This sparkling collection of tales told around Western campfires, written by the master chronicler of the range, is a literary find of great interest and genuine importance.
Andy Adams is remembered chiefly as the author of The Log of a Cowboy. Among the most charming features of the Log are the stories the cowhands told around the fires at night when the day's work was done. Similar and equally delightful stories are scattered throughout several other less successful novels, long out of print, while others that never saw publication were found by the editor among Adams' papers.
In the present book, Wilson M. Hudson has gathered together these tales of the trail and camp into one volume that surely will delight the hearts of all readers who are interested in the old West.
Over the past two decades, scholarship in architectural history has transformed, moving away from design studio pedagogy and postmodern historicism to draw instead from trends in critical theory focusing on gender, race, the environment, and more recently global history, connecting to revisionist trends in other fields. With examples across space and time—from medieval European coin trials and eighteenth-century Haitian revolutionary buildings to Weimar German construction firms and present-day African refugee camps—Writing Architectural History considers the impact of these shifting institutional landscapes and disciplinary positionings for architectural history. Contributors reveal how new methodological approaches have developed interdisciplinary research beyond the traditional boundaries of art history departments and architecture schools, and explore the challenges and opportunities presented by conventional and unorthodox forms of evidence and narrative, the tools used to write history.
Anna Akhmatova is considered one of Russia’s greatest poets. Her life encompassed the turmoil of the Russian Revolution and the paranoia and persecution of the Stalinist era: her works embody the complexities of the age. At the same time, she was able to merge these complexities into a single, poetic voice to speak to the Russian people with whom she so closely and proudly identified.
Way of All the Earth contains short poems written between 1909 and 1964, selected from Evening, Rosary, White Flock, Plantain, Anno Domini, Reed, and The Seventh Book. Intricately observed and unwavering in their emotional immediacy, these strikingly modern poems represent one of the twentieth century’s most powerful voices.
Daisy Al-Amir is one of the more visible figures in women's fiction in the Arab world today. This collection of stories, originally published in Lebanon as Ala La'ihat al-Intizar, is the most recent of her five publications. Her stories intimately reflect women's experiences in the chaotic worlds of the Lebanese civil war and the rise of Saadam Hussain as Iraq's leader. Set in Iraq, Cyprus, and Lebanon, the stories shed light on an unusual Middle East refugee experience—that of a cultural refugee, a divorced woman who is educated, affluent, and alone.
Al-Amir is also a poet and novelist, whose sensual prose grows out of a long tradition of Iraqi poetry. But one also finds existential themes in her works, as Al-Amir tries to balance what seems fated and what seems arbitrary in the turbulent world she inhabits. She deals with time and space in a minimalist, surreal style, while studying the disappointments of life through the subjective lens of memory. Honestly facing the absence of family and the instability of place, Al-Amir gives lifelike qualities to the inanimate objects of her rapidly changing world.
In addition to the stories, two examples of the author's experimental poems are included. In her introduction, Mona Mikhail places these stories and poems in the context of contemporary Islamic literature and gender studies.
William James - American Writers 88 was first published in 1970. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
Nourished by the cultural exuberance of second wave feminism, Helaine Victoria Press was a home-grown effort of two young women, Jocelyn Cohen and Nancy Poore, who learned how to print, established a printshop, and became the first publishers of women’s history postcards. The authors of Women Making History demonstrate that by creating postcards, Helaine Victoria Press aimed to do more than provide a convenient writing surface or even affect collective memory. Instead, they argue, the press generated feminist memory. The cards, each with the picture of a woman or group of women from history, were multimodal. Pictures were framed in colors and borders appropriate to the era and subject. Lengthy captions offered details about the lives of the women pictured. Unlike other memorials, the cards were mobile: they traveled through the postal system, viewed along the way by the purchasers, mail sorters, mail carriers, and recipients. Upon arriving at their destinations, cards were often posted on office bulletin boards or refrigerators at home, where surroundings shaped their meanings.
This is the first book to demonstrate the relationships between the feminist art movement, the women in print movement, and the scholars studying women’s history. Readers will be drawn to both the large quantity of illustrative materials and the theoretical framework of the book, as it provides an expanded understanding of rhetorical multimodality.
