and the Testaccio slaughterhouse--and give them over
to private developers.  Cristina Lombardi-Diop tells a similar story, and a similarly depressing one, of some 2,000 Senegalese immigrants, happily and productively renting apartments in 5 buildings in "Residence Roma" near Forte Bravetta, yet forced to relocate--to Ladispoli, Pomezia, Centocelle, and Torpignattara--to make way for single-family villas.  The mayor at the time was left-center Walter Veltroni, who wrote the foreword to our first book.

This account of evictions is one of several in the collection that deal interestingly with the ugly Rome politics of housing and homelessness.  One the one hand, the city's interest in cultural heritage protection--argues Valerie Higgins--has emptied central Rome of Italians (only 100,000 live in the Centro Storico, a term that didn't exist until 1960), marginalizing locals and making the core "more like a museum" than a living community.  To find an authentic Rome--that is, areas inhabited by Romans--she adds, you have to go the suburbs and even the periphery--the subject, we self-servingly add, of Rome the Second Time and Modern Rome and, especially, of this blog.

On the other hand, failure of the city authorities to develop a reasonable and coherent housing policy has led to something of a frontier mentality in areas distant from the center and has played into the hands of unscrupulous or short-sighted developers.  Carlo Cellamare labels Rome "The Self-Made City" because so much of its periphery has undergone "development by improvisation"--housing made by squatters in abandoned buildings or on public land, or just plain illegal building, sometimes on a grand scale.  The Valle Borghesiana, between via Prenestina and via Casilina and about 7 km beyond the GRA, is typical: a lot of building but no public space and minimal services--a few bars that take on a quasi-public function as meeting places.  Young people have only the mall.

Miles away on the coast sits the tiny community of Idroscalo, in recent years a symbol of Rome's dysfunctional housing policy.  Located just around the corner from the memorial to Pier Paolo
We've never been to Idrascalo, but it's just a stone's
throw from this small park, a memorial to Pier
Paolo Pasolini.
Pasolini (see our post, which has directions), this illegal, unauthorized "town" of 300 homes, all built on public land, continues to vex authorities, who have both allowed it to exist and expand and yet regularly threaten its residents with expulsion--presumably so that this valuable property could be "developed."  In the meantime, as Ferruccio Trabalzi writes, Idroscalo plugs along, its residents pleased to be on the sea, enjoying the sunsets, yet lacking shops, a library, city offices, a community center--even a piazza. In his essay on the Porta di Roma shopping center on Rome's periphery, Cellamare offers another case of service-deprivation, describing the enormous mall as a "black hole," sucking the life out of nearby housing areas.

Pierpaolo Mudu is equally critical of Rome's housing history, arguing that the failure to build housing--and better housing--is a matter of policy.  He dates the problem to l924, when the term "borgate" was coined and Acilia was built, far from the center.  Housing developers became key players  in the postwar era, building projects that were poorly constructed and, again, lacked services--like  Magliana, constructed along the Tevere in the 1960s.  A
The shopping center  in Torbellamonaca, a suburb
constructed as an "episode."
1962 housing law--housing law 167--produced Spinaceto, Corviale, Laurentino 38, and
Torbellamonaca--all constructed, writes Mudu, as "episodes," rather than as integrated parts  of Rome.  With the withdrawal of the public sector from the housing market after 1970, illegal (abusive) housing became common.  Rent controls were abolished in 1998.  In the 1970s and 1980s, Tufello, San Basilio, and Trullo became sites of resistance to these policies and practices, resistance to the "refusal of the political class to take on any responsibility."

Rome's dysfunctional policies on housing and land use have likely contributed to the inclination of Romans to abandon the public sphere for an insular retreat to the private sphere and family life.  Nonetheless, there have been
An occupied social center in Ostiense.  The facade is now
fully painted--by street artist Blu..  Inside, a cafe serves
tea, apertifs, and snacks.  
counter-developments, efforts to fashion a community experience.  Beginning in the 1970s, young people began to create social centers, many of them by occupying--that is, squatting in--unoccupied buildings.  As Mudu explains, most of these were created by the left (Angelo Mai, Garage, and Rialto), but a few--notably Casa Pound--were established by the right.  Today, some 34 social centers exist in Rome, and about half are legal.







Likely an illegal private garden, in the Parco della Cafferella--
that is, on public land.  
Other Romans have taken to farming without permission on public land; in 2011, there were
70 public gardens in Rome, and many communal gardens--all created in the absence of a coherent city policy.  Not to make money, as Ferruccio Trabalzi notes, but to foster community. 

Global Rome is a remarkable collection, a complex yet accessible mix that sheds light on little-understood aspects of a city whose cultural patrimony can overwhelm efforts to appreciate and understand its nuances.  It will have special appeal for scholars of modern Rome and for those interested in exploring beyond the historic center, and beyond the suburbs into the periphery.  Rome the third time, perhaps.

Bill  

Global Rome: Changing Faces of the Eternal City, ed. Isabella Clough Marinaro and Bjorn Thomassen (Bloomington: Indiana University Press, 2014), is available through Indiana University Press [$32 paper, $27.99 eBook] and amazon [$27.56 paper, $16.40 eBook].