As compelling as it is turbulent, The Weedkiller’s Daughter captures a family at the center of the rapidly changing society of midcentury Detroit. Fifteen-year-old Susie greets this new era with a sense of curiosity, while her father rages against it, approaching anything and everything foreign, unconventional, or unfortunate as he does the weeds he perpetually removes from his garden. As Susie seeks escape from her parents’ increasingly restrictive world of order and monotony, she ventures deeper and deeper into a dangerously new territory. The Weedkiller’s Daughter is a gripping psychological exploration of a generation on the brink of indelible—and irreversible—transformation.
Is there a meaning to our suffering? Is hope realistic when tragedy befalls us? Is a return to normalcy possible after our life is uprooted by catastrophe? These are the questions that disaster psychologist Dr. Jamie Aten wrestled with when he was diagnosed with Stage IV colon cancer. In this gripping memoir, Aten shares the life-affirming and faith-renewing insights that he discovered during his tumultuous struggle against the disease.
Aten’s journey began in 2005 when Hurricane Katrina struck his community. After witnessing the devastation wrought by the storm, he dedicated his career to investigating how people respond to and recover from all manner of disasters. He studied disaster zones around the globe and founded the Humanitarian Disaster Institute at Wheaton College. His expertise, however, was little comfort when a fateful visit with his oncologist revealed advanced and aggressive cancer. “You’re in for your own personal disaster” was his doctor’s prognosis.
Thrust into a battle for his life, with cancer cells and chemotherapy ravaging his body, Aten found his professional interest taking on new meaning. His ordeal taught him firsthand how we can sustain ourselves when burdened with seemingly unbearable suffering. Some of his counterintuitive insights include: to find hope, be cautious of optimism; when you want help the least is when you need it most; and spiritual surrender, rather than a passive act, is instead an act of profound courage.
This last point speaks to the element of grace in Dr. Aten’s story. As he struggled to understand the significance of his suffering, he found himself examining his Christian faith down to its bedrock and learned to experience the redeeming presence of God in his life. Dr. Aten has a natural exuberance that shines through his writing. Infused with his compassionate voice and humanitarian concern,
A Walking Disaster is ultimately an inspirational story about the power of the human spirit to endure trauma with courage.
In this provocative study, Paul Atwood attempts to show Americans that their history is one of constant wars of aggression and imperial expansion.
In his long teaching career, Atwood has found that most students know virtually nothing about America's involvement in the wars of the 20th century, let alone those prior to World War I. War and Empire aims to correct this, clearly and persuasively explaining US actions in every major war since the declaration of independence. The book shows that, far from being dragged reluctantly into foreign entanglements, America's leaders have always picked its battles in order to increase their influence and power, with little regard for the American soldiers and 'enemy' civilians killed or made to suffer in the process.
This book is an eye-opening introduction to the American way of life for undergraduate students of American history, politics and international relations.
Here is a bold new vision of Victorian culture: a study of myths of womanhood that shatters the usual generalizations about the squeezed, crushed, and ego-less Victorian woman.
Through copious examples drawn from literature, art, and biography, Nina Auerbach reconstructs three central paradigms: the angel/demon, the old maid, and the fallen woman. She shows how these animate a pervasive Victorian vision of a mobile female outcast with divine and demonic powers. Fear of such disruptive, self-creating figures, Auerbach argues, produces the approved ideal of the dutiful, family-bound woman. The awe they inspire associates them with characters in literature, the only vehicles of immortality in whom most Victorians could unreservedly believe.
Auerbach looks at a wonderful variety of sources: Svengali, Dracula, and Freud; poets and major and minor novelists Carlyle, John Stuart Mill, and Ruskin; lives of women, great and unknown; Anglican sisterhoods and Magdalen homes; bardolatry and the theater; Pre-Raphaelite paintings and contemporary cartoons and book illustrations. Reinterpreting a medley of fantasies, she demonstrates that female powers inspired a vivid myth central to the spirit of the age.
“The ‘best’ students are curious risk-takers who make connections across disciplines. By following those instincts—rather than simply chasing ‘success’—the best students achieved it…A wonderful exploration of excellence.”—Fortune
“Skillfully weaves together some of the best research about effective learning strategies with moving stories about remarkable life-long learners. Some of them had great teachers. But most of them succeed because of what they did for themselves.”—Thomas Luxon, Dartmouth College
“We are always telling students to ‘find their passion.’ Now we have a book that looks at how that happens…Ken Bain can really tell a story…it is very rare for a book based upon research to be such a compelling read.”—José Antonio Bowen, Southern Methodist University
Combining academic research on learning and motivation with insights drawn from interviews with people who have won Nobel Prizes, Emmys, or otherwise led lives of meaning and accomplishment, Ken Bain identifies the key attitudes that distinguish the best college students from their peers. Most start out with a belief that intelligence and ability are expandable, not fixed. This leads them to make connections across disciplines and to find ways of reconceiving problems rather than simply looking for the right answer. Intrinsically motivated by their own sense of purpose, they are not overly impressed with conventional notions of success. The best students study in small bites, focus more on concept than procedure, and work collaboratively, getting friends to test them on their knowledge. They don’t achieve success by making success their goal—when it comes, it is a byproduct of following their intellectual curiosity, solving useful problems, and taking risks to learn and grow.
In the frenzied final years of the Weimar Republic, amid economic collapse and mounting political catastrophe, Walter Benjamin emerged as the most original practicing literary critic and public intellectual in the German-speaking world. Volume 2 of the Selected Writings is now available in paperback in two parts.
In Part 1, Benjamin is represented by two of his greatest literary essays, "Surrealism" and "On the Image of Proust," as well as by a long article on Goethe and a generous selection of his wide-ranging commentary for Weimar Germany's newspapers.
Part 2 contains, in addition to the important longer essays, "Franz Kafka," "Karl Kraus," and "The Author as Producer," the extended autobiographical meditation "A Berlin Chronicle," and extended discussions of the history of photography and the social situation of the French writer, previously untranslated shorter pieces on such subjects as language and memory, theological criticism and literary history, astrology and the newspaper, and on such influential figures as Paul Valery, Stefan George, Hitler, and Mickey Mouse.
In the frenzied final years of the Weimar Republic, amid economic collapse and mounting political catastrophe, Walter Benjamin emerged as the most original practicing literary critic and public intellectual in the German-speaking world. Volume 2 of the Selected Writings is now available in paperback in two parts.
In Part 1, Benjamin is represented by two of his greatest literary essays, "Surrealism" and "On the Image of Proust," as well as by a long article on Goethe and a generous selection of his wide-ranging commentary for Weimar Germany's newspapers.
Part 2 contains, in addition to the important longer essays, "Franz Kafka," "Karl Kraus," and "The Author as Producer," the extended autobiographical meditation "A Berlin Chronicle," and extended discussions of the history of photography and the social situation of the French writer, previously untranslated shorter pieces on such subjects as language and memory, theological criticism and literary history, astrology and the newspaper, and on such influential figures as Paul Valery, Stefan George, Hitler, and Mickey Mouse.
Women, Epic, and Transition in British Romanticism argues that early nineteenth-century women poets contributed some of the most daring work in modernizing the epic genre. The book examines several long poems to provide perspective on women poets working with and against men in related efforts, contributing together to a Romantic movement of large-scale genre revision. Women poets challenged longstanding categorical approaches to gender and nation in the epic tradition, and they raised politically charged questions about women’s importance in moments of historical crisis.
While Romantic epics did not all engage in radical questioning or undermining of authority, this study calls attention to some of the more provocative poems in their approach to gender, culture, and history. This study prioritizes long poems written by and about women during the Romantic era, and does so in context with influential epics by male contemporaries. The book takes its cue from a dramatic increase in the publication of epics in the early nineteenth-century. At their most innovative, Romantic epics provoked questions about the construction of ideological meaning and historical memory, and they centralized women’s experiences in entirely new ways to reflect on defeat, loss, and inevitable transition. For the first time the epic became an attractive genre for ambitious women poets.
The book offers a timely response to recent groundbreaking scholarship on nineteenth-century epic by Herbert Tucker and Simon Dentith, and should be of interest to Romanticists and scholars of 18th- and 19th-century literature and history, gender and genre, and women’s studies.
Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
At once intimate and broad in scope, When Friends Come from Afar uses one woman’s life to illuminate a bedrock Chicago institution.
Stewart Holbrook was a high school dropout who emerged from logging camps to become the author of three dozen books, the Pacific Northwest’s foremost storyteller, one of the nation’s most popular historians, and a satirical painter known as “Mr. Otis.”
Today readers are rediscovering Holbrook’s colorful and irreverent accounts of Pacific Northwest history. Wildmen, Wobblies, and Whistle Punks collects twenty-six of Holbrook’s best writings about the region. Combining solid scholarship with humor and a gift for celebrating the offbeat, Holbrook’s stories record a vibrant, often overlooked side of Northwest history. Here are forgotten scandals and murders; stories of forest fires, floods, and other calamities; tales of loggers and life in the logging camps; and profiles of various lowbrow characters—radicals, do-gooders, dreamers, schemers, and zealots.
The Light Crust Doughboys are one of the most long-lived and musically versatile bands in America. Formed in the early 1930s under the sponsorship of Burrus Mill and Elevator Company of Fort Worth, Texas, with Bob Wills and Milton Brown (the originator of western swing) at the musical helm and future Texas governor W. Lee "Pappy" O'Daniel as band manager and emcee, the Doughboys are still going strong in the twenty-first century. Arguably the quintessential Texas band, the Doughboys have performed all the varieties of music that Texans love, including folk and fiddle tunes, cowboy songs, gospel and hymns, commercial country songs and popular ballads, honky-tonk, ragtime and blues, western swing and jazz, minstrel songs, movie hits, and rock 'n' roll.
In this book, Jean Boyd draws on the memories of Marvin "Smokey" Montgomery and other longtime band members and supporters to tell the Light Crust Doughboys story from the band's founding in 1931 through the year 2000. She follows the band's musical evolution and personnel over seven decades, showing how band members and sponsors responded to changes in Texas culture and musical tastes during the Great Depression, World War II, and the postwar years. Boyd concludes that the Doughboys' willingness to change with changing times and to try new sounds and fresh musical approaches is the source of their enduring vitality. Historical photographs of the band, an annotated discography of their pre-World War II work, and histories of some of the band's songs round out the volume.
Regardless of the fate of national health care reform, public policy makers will have to make difficult and tragic choices about which health services are more or less important. This volume, the first comprehensive examination of setting mental health services priorities, systematically explores the history, ethics, and politics of setting priorities for public mental health services. Because mental health services have traditionally been given lower priority and less generous benefits than general health services, they form a striking case study for priority setting.
Written by mental health care practitioners and scholars, What Price Mental Health? explores the social factors that most influence attempts to set priorities; offers case studies at the state level; illustrates priorities at the federal level and in the private sector; and identifies the ethical criteria that must be applied in any attempt to set priorities.
This volume is conceptionally rich for those familiar with mental health care research, but written in a style understandable to the general reader. Policy makers will find the book useful in the on-going debates about mental health care. Psychologists, public health professionals, researchers and students of psychology, public policy and public health will find this study an absorbing and informative addition to the mental health field.
Anne Bradstreet, the first true poet in the American colonies, wrote at a time and in a place where any literary creation was rare and difficult and that of a woman more unusual still. Born in England and brought up in the household of the Earl of Lincoln where her father, Thomas Dudley, was steward, Anne Bradstreet sailed to Massachusetts Bay in 1630, shortly after her marriage at sixteen to Simon Bradstreet. For the next forty years she lived in the New England wilderness, raising a family of eight, combating sickness and hardship, and writing the verse that made her, as the poet Adrienne Rich says in her Foreword to this edition, "the first non-didactic American poet, the first to give an embodiment to American nature, the first in whom personal intention appears to precede Puritan dogma as an impulse to verse."
All Anne Bradstreet's extant poetry and prose is published here with modernized spelling and punctuation. This volume reproduces the second edition of Several Poems, brought out in Boston in 1678, as well as the contents of a manuscript first printed in 1857. Adrienne Rich's Foreword offers a sensitive and illuminating critique of Anne Bradstreet both as a person and as a writer, and the Introduction, scholarly notes, and appendices by Jeannine Hensley make this an authoritative edition.
Adrienne Rich observes, "Intellectual intensity among women gave cause for uneasiness" at this period--a fact borne out by the lines in the Prologue to the early poems: "I am obnoxious to each carping tongue/ Who says my hand a needle better fits." The broad scope of Anne Bradstreet's own learning and reading is most evident in the literary and historical allusions of The Tenth Muse, the first edition of her poems, published in London in 1650. Her later verse and her prose meditations strike a more personal note, however, and reveal both a passionate religious sense and a depth of feeling for her husband, her children, the fears and disappointments she constantly faced, and the consoling power of nature. Imbued with a Puritan striving to turn all events to the glory of God, these writings bear the mark of a woman of strong spirit, charm, delicacy, and wit: in their intimate and meditative quality Anne Bradstreet is established as a poet of sensibility and permanent stature.
The Mexican Revolution began in 1910 with the overthrow of dictator Porfirio Díaz. The Wind That Swept Mexico, originally published in 1943, was the first book to present a broad account of that revolution in its several different phases. In concise but moving words and in memorable photographs, this classic sweeps the reader along from the false peace and plenty of the Díaz era through the doomed administration of Madero, the chaotic years of Villa and Zapata, Carranza and Obregón, to the peaceful social revolution of Cárdenas and Mexico's entry into World War II.
The photographs were assembled from many sources by George R. Leighton with the assistance of Anita Brenner and others. Many of the prints were cleaned and rephotographed by the distinguished photographer Walker Evans.
Wikipedia and Academic Libraries: A Global Project contains 19 chapters by 52 authors from Brazil, Canada, Hong Kong, Ireland, Kyrgyzstan, Mexico, Netherlands, Nigeria, Scotland, Spain, and the United States. The chapters in this book are authored by both new and longtime members of the Wikimedia community, representing a range of experiences.
William Carlos Williams - American Writers 24 was first published in 1963. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.
During thirty years of literary collecting, Louis Daniel Brodsky has acquired some of the most important source materials on the life and work of William Faulkner anywhere available. Indeed, the Brodsky Collection, now owned by Southeast Missouri State University, has been characterized by Robert Penn Warren as "stupendous." In William Faulkner, Life Glimpses, Brodsky mines this storehouse of previously unpublished material, using interviews, letters, speeches, movie scripts, and notes to enrich our understanding of this well-known Southern writer. The result is a highly readable biography that is thematic and episodic rather than chronological in its organization.
Building on specific documents in the collection, Brodsky opens new windows on the parallel development of Faulkner's literary career and personal life. New material on the early poems ''Elder Watson in Heaven" and "Pregnancy" gives insight into Faulkner's developing literary and personal aesthetics during the 1920s and 1930s.
Faulkner's metamorphosis from self-doubting, isolated artist to confident public spokesman during the 1940s and 1950s forms the central core of the study. Through previously unavailable screenplays written for Warner Bros. during World War II and an interview with Faulkner's fellow screenwriter Albert I. "Buzz" Bezzerides, Brodsky charts the decline in Faulkner's literary output and his corresponding discovery of a public voice. He shows how Faulkner's astonishingly positive 1950 Nobel Prize acceptance speech was not a sudden about-face from the bleak outlook that had produced The Sound and the Fury. Rather, Faulkner's years in Hollywood showed him that words, even screenplays, could shape the way people think and react. Faulkner's lifelong quest for a "manly" role ended, Brodsky declares, when he took up the mantle of public spokesmanship.
In the final chapter, a revealing interview with Faulkner's granddaughter, Victoria Fielden Johnson, paints an insider's portrait of life at the Faulkner home, Rowan Oak. A copy of Faulkner's recipe for curing pork, included in the appendix, emphasizes his longterm struggle to produce fine literature while supplying the everyday needs of a large family.
These and other materials, previously unavailable to scholars and the reading public, will broaden and enrich our understanding of one of America's most celebrated writers.
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